Here Dimitri

8/20/2019 Here Dimitri

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Here's my notes from our "Shredder Seminar" on Sat., Mar. 24th, 2012. This

was a 90-minute self-defense seminar for men women of all s!ill leels. The

#ur#ose was to introdu$e #arti$i#ants to one of the most effe$tie unarmed

self-defense ta$ti$s for $lose %uarters $om&at - the "Shredder". eelo#ed

&y (anadian self-defense trainer )i$hard imitri, the Shredder is a ra#id

&arra*e of short ran*e stri!es, ra!es, ri#s, *ou*es, and ne$! $ran!s that

$om#letely oerwhelms an assailant. +t's adanta*e is that it $an &e learned in

a short time and $an offer a #owerful self-defense ta$ti$ to een smaller,

wea!er or less trained indiiduals. +t will often &e diffi$ult for a smaller

#erson to !no$!out a lar*er o##onent with #un$hes !i$!s, throw them, oint

lo$! them, or $ho!e them out. Howeer, a smaller #erson $an always inure a

lar*er o##onent with atta$!s to the soft tissues of the fa$e ne$! - i.e. eye

*ou*e, tra$hea $rush, u*ular #in$h, ear ri#, fishhoo!, fa$e ra!e, ne$! &ite,

et$.

The man demonstratin* the Shredder in this $li# is the $on$e#t's $reator,

)i$hard imitri. s you $an see, he $an safely demonstrate it &y not fully

a##lyin* the ra!es, ri#s *ou*es to his #artner's fa$e. ssentially, he is ust

simulatin* these deadly ta$ti$s &y i*orously ru&&in* his #artner's fa$e and

twistin* his #artner's head in different dire$tions. This low-for$e a##li$ation

of the Shredder is referred to as "fa$e wi#in*" or "fa$e washin*".

/or &e*inners, it's ne$essary to slow the a$tion down and o$$asionally "freee

frame" the situation so they $an understand whi$h of their &ody wea#ons are

$losest to the tar*ets on their atta$!er's &ody. This is referred to as "tool

tar*et deelo#ment". This is well illustrated in this se$ond $li#, whi$h wor!s

from an initial start where &oth atta$!er defender are standin* with their

#alms out tou$hin* - somethin* !nown as the "Mirror rill". s you $an see

from the $li#, slowin* the a$tion down in the initial #hase of trainin* allows you

to easily determine what o#enin* your #artner is #resentin* and how you $ould

atta$! them

hen you first start #ra$ti$in* the Shredder, you #ro&a&ly won't &e a&le to


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thin! of the wide ran*e of atta$!s )i$hard imitri demonstrated in that $li#.

3ou'll most li!ely $on$entrate on ust wi#in* your trainin* #artner's fa$e

ra#idly and twistin* their ne$!, and that's really the most im#ortant way to

start. The fa$e wi#in* is ery disorientin*, and the ne$! twists &rea! their

&alan$e and often ma!e your #artner &end oer or fall to the floor. n$e

you'e #ut them on the defensie, you're &etter a&le to see the o#enin*s to

insert stri!es li!e head&utts, el&ows, hammerfists, #alm stri!es, !nees, foot

stom#s, et$. nd sin$e you'e *ot $ontrol of their head and you'e #ut them

off-&alan$e with the ne$! twists, you $an also ta!e this o##ortunity to &oun$e

their head off any near&y hard o&e$t 5a &ri$! wall, ta&le, $ar, street si*n,

window #ane, et$.6 or toss them down so their head hits the *round %uite

hard.

ne of the most im#ortant #arts of the Shredder is "tra##in*" or "an$horin*"

- i.e. you must *et $lose to your o##onent and *et a hold of them so they $an't

easily disen*a*e after your first $ou#le atta$!s. +f they do, they $an re$oer

and then renew their atta$!. 3ou must infli$t enou*h dama*e to them that

they are una&le to $ontinue their atta$!, or at least enou*h to $ause them to

fall to the *round whi$h will allow you the o##ortunity to es$a#e run away.

Ty#i$ally, tra##in* them is done &y either 516 *ra&&in* the &a$! of their head

with one hand 5!nown in wrestlin* as a "ne$! tie"6, 526 wra##in* your arm 7)

their u##er arm 5!nown as an "oerhoo!"6, or 586 wra##in* your arm around

their headfa$e 5li!e a front, side or rear headlo$!6. +t $an also &e done &y 546

wra##in* your arm :;) their u##er arm *ra&&in* their shoulder 5!nown

as an "underhoo!"6 or 5


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o##onent's attem#t to stri!e your head or *ra& you, and it also allows you to

%ui$!ly $ounteratta$! them. >uite often, if an a**ressie #erson feels they

$an intimidate you, they'll *et ery $lose, almost fa$e-to-fa$e. +f you hae

your hands u#, you $an slam a #alm stri!e into their fa$e and start a##lyin* the

Shredder &efore they hae time to rea$t.

This is how we initially #ra$ti$ed usin* the Shredder

516 you hae your hands u# in a #assie stan$e,

526 the o##onent *ets u# in your fa$e ma!es an a**ressie or threatenin*

motion,

586 you simultaneously wra# their arm to tra# them #alm stri!e their $hin,

then ra!e their fa$e,

546 you unwra# your other arm from theirs and use it to now wra# their head

*ra& their fa$e,

5


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*ra& someone &ehind you. ;e$! twists usually for$e the o##onent to turn and

*ie you their &a$!, althou*h wrestlin* moes li!e the "arm dra*" and "du$!

under"

ENTERING WITH THE PALM BLAST Sometimes, your o##onent may not &e $lose enou*h for you to immediately

enter the Shredder, and so for these $ases we #ra$ti$ed "enterin*" - a.!.a.

"$losin*" or "&rid*in* the *a#" - with a ra#id flurry of stri!es. /or those

familiar with in* (hun or Beet Cune o 5BC6, the te$hni%ue was similar to

the "strai*ht &last" demonstrated in this $li#

- Strai*ht Alast emo htt#www.youtu&e.$o...

e trained this entry usin* the Muay Thai #ads as the tar*et, ust li!e wetrain the a&$ross $om&o in !i$!&o=in*. Howeer, we used a ariation !nown

as the "?alm Alast", where you hit with the #alms of the hands rather than

$losed fists. This is &etter from a street self-defense #ers#e$tie, sin$e you

aoid the ris! of &rea!in* your !nu$!les and you in$rease the li!elihood of

#o!in* your o##onent in the eyes with your fin*ers whi$h will ma!e them flin$h.

n$e the students for$ed their o##onent to &a$! #edal with their #alm &last,

they wra##ed their o##onent's arm *ot their other hand in the o##onent's

fa$e, and then &e*an to shred as &efore.

n$e the students mana*ed to su$$essfully enter with the #alm &last start

shreddin*, we #ra$ti$ed hain* the #ad-holdin* #artner try to *et away &y

#ushin* on their shreddin* #artner with the #ads. This for$ed the shreddin*

#artner to stay $lose and $ontinue to tra# them &y wra##in* the head or arm

so they $ouldn't disen*a*e and re$oer enou*h to atta$! them &a$!.

ENTERING WITH JKD HAND TRAPSne $ommon way that an o##onent may try to #reent you from enterin* into

$lose ran*e is sim#ly raisin* their arms to shield themseles from the #alm

&last and ust #ush you away from them when you try to *et $lose enou*h to

shred. To deal with this, we #ra$ti$ed usin* two different BC-style hand

tra##in* entries to *et #ast the o##onent's raised arms. These entries were

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the same-side "sla# hit" 5!nown in BC as a#a! sao 6 and the $ross-side "#ull

hit" 5!nown in BC as a lo# sau 6. The *oal was sim#ly to !no$! the o##onent's

raised arm aside and simultaneously drie the other hand into their fa$e, and

then initiate the Shredder.

DEALING WITH ATTEMPTS TO DISENGAGE

+n $ases where the o##onent was dire$tly in front of you, we found it wasn't

un$ommon for the o##onent to try to disen*a*e &y &endin* oer at the waist.

This allows you to #ut them in a #osition similar to a front headlo$!. Howeer,

the o&e$t should not &e to sim#ly headlo$! them and hold on. This wouldn't

wor! a*ainst a lar*er, stron*er adersary, and would leae you o#en to hain*

your le*s *ra&&ed or 5for men6 &ein* stru$! in the *roin. +nstead, you !ee#

your hands in their fa$e and $ontinue to shred them. + demonstrated how you

$an use your hands to twist their head to the side then #ull u# on their ne$!,

whi$h #rodu$es a #owerful "ne$! $ran!" - !nown as a "front fa$e lo$!" - that is

ery #ainful and $an dama*e your o##onent's $eri$al s#ine. 5Here's a $li#

showin* how to a##ly the front fa$e lo$! htt#www.youtu&e.$o...6

nother $ommon way the #ad-holdin* #artner would try to disen*a*e from the

Shredder is &y turnin* around and then &endin* oer. +f you're fo$used on

!ee#in* your hands in their fa$e, you may a$$identally end u# ho##in* on the

#erson's &a$!. This would leae you ulnera&le of &ein* thrown to the *round.

To #reent this, we found that it was often &etter to moe &a$! around to

your #artner's side so you $ould $ontinue to !ee# your hands in their fa$e.

This way, you $ould still tra# shred them, often *ettin* them in a #osition

similar to a side headlo$!.

+n addition to turnin* away or &endin* oer, a ery $ommon way an o##onent

will try to sto# your shreddin* is &y *ra&&in* your hands and #ullin* them off

their fa$e. The &est way to $ounter this is to fin*erlo$! them as soon as you

see their hands $ome u#, &ut A/) they *ra& your wrists. The &est way to

&rea! a #erson's fin*ers is to only *ra& one or two of them, not three or four

fin*ers and not the thum&. hen you *ra& too many fin*ers they $an resist

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hain* the fin*ers &ent &a$!, and the thum& is fairly stron* and hard to

&rea!. f $ourse, sometimes you mi*ht not &e a&le to *et the fin*erlo$! in

time and the o##onent will *ra& one or &oth of your wrists, $ontrollin* you and

tem#orarily sto##in* the Shredder.

DEALING WITH THE DOUBLE WRIST GRAB

@astly, we $oered how to use different "&ody wea#ons" 5head&utt, !nee, !i$!,

&ite6 if an o##onent *ra&s &oth your wrists, ma!in* them let *o in order to

5re-6initiate the Shredder. +f you always assume you need your hands free to

atta$!, you mi*ht frea! out in a situation where someone *ra&&ed &oth your

wrists. Aut as + showed the students, you $an ma!e the o##onent let *o &y

!neein* or sna# !i$!in* their *roin, stom# !i$!in* their shin or inste#,

head&uttin* their fa$e, &itin* their fa$ene$!shoulder, or &itin* into their

fin*ers or wrist. n$e your o##onent lets *o with at least one hand, you $an

then &e*in to ra!e, ri# *ou*e with it and flow into the Shredder.

CONCLUSION

This seminar was a *ood introdu$tion to the Shredder $on$e#t, and within a

little oer 90 minutes the students were all a&le to *ras# the $on$e#t and

a##ly it on a moderately resistin* #artner. + #lan on runnin* seeral more

Shredder seminars oer the summer, and + ur*e anyone interested to $ome

and $he$! them out. a$h seminar will reiew the &asi$s of how to em#loy the

Shredder, &ut it will also introdu$e some new drills and it will $oer some

different s$enarios li!e usin* the Shredder a*ainst an armed o##onent,

a*ainst multi#le o##onents, or while wrestlin* on the *round. This means that

it's still useful to attend another Shredder seminar een if you'e &een to one

of them already.

efense a*ainst wea#ons has always &een a heated to#i$ amon* martial artistsand self-defense #ra$titioners. #inions ary &ased on style, &a$!*round and

e=#erien$e, &ut the seriousness of the su&e$t re%uires that eeryone thin!

a&out it &e$ause tryin* an ineffe$tie H2H( te$hni%ue in real street

fi*hts $an *et you !illed.

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ne $riti$ of $ommonly tau*ht wea#ons defenses inhand-to-hand-

$om&at trainin* is Montreal-&ased )i$hard imitri, founder

ofsenshido. )i$hard imtri notes that many H2H( instru$tors would rather

modify reality to fit their system than ada#t their system to fit real life.

=am#le the H2H( trainin* #artner who atta$!s in a manner that ma!es thedefense wor! or who holds his wea#on in a #osition that ma!es it easy to

e=e$ute the #res$ri&ed disarm.

+n $ontrast, atta$!s in real street fi*hts inole $haoti$, &allisti$ motions, and

real atta$!ers moe ra#idly &efore, durin* and after the assault. They retra$t

their !nies after thrustin* and slashin* and follow u# with more thrusts and

slashes. hen they hold their &lades stationary to ro& or threaten you, theyrarely do so in a manner that lends itself to #i$ture-#erfe$t disarmin*.

Senshido /ounder )i$hard imitriDs ##roa$h to +n$reasin* the E)ealF in )eal

Street /i*hts

The first ste# toward oer$omin* that defi$ien$y in oneDs H2H( trainin*,

)i$hard imitri says, is to restru$ture your H2H( trainin* so your #artner

really tries to Esta&F or EshootF you. +tDs also $ru$ial to $reate the emotional

$onditions that e=ist in a real street fi*ht. To do that, you need a #artner whoissues er&al threats and who &ehaes and rea$ts the way real $riminals do in

real street fi*hts.

The first $om#onent of an effe$tie defense is awareness G not ust

awareness of your *eneral enironment &ut also awareness of #re-assault

indi$ators and the rituals of iolen$e, )i$hard imitri says. 3ou must &e a&le

to re$o*nie the situational and &ehaioral elements that #re$ede an armed

atta$! in real street fi*hts, alon* with the &ody lan*ua*e and moements.

Aefore attem#tin* to disarm a thu* usin* H2H( te$hni%ues, it hel#s todistra$t him. To do that su$$essfully, you must first fi*ure out what he wants

&e$ause that will determine what you need to say or do. )i$hard imitri

re$ommends as!in* the assailant a %uestion that for$es him to thin!, thus

$reatin* a momentary hesitation. +t will #ermit you to use your hands in a

manner thatDs $onsistent with the &ehaior he e=#e$ts from someone whoDs

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terrified. hat a##ears to &e a #leadin* *esture on your #art $an &e an

e=$ellent way to maneuer your hands $loser to his wea#on.

hen it $omes to #hysi$al res#onses, senshido founder )i$hard imitri

ado$ates learnin* #rin$i#les rather than s#e$ifi$ H2H( defenses. ?lannin* touse s#e$ifi$ H2H( defenses is #ro&lemati$, he says, for two reasons 3ou need

to learn a te$hni%ue for eery #ossi&le situation, and remem&erin* and

effe$tiely e=e$utin* the ri*ht H2H( te$hni%ue in a s#lit se$ond is nearly

im#ossi&le in real street fi*hts.

The short$omin* is e=a$er&ated &y instru$tors of self-defense trainin* who

$reate unnatural situations in the do,o to ma!e their te$hni%ues wor!. /or

e=am#le, if your #artner atta$!s you in a realisti$ manner, with his !nife

moin* %ui$!ly and $han*in* from a slash to a thrust or from one an*le toanother, itDs unrealisti$ to e=#e$t that you $an dis$ern the an*le of atta$! and

a##ly the a##ro#riate res#onse. ThatDs why you need to hae *eneral H2H(

#rin$i#les that wor! a*ainst a ariety of offenses that you may en$ounter in

real street fi*hts.

Some of )i$hard imitriDs H2H( strate*ies for !nife defense de#end on

whether the wea#on is stationary or moin*, while others a##ly to all

situations. (ommon to &oth is the need to aoid *ettin* $ut in a ital area

5ne$!, heart, inner thi*h, et$.6, een if it means #la$in* a less-$riti$al &ody#art in the #ath of the &lade.

;e=t, )i$hard imitri says, you must $lear your &ody. That means as$ertainin*

how the !nife has to moe to hurt you and then shiftin* in the o##osite

dire$tion to *et out of harmDs way. 3ou should also attem#t to seie the

atta$!erDs arm and #in it a*ainst somethin* to sta&ilie the wea#on and

#reent it from dama*in* you. Se$urin* the !nife need not o$$u#y &oth your

hands for the rest of the fi*ht on$e you hae $ontrol of it, you $an &riefly let

*o with one hand and stri!e a ital area. s soon as you do that, howeer, you

should *o &a$! to se$urin* the wea#on.

/inally, you need to neutralie him usin* the most effe$tie means aaila&le.

im to infli$t ma=imum inury so he $on$entrates on the #ain rather than on

atta$!in* you.

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+nury ?otential urin* H2H( in )eal Street /i*hts

Martial artists loe to ar*ue oer whether you should e=#e$t to *et $ut durin*

a !nife atta$!. lthou*h some $laim itDs defeatist to tell yourself youDll &e

inured, senshido founder )i$hard imitri says you should anti$i#ate *ettin*sli$ed so you donDt freee or #ani$ if it ha##ens.

He relates a story a&out *ettin* slashed a$ross the $hest with a !nife &a$!

when he was new to the martial arts. He sto##ed to loo! at the *ash &efore

re-en*a*in*. fterward, he realied that if the !nifer had &een more

$om#etent, heDd hae ta!en adanta*e of )i$hard imitriDs momentary

distra$tion and finished him.

##ro#riate )es#onse to +nury in H2H(

onDt &uy into $laims that youDll #ass out or die if you *et sta&&ed in a s#e$ifi$

s#ot, )i$hard imitri says. +f it ha##ens, it ha##ens, &ut you $an often !ee# on

fi*htin*.

How does that translate to H2H( trainin* for real street fi*htsI ;eer %uit.

en if you sustain a EfatalF sta& with a ru&&er !nife, $ontinue to fi*ht &a$!.

+n real street fi*hts, a$$ordin* to )i$hard imtri, #eo#le surie !nife atta$!s

G some of whi$h inole multi#le sta&s and slashes G all the time.

Senshido /ounder )i$hard imitriDs ?rin$i#les for H2H( in )eal Street /i*hts

Many of the H2H( #rin$i#les )i$hard imitri tea$hes in senshido for nullifyin*

a stati$ atta$! hold true for !nies and firearms. hether youDre held at

!nife#oint or *un#oint, itDs essential to em#loy a #assie stan$e that has your

hands moin* slowly in a manner thatDs $on*ruous with someone whoDs s$ared.

urin* this time, your adersary will &e e=tremely aware and tense while he

measures your a&ility to resist. +f you ma!e any sudden moes, you $ould &e

sta&&ed or shot.

ne of the most im#ortant #arts of wea#ons defense a*ainst a stati$ atta$! is

#layin* alon* with the atta$!er to $ultiate a false sense of se$urity and

distra$t him. fforts to er&ally de-es$alate the tension will li!ely lower his

*uard and &olster his e*o. Then, if you need to *et #hysi$al and use H2H(

te$hni%ues, heDll &e less #re#ared to rea$t.


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This $on$e#t forms the foundation of )i$hard imitriDs &ehaioral a##roa$h to

self-defense, and itDs em#hasied throu*hout senshido.

H2H( #tions in )eal Street /i*hts

+f you find yourself fa$in* a stati$ !nife atta$! at a distan$e, runnin* away isusually the &est o#tion. Jra&&in* an im#roised wea#on is also *ood, as lon* as

doin* so doesnDt leae you o#en to your o##onentDs rush.

Ae$ause you $anDt realisti$ally e=#e$t to dis$ern the nature of a moin* !nife

atta$! and then sele$t and e=e$ute the #ro#er defense, itDs een more

im#ortant to follow )i$hard imitriDs &elief that H2H( #rin$i#les trum# H2H(

te$hni%ues.

n the su&e$t of tryin* to $ontrol the wea#on ersus atta$!in* the atta$!erin H2H(, he leans toward $ontrollin* the wea#on. Howeer, if thatDs not

immediately doa&le, you should swit$h to an H2H( #lan that ta!es adanta*e

of whateer your o##onent ma!es aaila&le G atta$!in* his wea#on hand,

oerwhelmin* him withstri!es or de$imatin* him with the senshido EshredderF

te$hni%ue.

hen fa$in* a dynami$ !nife atta$!, assume a #osture that ma!es it hard for

the &lade to rea$h your ital areas, )i$hard imitri says. 3our $hin should &e

tu$!ed and your shoulders raised to #rote$t your ne$! and throat. 3our armsshould &e u# in a &o=in*-style stan$e with the &a$!s of your arms toward the

!nife and your hands $losed.

3our a&ility to &lo$! his offensie moes is &ut a minor o&sta$le for the

assailant, H2H( e=#ert )i$hard imitri says. fter his stri!es are sto##ed a

few times G at most G heDll start sta&&in* from another an*le. ThatDs why

)i$hard imitri ado$ates ammin* his arm a*ainst his &ody or otherwise

*ra&&in* it and an$horin* it to arrest the !nifeDs moement.

firm an$hor inoles wra##in* the lim& and $u##in* the el&ow while #innin* itto your &ody. s soon as the !nife is sta&ilied, #ummel the atta$!er to #ut

him on the defensie. Then heDll &e more $on$erned with aoidin* what youDre

doin* to him than with atta$!in* you.

EBammin*F in )eal Street /i*hts

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Bammin* shouldnDt &e $onfused with &lo$!in*, #arryin* or #assin*. Bammin*

entails slammin* your forearms or hands into the atta$!erDs !nife arm with the

*oal of immo&iliin* it. Bams are #referred &e$ause theyDre *ross-motor

moements and $an &e used on a ariety of H2H( atta$!s in real street fi*hts.

+deally, one of your hands should am the &i$e#s of his thrustin* arm and the

other his wrist. Ma!e sure you drie forward with your whole &ody. :sin* only

your arms is wea! and leaes you oere=tended and ulnera&le.

Moin* in to am the !nife mi*ht *et you $ut, &ut it offers the &est $han$e of

$ontrollin* the wea#on, thus minimiin* the oerall dama*e while *ettin* you

into #osition for the shredder from )i$hard imtriDs art of senshido.

The shredder is a s#ontaneous fusillade of *ross-motor atta$!s su$h as eye

*ou*es, fa$e ra!es, ear and nose ri#s, &ites, hair #ulls, ne$! wren$hes andthroat $rushes. The onslau*ht also $an in$lude el&ows, head &utts and other

$lose-ran*e assaults, ma!in* it #erfe$t for real street fi*hts.

s soon as you #in the !nife arm a*ainst his &ody, use one hand to !ee# it

there. ith the other one, atta$! his eyes or throat.

+f the !nife isnDt within ammin* ran*e, )i$hard imitri says, you must atta$!

him as i$iously as #ossi&le. 3our aim is to ma!e him more $on$erned with

defendin* himself than with sta&&in* you, thus reersin* the #redator#reymentality.

+f heDs outside Etraffi$ ran*eF G the distan$e at whi$h &oth #arties are $lose

enou*h to hit ea$h other G remain far enou*h &a$! to for$e him to tele*ra#h

his intentions &efore he $an *et to you.

+f heDs $lose &ut not lun*in* toward you, )i$hard imitri faors throwin* %ui$!,

low-line !i$!s to *et him to &a$! off or to distra$t him &efore you drie

forward with a ammin* te$hni%ue. Ci$! with the le* thatDs $losest to him.

H2H( in )eal Street /i*hts +nolin* /irearms

*ainst a firearm, remem&er that youDre fa$in* a #roe$tile wea#on that has

an e=tended ran*e, whi$h ma!es it more dan*erous in some res#e$ts. Howeer,

&e$ause the &ullet $an $ome out of the &arrel only one way, the mule must

&e #ointed at you to infli$t dama*e. nd sin$e a *un is held steady when itDs

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used G the atta$!er doesnDt wae it around li!e a !nife G itDs easier to *ra& or

diert at $lose ran*e in real street fi*hts.

3ou must &e $lose to the *unman &efore you $an disarm him. +f the firearm

isnDt within rea$h, youDll need to &rid*e the *a# usin* dialo*ue. Say somethin*

that will eli$it his interest, then distra$t him and *et him to lower his *uard.

)emain #assie donDt $hallen*e or threaten him.

/or e=am#le, you mi*ht #oint to your #o$!et and say, EMy s#are $ash is here

+Dll *ie it all to you if you want.F Meanwhile, you ed*e $loser to the *unman,

ma!in* sure to moe your hands in a manner thatDs $onsistent with &ein*

s$ared while you offer him the money.

Then *ra& the *un and dire$t the mule away from you. +f youDre near other

#eo#le, try not to #oint it in their dire$tion, either. That $onsideration isoften oerloo!ed in the doo, where disarms may &e effe$ted without $on$ern

for &ystanders that may &e #resent durin* the H2H( of real street fi*hts.

lthou*h an H2H( !nife defense that inoles *ra&&in* the atta$!erDs wrist is

#ermissi&le &e$ause itDs tou*h for the o##onent to sta&, su$h a strate*y wonDt

wor! for *un defense in real street fi*hts. The reason en if you $ontrol the

wrist, he $an #ro&a&ly &end it enou*h to shoot you. 3ou must seie the hand or

the wea#on. n$e thatDs done, e=#lode with $ounteratta$!s.

)i$hard imitri !nows that when it $omes to H2H( wea#ons defense in real

street fi*hts, there are no *uarantees. Howeer, if you $on$entrate on the

fa$ets of fi*htin* des$ri&ed a&oe, youDll &e &etter a&le to turn the ta&les on

an atta$!er when you otherwise wouldnDt hae stood a $han$e.

The 5 Principles ! Ph"sic#l Re$#li#$in AKA %The Shre&&er'

n$e stru$!, there are *enerally < different rea$tions a human &ein* will haeafter *ettin* stru$!. The indiidual who has &een stru$! $an rea$t in one or

more of these ways. +n no #arti$ular order they are

1. To $reate distan$e.The indiidual hit will &a$! u# and moe away to

re*rou# or #rote$t themseles.


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2. To $lin$h.The indiidual will $lose the distan$e and lat$h on defensiely

to the other who hit him.

8. To $ounter stri!e.The indiidual stru$! stri!es &a$! immediately 5with

or without a wea#on6, no %uarter *ien on the $ounter.

4. ro#s semi or fully un$ons$ious.The indiidual stru$! is #ut out of

$ommission.


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1 3our intended natural wea#on, whateer it may &e whether it is a a&, !i$!

or su&mission a##li$ation should &e the initial #oint of moement #rior to any

other #art of the human &ody. +f your intended stri!e is a left a&, then the

left fist should &e the ery first thin* to moe followed &y the rest of the

arm, then &ody.

2 +tDs im#ortant for you to hae a mental and #hiloso#hi$al reason for

eerythin* that you do. onDt ust throw a !i$! or #un$h for the sa!e of

throwin* it. Many fi*hters as they $ir$le ea$h other feelin* ea$h other out

will unne$essarily throw Ksomethin*D &e$ause nothin* has ha##ened yet. +f it is

done with reason &a$!ed &y strate*y, then it is fine &ut a lot of times

fi*hterDs ust !i$! or #un$h for the sa!e of it &e$ause they are s#arrin* or

s$enario re#li$atin*.

hen my students s#ar, + randomly sto# them and as! them why they didwhat they did in terms of stri!e or $om&ination, for the most #art they donDt

hae an answer. +tDs im#ortant for the student to understand and !now why

they are doin* what they are doin*. This will e$onomie on wasted motion and

hel# the student strate*ie $onsistently while maintainin* ener*y.

$onomy of motion also e$onomies on &oth mental and #hysi$al

ener*y. ner*y is a !ey fa$tor in surial. /or the most #art, stress, fear and

the adrenaline dum# will $ause a mental ener*y drain whi$h in turn will de#lete

one of #hysi$al ener*y rather %ui$!ly.

Principle ( ,* Nn Tele-r#phic M.e+en$*

;on tele*ra#hi$ moement ties in dire$tly with e$onomy of motion. This

#rin$i#le &asi$ally states not to tele*ra#h your intention to your atta$!er &y

ma!in* any unne$essary moements or *estures #rior to your initial

atta$!. This in$ludes fa$ial e=#ressions, shift of &ody wei*ht, shift of

eyesi*ht, idiosyn$rati$ moements #rior to stri!in* and windin* u#, et$.

3our atta$! should &e e=#losie and sudden #refera&ly from a er&al defusin*sta*e where the &ody lan*ua*e is natural and non-threatenin*. +f youDre

already en*a*ed in the fi*ht and your o##onent is still Ka$tieD your atta$!

should still &e e=#losie and sudden without any #rior moement to initialie it

e=$e#t the intended wea#on of $hoi$e 5whether natural wea#on or a$tual

wea#on6 and the K&eatD and KrhythmD should &e &ro!en and errati$ in nature.


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Principle ( /* Oppr$0ni$" s$ri1in- 2IA "0r ne#res$ 3e#pn $ "0r

ppnen$4s ne#res$ #.#il#le #n& +s$ +#-e#le $#r-e$*

This #rin$i#le di$tates you stri!in* without *iin* your o##onent the

o##ortunity to ne*ate, &lo$!, am, #arry, sli#, eade or $ounter your stri!e. +n

order to do this you need to stri!e with 5as Aru$e @ee #ro#heti$ally stated in

an e#isode of @on* Street6 your nearest natural wea#on to your o##onentDs

nearest o#en or aaila&le tar*et.

hile doin* this, re#eat the word E##ortunityF to yourself as you &e*in your

stri!e to the moment you land your stri!e. +f you $an say the word

Ko##ortunityD more than on$e, $han$es are your o##onent would hae had the

o##ortunity to rea$t instin$tiely in ne*atin* your attem#t to stri!e him and

you did not use your $losest natural wea#on to their $losest aaila&le

tar*et. 3ou should only &e a&le to say the word Ko##ortunityD on$e at the most&y the time you rea$h your intended tar*et.

This doesnDt mean that your initial stri!e should &e the !no$!out &low or

stri!e that ends the fi*ht, althou*h that would &e ideal, it isnDt always

#ro&a&le. /or the most #art, in a real iolent #hysi$al en$ounter, your first

stri!e may &e ust a distra$tion or flin$h insti*ator whi$h will allow you to

follow throu*h with a more #owerful or terminal 5fi*ht ender6 stri!e.

Sometimes, a &ite, #in$h or s#ittin* in the o##onentDs fa$e will $ause amomentary enou*h distra$tion, whi$h will allow you to $a#italie on #roidin*

your timin* is shar#. +tDs im#ortant howeer, that when you follow u# after

your initial stri!e, you do so on the usin* the shortest #ossi&le time frame

&etween your stri!es so that your o##onent doesnDt hae the time to rea$t and

ne*ate your follow u# stri!e.

5This #rin$i#le is demonstrated and instru$ted in full detail in our Suriin*

the Streets Tool and Tar*et 7s aaila&le for #ur$hase ia the sho#

se$tion6

Principle ( 6* Pri+#r" T#r-e$s*

+n a real fi*ht, you need to end it as %ui$!ly as #ossi&le. +n order to do that,

you hae to de&ilitate your o##onent. Howeer, it is ne$essary to ud*e

whether the situation is a ma=imum #otential for iolen$e 5life or death


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situation6 or minimum #otential for iolen$e and whether or not your o##onent

is a *ood *uy hain* a &ad day or *enuinely an asshole, as eeryone $an hae an

off day.

ma=imum #otential for iolen$e situation re%uires use of e=treme

for$e. The #rimary tar*ets on the human &ody that will de&ilitate any

atta$!er re*ardless of sie or leel of im#airment, are the eyes and

throat. s human &ein*s, we hae the innate instin$t to #rote$t our eyes and

wind#i#e. +f your o##onent $anDt see, he $anDt fi*ht, if he $anDt &reathe, he

$anDt fi*ht. +tDs really that sim#le. en if he doesnDt feel the #ain, if he $anDt

see, heDs *otta find you to rea$h you and hurt you. 3ou $an #lay Mar$o ?olo

with that mother fu$!er all day. +f he $anDt &reathe, heDs only *ot so lon* to *o

&efore he su$$um&s to la$! of o=y*en.

The rest of the human &ody is se$ondary. There are no other s#e$ifi$ tar*etsas there are nere $lusters eerywhere on the human &ody. Stri!in* the

*roin, the sides of the &i$e#s or the shin will all $ause a flin$h res#onse

$reatin* another o#enin* allowin* for an immediate follow u# stri!e if

ne$essary. Stri!e as many #la$es and as often as ne$essary in order to rea$h

the eyes and throat and de&ilitate your o##onent.

+f your o##onent has &een de&ilitated without you hain* to hae stru$! his

eyes andor throat, then all the more #ower to you howeer, if your o##onent

is dru* or al$ohol indu$ed or if he has a hi*h threshold of #ain or if heDsemotionally distur&ed or hell, all of the a&oe then $han$es are, if you haenDt

stru$! his eyes or throat in order to $ause him to refle=iely #rote$t himself,

heDll most #ro&a&ly !ee# $omin* at you.

Principle ( 5* T#c$ile Sensi$i.i$"*

Ta$tile sensitiity is the a&ility to inter#ret your o##onentDs ener*y throu*h

the sense of tou$h. The maority of fi*hts will start at the $lose %uarter

ran*e also often referred to as the tra##in* ran*e. ialo*ue and

$ommuni$ation will allow for an atta$!er to *et in the $lose %uarter ran*e

without ne$essarily hain* to stri!e you yet. This is where the assailant has

a$$ess to la#el *ra&s, stran*ulations, shoes, ta$!les, headlo$!s, stati$ !nife

threats and atta$!s, intimidation ta$ti$s and more ia sudden am&ush. +f the

fi*ht is not dealt with at this ran*e it mi*ht well lead to the *round or #ossi&le

sta&&in*.


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Ta$tile sensitiity is a##lied the se$ond you and your o##onent hae $ome into

#hysi$al $onta$t to*ether. t the $lose %uarter, *round fi*htin* and in $lose

&ody to &ody &o=in* ran*e the hand is mu$h, mu$h %ui$!er than the eye. +f

your o##onent de$ides to #ull a !nife out of his &elt or &a$! #o$!et while in

the $lin$h, you will not &e a&le to see it &ut you will &e a&le to feel and readhis &ody lan*ua*e shift throu*h the sense of tou$h.

There are $ountless drills that hel# deelo# the ta$tile senses and freestyle

*ra##lin* on its own is a #henomenal way of doin* so as you are $onstantly

tryin* to inter#ret your o##onentDs ne=t moe throu*h the &ody to &ody

$onta$t. Howeer #ure *ra##lin* doesnDt offer the &enefits of defendin*

a*ainst stri!es and wea#ons whi$h should &e added into all ta$tile sensitiity

drillin* if self defense is the #rimary $on$ern.

*ood ta$tile sense will allow one to defend oneself &etter at the $lose%uarter and *round fi*htin* ran*es. 3ouDll &e a&le to feel and inter$e#t an

on$omin* atta$! as it deelo#s.

ThereDs a story of a Tai (hi master whose ta$tile sensitiity was so deelo#ed

that he had a &utterfly in his hand try and fly away and he followed it with his

hand until his arm $ould no lon*er e=tend u#wards as the &utterfly finally flew

off it.

The < #rin$i#les of #hysi$al retaliation are always a##li$a&le re*ardless of thesituation or s$enario or tools of $hoi$e on$e thin*s hae *otten #hysi$al. They

re%uire #ro#er trainin* and mental &lue#rintin*. n$e they are a$%uired

howeer, they &e$ome unfor*etta&le and im#erisha&le s!ills, li!e ridin* a &i!e

and a##li$a&le to all martial arts styles or systems.

Here Dimitri

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