- Arm/Leg Immobilization
- Broken Rhythm
1. DIRECT ANGLE OF ATTACK
The direct angle of attack is the most-consistently used of all five angles. A direct angle of attack is any direct hit moving from its starting position to its target. D.A.A. can be used against any of the three defensive opponents. D.A.A. should be applied in a very explosive fashion. The objective is to catch your opponent in his tracks.
Definition: One singular technique being used in a single fragmented attack without any follow-up or subsequent movements thereafter.
2. INDIRECT ANGLE OF ATTACK
|Three types of fakes:||a.||shoulder fake|
|c.||entire body fake|
Definition: Preparatory movement designed to offset your opponent’s timing, which enables you to gain two things: DISTANCE and TIMING against your opponent.
What is the difference between Direct and Indirect? We have incorporated a fake.
FAKING is an art that should be practiced individually and separately from trying to incorporate and learn these angles of attack. The only way to throw a perfectly-timed indirect angular attack is to be able to fake and to get the maximum reaction out of your opponent when you fake. If your opponent does not respond to your fake, then you’re simply not faking properly. When practicing faking, try to incorporate the fake with your favorite fighting technique so that you can ultimately utilize this indirect angle of attack while you are sparring. The best way to practice is to make your fakes as broad as possible.
When you fake, observe your opponent. See whether he is reacting to your fake. If he is not reacting, then your fake is not convincing enough, or he is not receiving the message that you want your fake to transmit. Remember that faking is a form of deceiving your opponent. You simply want him to become aware of something that is not really going to be actualized.
3. COMBINATION ANGULAR ATTACK
The combination angular attack is any two or more angles of an attack combined in the same movement pattern to the same offensive attack toward your opponent. For example, you could have two direct angular attacks combined together, or you could have three direct angular attacks, such as throwing a punch or another kick after completing a roundhouse to the opponent’s head. This would be a third technique or a third direct pattern. Another example of combination angular attack would be a direct angular attack followed by an indirect angular attack, or a broken rhythm angluar attack followed by a direct angular attack. This particular movement pattern is easily defined and easily understood. Most students refer to it as a “combination.” However, in classical karate, we usually refer to a combination as two or more techniques put together in an attack. It is important to understand the concept that a combination angular attack is a combination of two or more of the other four angles of attack. It is a combination of movement patterns, not necessarily a combination of techniques. In full-contact karate, this particular movement pattern, the combination angular attack, would probably be one of the best types of offensive footwork to use against an opponent.
In sport karate, or point fighting, wherein the one total point rule is sanctioned, it would be important to place the most attention on stressing the initial move. Therefore, it is more common to use more of direct or indirect type of approach. This would be one of the differences. The difference between semi-contact and full-contact karate lies in the fact that it’s a structured difference, a strategic difference: explosive, followed by combination. For the sake of training, the recommendation would be to maintain the quick explosiveness that one needs and that is used to employ point and sport karate and also try to integrate that kind of explosiveness with the ability to follow up after making the first contact.
Very often, students who subscribe to consistent use of combinations in tournament competition find that they were unable to bridge the gap fast enough when they initiated their combinations, or else they were not quite perceptive enough.
In conclusion, there are hundreds upon hundreds of different kinds and variations of combination angular attacks. I recommend that students (beginners) try to create a couple of sets of good combinations that attempt to employ two factors:
- Make sure that you try to utilize one or more of your favorite techniques.
- Make sure that the initial movement of the combination is one of your more explosive techniques so that it will best enable you to bridge the gap effectively.
4. ARM AND LEG IMMOBILIZATION
This particular angle is somewhat self-explanatory by its title. It employs the use of an arm or leg to partially obstruct an opponent’s movement, whether it be a counter-technique or a type of defensive footwork, and which would better enable the attacker to successfully bridge the gap while executing his attack. The arm and leg immobilization angular attack would include any kind of grabbing, pushing or shoving with the hands, any kind of obstruction with the leg such as a sweeping technique or any variation of the use of both the hands and the leg simultaneously. It is rare to see an immobilization type of offensive attack being employed in full-contact competition for two reasons:
- The immobilization by obstructing your opponent with the hands or the leg is a wasted movement, because it doesn’t result in any bodily harm. For example, sweeping your opponent off his feet does not result in hurting him/her.
- You do not see this done much anymore, because the new full-contact rules are outlawing any grabbing technique.
5. BROKEN RHYTHM ANGULAR ATTACK
The B.R.A.A. is the fifth and final method of offensive footwork. This is a very difficult movement pattern to understand as well as execute, and if you could become fairly expert at this type of angular attack, you would be considered a super-sophisticated fighter. Rhythm encompasses the figher’s mental attitude, overall sense of timing related to oneself as well as to the opponent regarding how the fighter proceeds and creates a reaction, and how he/she reacts and responds to the offensive action of the opponent. Rhythm is a combination of integrating one’s mental thoughts and one’s mental sense of timing with one’s physical self and with the physical activities which one may be executing.
Here one employs a sense of freedom of movement and attitude unlike any other attack. This is done while executing one’s attack, instantly changing any set pattern in the mechanics of the technique or movement, or any change in a set pace, speed or timing, thus causing a breakdown in your opponent’s sense of timing. The opponent might misjudge you the instant you make that sudden change, that breaking of your rhythm. Sometimes this is done by changing the direction of the attack right in the middle of the movement pattern. Occasionally, it can be done by delaying the final extension of techniques at full speed, and at the very last minute you slow it down and then speed it up again. There is no pause in the actual movement of the punch or the kick. You merely delay the final point or the final time that you actually make contact with the technique.