Scientific Unarmed Combat

,

SCIENTIFIC

UNARMED COMBAT

"This 1;>ookportrays the Asiatic and Eastern methodsof the science of unarmed combat. More than a hun-

dred photographic illustrations show in series, the art,or cult, of unarmed combat as practised by the author

and as used by the police organisations in some Easterncountries. The instructional matter shows the vital

spots and vulnerability of the human body."The author's method, perhaps drastic in its applica-

tion but very effective, provides a means of protectionagainst any thug or criminal at lonely spots or in yourown home."

~ , ..

ffGIE.r" ~ H' 1ClPNARMED~ COMBAT

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SCIENTIFICUNARMED

COMBATThe Art of Dynamic Self-Defence

by R. A. VAIRAMUTTUForewordby SIR ALAN ROSE, (L.C. ChiefJustice of Ceylon

'''\.

The art of

dynamicSelf-defence

byR.A.

rAIRAMUTTU,~

R

~'I

f

FOULSHAM

DRASTIC EASTERN METHODS OF

PROTECTION AGAINST ASSAULT OR ATTAC

- ------

SCIENTIFIC

UNARMED

COMBAT

The preparation of this book

has taken over three years.Every lock, every throw and

every type of attack, defence

and defensive-offence, given in

this volume has been provedflawless.

The technique is based mainly

on the art of cheena-adi, coup-led with the esoteric branch of

ju-jutsu, i.e., the self-defence

portion of ju-jutsu, wrestlingand the Indian art of stick-

defence. These defences as

practised and used by police

organisations in the Far East,

are here introduced and por-

trayed in a scientific and mod-

ern form, for the practise and

use by the ordinary person ofboth sexes.

I .JTHE

FOULSHAM

JUDO BOOKSBy

E.]. HARRISON(3rd Dan)

JUDO ON THEGROUND

The Oda-9th Dan Method

15'- net

THE MANUAL

OF JUDO8'6 net

JUDO FORBEGINNERS

3'6net

THE ART OF

jU -jITS U3'6net

~

SIR ALAN ROSE, Q.C.Chief Justice of Ceylon.

SCIENTIFICUNARMED COMBAT

The Art Of Dynamic Self-Defence

The Ancient Asian Psycho-Physical Study

byR. A. VAIRAMUTTU

Master of "Cheena-Adi" and 'J' u-Jutsu" Self-Defence ArtsFounder and Chief Instructor,School of Dynamic Self-defence

Foreword by

Hon. Sir Alan Edward Percival Rose, Kt., Q.C.,M.A., LL.B., Barrister-at-Law, Chief Justice of Ceylon

Illustrated

LONDON

W. FOULS HAM & Co. LTD.NEW YORK TORONTO CAPE TOWN SYDNEY

f-

!(ADa IN oRlAr BRITAIN

by William Brendon <t 8on, Ltd.The MayflowM Press (/ate of Plymouth)

at Bushey Mill LaneWatford, Hert,.

..

~-

FOREWORD

It is with pleasure that I commend this bookto the attention of the able-bo!:lied citizens of thisisland. Not only are the contents instructive, but ofdefinite value to anyone of us who may find him-self confronted, unexpectedly enough, by somesuch situation as is so effectively dealt with by theauthor. The value of this type of exercise is thatit is unnecessary for the practitioner to be a man orwoman of unusual muscular development. Anyperson of reasonable physique whose reflexes arenormally efficient should have little difficulty inmastering the defensive technique described inthe book and excellently illustrated by the numer-ous photographs. . _

Practice, no ~oubt, is essential for successfulperformance; but any careful reader who is pre-pared to spend the necessary time should be ableto master, without difficulty, the basic principlesof self-defence as expounded in this book.

I wish this publication all success.

Alan RoseColombo.

5

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CONTENTS,

Foreword

PreceptsPrefaceIntroduction

Explanation of Illustratttons

CHAPTER ONE

Defensive and offensive postures

CHAPTER TWO

Defences against a hand-squeeze from front and holdsfrom behind

Defence No. I. Hand-shake lock 34

Defences against holds from behind

Defence NO.2. Flying mareA ground-lock

NO.3. The right elbow-digNO.4. A squat-on-knee breaker

Ground-locksNO.5. A I 'back-heel II scrotum kick

""

"

CHAPTER THREE

Defences against grips on waistDefence No. I. Armpit collar-bone grip

" NO.2. Head-to-foot twist" NO.3. An elbow break

'l;

--

5II131727

31

373738394041

42424343

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8 CONTENTS CONTENTS 9

Defence NO.4. Double nerve-centre pinch Defence NO.4. A leg-trip and push 59and come-along hold 44 Additional defences

NO.5. Elbow-break and throw 46 Scrotum-blow: or knee-" break

No.6. Forelock-hold, arm.lock 46 59"

Additional defences 47 Defencesagainstolub attacks

Defences against a push-on-the-chest Defence NO.5. An arm-lock 59

Defence NO.7. IISpine-breaker" 47 " No.6. A hand-twist and dig.at.rdb 60

Defences against arm-holds or pullsCHAPTER SIX

Defence No.8. The "snake-coil grip" Defences against knife or dagger attacks 62and arm-lock 48 Defence No. I. Straight-arm elbow-break 63

., NO.9. Single-handed arm twist or " NO.2. Bent-arm lock 64snake-coil gpip 50 NO.3. Standing-leg lock or"

Defence against blindfolding from behindknee-break 64

A blindfold shoulder throw" NO.4. A shoulder-throw 65

Defence No. 10. 51 NO.5. A hip-throw 65"A ground-lock 66

CHAPTERFOUR " No.6. Crotch-hold roll-over-shoulders throw 66

Defencesagainst kicks 53 " NO.7. Roll-over-backthrow 67DefenceNO.1. A leg-hold turn-over throw 53 " No.8. Nape-hClldsomersault throw 67

" NO.2. Ankle-hold knee-breaker 54 A ground-lock 68

., NO.3. Standing leg-split 55 " NO.9. W rist-and-cheek holdleg-trip 68

CHAPTER FIVE" No. 10. ,Wrist-and-sleeve hold

knee-trip 69Defences against club or pole attacks 56 A ground-lock 6g

Defence NO.1. Arms-twist " No. II. Throw-at-eyes revolvingand stomach-blow 57 knee-kick 70

" NO.2. Arms-twistrod-end dig 58 " No. 12. Double-foot knee-breaker 71

Defence with a walking-stick" No. 13. A kI1Jife-dropping

stomach.cut 71Defence NO.3. A dig at temple 58 " No. 14. A jugular-press and arm-trap 72

f!O

Defence No. IS.

No. 16.

No. 17.No. 18.

No. 19.No. 20.

"""""

CONTENTS

Wrist-pull and hip-kickWrist-pull and tripA wrist-parry knee.kickA knife-dropping nerve-cutArm-break hip-throwHand-twist al1d dig

Defences against knife attacks 'With a'Walking.stick

Defence No. 21. Wrist-parry elbow-blowNo. 22. Hand-twist and stick.dig"

Defence No. 23." No. 24.

T'Wo'V.OneHand-twist and elbow-digNeck-twist and knee-kickAdditional defences

737475757676

77

77

787980

CHAPTER SEVEN

Defencesagainst pistol or revolverattacksDefenceNo. I. Wrist.grip and throat-axe

" NO.2. Bent-armwrist-breaker" No.3. Wrist.hold, trip-and-push" No.4. Double.arm.twistarm-lock

Charts showing secret ne1'lJe-cent-resana 'Vital

spots, explaining their acti<ms and reactionsC~rtI ~Chart II 88

818282

8383

IMPORTANT-TEN PRECEPTS

Everystudent of this Unarmed Combat mustobserye the following ten precepts at all times.

Remember (I) Whilst practising with a part-ner that locks, holds, throws andkicks can be injurious to theperson practised upon.

(2) Not to use more force or pres-sure than is necessary in theapplication of locks, holj:is,etc.,and not to practise with onewho delights in exhibiting hisstrength.

(3) To begin with slow motion, stepby step, land practise until thecomplete defence can be per-formed in one continuousmovement.

(4) That "practice makes perfect".Practise therefore every de-fence as often as possible.

(5) To use a rubber dagger at thestart whilst practising the de-fences against dagger (knife)

'II

112 IMPORTANT-TEN PRECEPTS

attacks, ang an actual steeldagger after gaining experienceto remove the natural fear.

(6) To control your temper, andnever to apply pressure on yitalspots in anger.

(7) Not to attack anyone first, andalways to avoid heated argu-ments.

(8) Not to use this Art for any evilpurpose or with any evil motiveto bring dishonour on thisNoble Art, and not to hesitateto resort to it to safeguard yourlife an'd property or the honourof a woman.

(9) That this Art is primarily in-tended to suppress crime andlawlessness of all sorts.

(10) To perform the "Guru Salute"before practising the defences,once daily.

PREFACE

As a result of W orlg War II there has beena continuous and rapid increase in thefts, hold-ups, highway robberies, molestation of women,assaults on law-abiding citizens and various othernefarious activities of the lawless, all oy;er theworld, particularly in Ceylon.

I attribute the increase in these high-handedactivities mainly to the average man's ignoranceof the art of self-defence. The need of the art ofunarmed combat was never more felt at any agethan it is today. In ~hesecircumstances I have ac-ceded to the numerous requests of my pupils andthe aamirers of the art to publish some powerfuland simplified defences which could easily bemastered by all law-abiding citizens.

My eclectic system of "cheena-adi cum ju-Jutsu'~ self-defence was devised and de~elopedafter twelve years of silent research. In publishingthis system of unarmed combat for the first time,I have eliminateg the superfluous, exhibition andthe sporting sections of both cheena-adi and ju-I"

]utsu. This system is therefore the best that thecombined art could impart to the average peace-IO:!lingcitizen.

13

I

J

~4 PREFACE

My technique is based mainly on the art ofcheena-adi, coupled with the esoteric branch of ju-~:utsu, i.e. the self-defence portion of ju-jutsu,wrestling and the Indian art of stick-:Q,efence.These defences are in their most refined modernforms and this volume should meet with every re-quirement of the average educatd person.

The preparation of this book has taken overthree years. Every lock, every throw and everytype of attack, defence and defensive-offencegiven in this volume has been proved flawless.~hi1st promoting all-round physical development,

. these defences bring no adverse effects to any partof the body. Ladies can practise these without anyill-effects except, of course, during the period ofpregnancy. I would commend this art to ey,eryfemale, as there has been a marked increase inmolestation in the recent past with the narrowingdown of the difference of sex in politics, socialseryice and employment. All young educatedpeople should be encouraged to learn the art ofself-defence as this is the only art in the world thatteaches "self-control" both in theory and practice.It reforms a hot-tempered man into a sober andcool-hea~ed person. Japanese consider the manwho loses his temper to be one who is mentally notsound. It is absolutely erroneous to suppose thata knowledge of the art of self-defence will instilan excessive degree of the "fighting spirit" jntomemb~rs of the younger generation.

PREFACE ~5

One who has mastered my technique of un-armed combat explained in this volume, should beable to multiply them (like permutation and com-bination) into several more effective defences anddefensive-offences.

It should be the motto of every student of thisart to put down crime and assist the authorities inweeding out lawlessness in every country. Law-lessness and crime of any sort in any country mustnecessarily diminish with the spread of this mostscientific art of unarmed combat (~iz. : cheena-a~licum ju-jutsu self-defence) yet gevised.

My sincere gratitude is due to my "Guru", thelate Mr. Richard Peries of Kotahena, Colombo,my pupil-colleague, Mr. N. I. V. fernando, ofthe Telegraph De2artment, and my friend andpupil, Mr. W. Gunapala, of the Ceylon Govern-ment Railway.

The late Mr. Richard Peries was one of thebest exponents of the arts of cheena-adi, ju~jutsu,sword-play and stick defence, Ceylon had everproCluced.Just as a duckling takes to water Mr.Richard Peries's taste for these arts was inborn.His father, Mr. Haramanis Peries, who pre-deceased him, was also an expert in cheena-adiself-defence ~uring his lifetime.

R. A. Vairamuttu

INTRODUCTION

J u-jutsu is suppose~ to have been practised inJapan for over 2,000 years, and cheena-adi orChina-footing, the Chinese art of unarmed attackand defence-the older of the two arts-can betraced to the mythological age. Both these artshave been jealously guaraed secrets for many cen-turies, and imparted only to well-disciplinedpupils of sound moral character.

To the Gods Kaaori and Kashima the Japan-ese trace the origin of ju-jutsu and believe that thesecrets of this art were revealed to the Samurai(the warrior caste) who maintained law and orderin the kingdom of Japan. ..

Though the Chinese art of unarmed combat isscientifically the best by test, yet nothing is knownabout its founder. This art started on its declinewith the disintegration of the Celestial Empire ofChina about the fifteenth century. But just as nosecret can always remain a secret, so this systemmade secret access to Korea, Japan, Java andCeylon. There is no doubt that the Ceylonese anqJavanese have preserved this art in its pristinepurity.

I t is believed that, during the Ming Dynasty,some Japanese went to China to learn their closely

I'lJB

18 INTRODUCTION

guarded art. CHUEN YUAN PIN or CHINGEN PIN of the Chinese Ming Dynasty went toJapan and taught the art to the Japanese. AkiyamaShirobie Yoshitoki, a physician of Nagasaki,Japan, founder of a "RYUGl'! (Institution)known as "YOSHIN-RYU" had learnt theChinese art under a Chinese teacher namedHAKU-TEI or PAO-CHUAN in China, ac-cording to The Art ollu-jutsu by E. J. Harrison.The present high standard of ju-jutsu in Japan isentirely due to the introduction of the Chinese arti~to their system by the few me11icalmen of Japanwho studied both these arts.

During the reign of King Vijaya Bahu VI, aChinese eunuch named CHIN-HO was sent toCeylon by the Chinese Emperor YUNG-HO ofthe Ming Dynasty in the year 1405 to bring the"DALADA", the sacred Tooth Relic of the LordGautama Buddha.

As his mission was a failure he went back toChina and returned to Ceylon in the year 1410. Inmemory of his visit to Ceylon, a carved stone in-scribed in Chinese, Tamil and Persian characterswas erected in 1409. A British engineer namedH. F. Tomalin, who was employe'd in Ceylon, hap-pened to discover in 19II that slab of stone withinscription at Galle, the capital of the southernprovince of this beautiful isle. The eunuchCHIN-HO and his followers were believed to beadepts in their art of unarmed combat.

IINTRODUCTION 19

China's ancient literature has many referencesto Ceylon. There are genuine records of pilgrim-ages of Buddhists from China to Ceylon since thethird century. The famous Chinese explorer FaHien came on pilgrimage to Ceylon in the earlyfifth century and visited the holy places ofBuadhism and spent two years in making copiesof Buddhist scriptures. There were constant cul-tural and commercial relations between China andCeylon for several hundreds of years from the thirdcentury. The first Ceylon Embassy in China wasestablisheCl 'during the early fifth century aboutA.D.410. Several hundreds of Chinese coins of theTang dynasty from the seventh century up to theSung dynasty of the thirteenth century haye beenunearthed in many parts of Ceylon at differenttimes.

Although it is believea that the Chinese art ofunarmed combat was first introduced into Japanduring the Ming dynasty in the fourteenth century,this art found its way into Ceylon hundreds ofyears earlier. But the art was not widely impartedto one and all. The majority of the pupils had tobe satisfied with only a superficial knowledge. Asnone of the teachers imparted all the "secrets" toany pupil, general enthusiasm gradually faded.Even today it is the same old story with anycheena-adi Guru. If anyone ardently desires tomaster the advanced secrets of the art, one has tolearn from as many experts as possible and by con-

20 INTRODUCTION

tinuing to learn right through. With every succes-sive master one undergoes training, one has topretenClto be a complete novice without exhibitingthe knowledge gained from the previous teacheror teachers. Thus I have mastered this art and ju-jutsu self-defence, and ventured to publish thisbook for the benefit of eaucated and law-abidingcitizens.

The two arts which were on the decline, pri-marily owing to secrecy and also to the limitednumber of persons to whom the knowledge wasifi?parte'd, had a complete reviyal during the four-teenth century.

J u-jutsu developed into various distinctschools under pifferent teachers, but the revival ofthe Chinese art was only short-liyed and began todecline further and further after the fifteenth cen-tury.

J u-j'utsu continued to flourish during and afterthe lifetime of Professor Jigoro Kano. Dr. Kanofounded the Kano system of ju-jutsu named judo.His system of judo was recognized by the Japan-ese Government and adopted by the Army, Navyand the Police Departments, in all universities andhigher institutions. Every educated male and fe-male in Japan learned ju-jutsu and it is includedin the curriculum of all educational institutions.

Judo (ju-jutsu) won the admiration of the Oc-cidentals in view of its efficacythrough simplicity.It was introguced into Great Britain for the first

r- INTR~DUCT.ION.2~time by Professor YUklOTam and Raku Uyemshlbetween 1895 and 1899, according to E. J.Harrison in The Art of ju-jutsu.

The first amateur society of judo named theBUDOKWAI was founded in London by G.KOIZUMI more than thirty years ago, and its firstinstructor was YUKIO TANI. The JapaneseAmbassadors have always been elected as theHonorary Presidents up to the time of WorldWar II. The BUDOKWAI is affiliated to theKODOKWAN, TOKYO, founded by Dr. JigoroKano of Japan. Now the art of judo (ju-jutsu) isextensively practised in Britain, Canada, U.S.A.,France and South Africa and introduced into theirNavy, Army, Air Force and Police Departments.Women in the war services have been trained inju-jutsu. Women in the Western countries havetaken a keen interest in the art. America has takena keener interest in ju-jutsu than any other countryin the world barring Japan. Whether the real se-crets of advanced ju-jutsu, which are so greatlytreasured by the Japanese and imparted under vowof strict secrecy to pupils of unquestionable moralcharacter, have ever been divulged to Occidentals,is very much open to doubt.

The Eastern arts of unarmed combat are un-doubtedly supelfior to the present-day Westernarts of self-defences. The principal systems ofcombat and sporting arts in the East and the Westcan be tabulateg as follows :_

22 INTRODUCTIO~

EASTERN

I. Judo (or ju-jutsu) of the Japanese. Theart of gentleness, or the soft art.

2. Kempo or Kenjutsu of the Japanese. Thehard art or the art of defence againstarmed assailants or sudden attacks.

3. Roku-Shaku-Bo or Han-bo (stick de-fence) of the Japanese.

4. Sumo or wrestling of the Japanese.5. Cheena..adi of the Chinese. The most

scientific art of self-defence against as-sailants armed or not.

6. Gusthi (wrestling) of the Indians. A sport-ing combat.

7. Lathie or stick defence of the Indians. Aself-defence art against several assail-ants.

8. Sword display of the Indians.

WESTERN

I. Boxing (originated in Athens by Theseus,son of Aegeus, King of Athens).

2. Fencing of the French.3. Wrestling which is further divided into-

(a) amateur wrestling,(b) catch-as-catch-can wrestling,(c) Cumberland and Westmorland

wrestling,

INTRODUCTION 23

(d) Graeco-Roman wrestling,(e) all-in wrestling.

4. La Savate (foot-fighting)-a Frenchsport.

5. Shillelagh or cudgel play. Irish.Combined Arts-

I. Pancration is an old form of Greek physi-cal contest which is a combination ofboxing and wrestling.

2. Siamese Boxing. In boxing contests inSiam kicking is also allowed.

Although boxing is today considered to be aWestern art its origin has been traced to Athens-round about goo B.C.It is the third oldest sportingcombat of the world and competitors then foughtwith bare fists seated face to face. It was a cruelsport as both contestants bled profusely. Thisform of sport spread into Greece and later Romansadopted and reformed it.

Foot-racing is considered to be the oldest formof sport with wrestling as the second oldest in theworld. But Indian Gusthi (wrestling) and Lathie(stick) defence could be traced many thousands ofyears back to the mythological age. The Lathiedefence is also one of the most scientific arts ofself-defence against several, performed with sys-tematic and rhythmical movements of feet andhands whilst the blows are delivered with the endand tip at vital. spots of the opponents.

24 INTRODUCTION

J u-jutsu can be divided into three categoriesand to be an exponent of this art, a thorough know-ledge of the three sections must be mastered.

1. Wrestling portion of ju-jutsuThis section teaches only the sportingand exhibition part of the art. This isagain subdivided into two branches:

(a) Nage-Waza--which 'deals withthe primary tricks of pulling andpushing, tripping and other tricksof breaking the balance of theopponent.

(b) Katame-Waza-which dealswith the art of holding down anopponent by means of locks,holds, etc.

2. The Atemi-Waza or esoteric self-defencedivision of ju-jutsu

This deals with effective kno~k-out blowsdealt at vital spots whether opponentsare armed or otherwise. This section com-prises cuts with edge of palms, digs withfingers or elbows and kicking and hittingwith legs and hands respectively on vitalspots. This portion is taught only undera vow of secrecy to selected pupils ofsound moral character.

I

INTRODUCTION 25

3. Katsu or ResuscitationThis section of advanced secrets of ju-jutsu deals with the art of resuscitationor revival after the delivery of fatal blowson opponents. This section also teachesa unique art of resuscitation from theafter effects of falls, strangulations,drowning, etc. Katsu should be adminis-tered imme5:1iatelyafter the fatal blows,drowning or strangulation. This is taughtto a fewer number of far advanced pupilsof unstamed moral character under a y"owof strictest secrecy.

The Technique-The fundamental principlesin this unarmed combat are based on balance,leverage, spring-action, momentum and gravita-tion. This is an art in which the movement, force,weight, height, clothing and even the hair on thehead of one's opponent is used to his disadvantage.

Balance is of supreme importance for any formof physical exertion. Gravity is the force withwhich we are attracted to the earth, and the centreof gravity of any object or person in the normalcourse should fall within the base. The momentan object or person is slanted or tilted the centreof gravity falls outside the base and the object orperson must necessarily topple unless there beother support or cause to regain the balance. Thesystematic and rhythmic movements of the feet

26 INTRODUCTION

in cheena-adi is to retain unshakable balance atall times, besides attack and defence.

Leverage movements are important for easylifting and throwing and for application of locksang holds with the least effort and energy.

The vital spots of the human body to whichcuts, digs, blows and kicks are delivered, and thenerve centres which are pinched, or digs and cutsadministered, must be very carefully studied byevery student of unarmed combat. It will thus beseen that this scientific art has been devised withgreat skill by master-minds with good knowledgeof human anatomy, science, philosophy and allimportant aspects of life. SELF -DEFENCEand SELF -CONTROL bring SELF -RES-PECT.

In the lessons which follow I have explainedin pictures and notes some of the principal de-fences selected from cheena-adi, ju-jutsu, wrest-ling and stick defences combined, to meet therequirements of anyone who 'desires to master thissystem of unarmed combat.

Anyone who wants to learn the more advance_dand intricate defences in this technique and thecomplete art of cheena-adi can communicate withme. Such enthusiasts shall always receive myprompt attention and ready co-operation.

R. A. VairamuttuP. O. Box1063,

Colombo,Ceylon.

EXPLANATIONOF ILLUSTRATIONS 27,Dlustratlon 1

The author twenty-two years back. Still main-tains a soung physique.

Illustrations 2.3

This shows the author's everlasting zeal inphysical culture.

Fifteen minutes daily allotted to any form of"approved" physical exercises would definitelyhelp one to possess a "Healthy Mind in a HealthyBody" .

Illustrations 2 to 9 are included to show thekeen interest the author has in physical culture.Physical culture is not meant for a particular agebut for a lifetime. The author is a life memberof the "Health and Strength League" of GreatBritain, the objects of which are :_

"T 0 bind together in a bona of robust brother-hood, all physical culturists and athletes through-out the world. A bond united for the purpose ofdisseminating the broad principles of, and innature's way promoting the cause of health andstrength," should receive the serious considerationof every enthusiast of self-defence.

28 EXPLANATION OF ILLUSTRATIONS

Illustrations 4.7

These pictures were taken very recently.Indian clubs, skipping rope, spring grips andfree-hand exercises have helped the author tomaintain a robust physique throughout for a periodof over twenty-five years.

PHYSICAL CULTURE IN RELATION TO THE ART OFSELF-DEFENCE

. The art of self-defence explained in the forth-coming chapters is primarily intended for the weakagainst the "mighty". But no one is born to be aweakling in this world. Negligence of physical ex-ercise, healthy habits, and yicious negative think-ing make them so.

Is it not a crying shame to move in society ina dilapidated, sickly state of health with worn'-out,under-developed and stunted muscles making onelook very much older than one's age? They arelooked down upon by society and they never at-tract the admiration of the fair sex. They are pitiedeven by the fair sex who have now taken up phys-ical culture, wrestling and ju-jutsu.

Tne art of self-defence encourages everyoneto maintain good health in order that they can keepfit to face eventualities. There is no other royalroad, there is no better patent, than physical exer-cise to promote a healthy nervous and muscular

EXPLANATIONOF ILLU'STRATIONS 29

system. Physical exercises stimulate the entirebody, increase and purify the blood supply andproduce an abundance of vim, vigour and vitality.

Exercises, in addition to cleansing the wastematter of the muscles, remove the poison that getsinto the blood supply. Physical exercises, whilstdeveloping and strengthening the muscles, toneup the growth of bones and the function of respi-ration.

, The :valueof exercises is emphasized as thisis the unique system of producing radiant health,energy and vitality, whilst giving a medicinaltoning effect to cure constipation, obesity and ner-vous disorders. Lessons in cheena-adi-thisancient Asian unarmea combat-are a splendidcourse of exercises which promote all-round physi-cal development. The other most easily accessibleexercises that produce amazingly quick all-rounddevelopment are walking, swimtming,skipping andIndian club-swinging. Horse riding is also one ofthe most splendid all-round exercises though noteasily accessible to all.

Illustration 8

Dipping exercises are some of the most valu-able exercises for developing the arms and theupper part of the body.

This exercise is not performed with the palmsplaeeg flat on the ground, but with the weight of

;1

30 EXPLANATION OF ILLUSTRATIONS

the whole body resting on thumb and first two fing-ers and toes. Strong fingers are an asset to this artof self-defence.

Illustration 9

This is one of the most effective balancingexercises that help in the maintenance of correctpoise in the self-defence feats.

Guru Salute

The fine art of self-'defence has, just as anyof the religious doctrines or scientific inventions,its founder, though unknown. All teachers andstudents of this art pay homage and reverence tothe original "Guru", that unknown founder of thiswonderful art, by a formal salutation immediatelybefore the performance of any of these feats. Someteachers go a step further and insist that failure toperform the "Guru" salute would develop in thema tendency to misuse the art.

Illustration (10) shows the author (on the left)and his pupils obserying the "Guru" salute knownin cheena-a'di as "Guru-N amaskar".

Study illustration (10) carefully and never failto observe the "Guru Salute" dailv before the other. . J

lessons are attempted.

CHAPTER ONE

DEEENSIVE AND OFFENSIVEPOSTURES

This lesson deals with the foot-work of the firststeps in cheena-adi. The purpose of foot-work isto give correct and easy movements in a struggle.Whilst practising these you will observe that theyare designed to stress the importance of balance.You must be in a position to move, side-step, ad-vance, or back-step with perfect ease and main-taining perfect balance at all times. Unlike ju-jutsuwhere balance helps to defend, the poses incheena-adi, whilst giving you unshakeaole bal-ance, also serve as your best offensive positions.

Illustration (II) shows the normal posture. Thefour circles which are about 27 inches apart are forthe guidance of moyements. See illustration (12).This is the first forwar.d movement. Side-step tocircle No. (I) with your right foot and take yourleft foot forward to circle No. (4), left knee slightlybent. As the left foot is taken forward the rightfoot should be turned out so that it is at right-anglesto the left. You will notice that you are perfectlyat ease in this posture. This is a forwar.d left self-defensive posture.

'31II

32 SCIENTIFIC UNARMED COMBAT

Illustration (13) shows arms stiffened with'fistsclosed ana ready for action, is both an offensiveand a defensive position.

Illustration (14) shows the side-step to the left.Bring your left foot from circle (4) to circle (2)whilst turning the right foot at circle (I) to right-angles with the left. This posture is also both offen-sive and defensiye. Left hand to defend and theright to give a two-finger dig.

Illustration (IS) shows the side moyement tothe right. This is done by bringing the right footfrom circle (I) to (3). You will notice that the leftfoot though unmoved is still at right-angles to theright. Notice also that the bent left knee straight-ens as the right knee is bent in changing positionfrom illustration (14) to (IS). This is a forwargright self-defensive posture.

Illustration (16)shows defensive position fromwhich you can attack in two directions-front andto your right either with your right hand or rightleg.

A forward offensive and defensive posture isshown in illustration 17.

Illustration 18 shows a side-defensive postureand illustration 19a side or forward offensive pos-ture. Note how in illustration 19 the right hand isready to deliver a deadly cut.

Illustration 12 is the reverse of this posturefrom which a left-hand cut can be delivered. Simi-larly illustration 13 is the reverse of 16.

SCIENTIFIC UNARMED COMBAT 33

Mark four circles on a spacious floor and prac-tise these movements in all directions until you getused to these movements with perfect ease. Theimportant feature is to see that one foot is at right-angles to the other, and the knee of the leg that is-in front is always bent while the other leg isstraight. Movement of one foot and turning of theother at right-angles should be ~one simultane-ously.

This lesson may appear to be rather difficultand tedious at first sight but nevertheless it mustbe thoroughly mastered.

Refer to illustrations 94 to 97 and see how afavourite revolving knee-kick can be administeredfrom the position in illustration 14. Instead ofturning at 90 ~egrees here you revolve on the ballof your left foot at 180 degrees, and a most effect-ive knee-kick can be delivered with perfect ease.By revolving 180 degrees in the opposite directionfrom the same illustration (14) on the same foot,you can give an instep kick at the scrotum, ribs orat the abdomen.

c

CHAPTER TWO

I SCIENTIFIC UNARMED COMBAT 35Illustration (20) shows how an opponent (in

T -shirt) has secured a tight grip and is squeezingyour hand. You are taken somewhat unawares.The first thing that should strike your mind is theself-defensiye posture, by placing the right footforward, the knee slightly bent, and the feet atright-angles to each other (see illustration 20).

N 'Ow shift the position of your right footfrom the self-defensive posture by taking a steptowards his right as in illustration (2I) in a right-.angular movement, whilst gripping your oppo-nent's palm held down tightly with downwardpressure, at the same time taking a swift leftwardturn 'Of the body (see illustrations 21 and 22).Whilst taking the leftward turn bring your left legwith a swing ang place it behind or near your appa-nent's right foo.1as in illustration (22), still main-taining the grip of your opponent's hand whichgets twisted and bent at the wrist and elbow bythis time, as in illustration (22).

Your opponent's hand gets lockea and he willbe helpless in this position. Even a gentle twistof his hand would make him arch backwards as inillustration (23) and yell with unbearable pain,which runs from his wrist right down his arm, spineand legs to his toes.

If you do not wish your opponent to suffer froma backward fall causing serious injuries, keep yourleft thigh just behind your opponent's right thigh,and hold the back of his neck with your left open

DEFENCES AGAINSTA "HAND-SQUEEZE"FROM FRONT

AND "HOLDS'~ FROM BEHIND

Defence tHAND-SHAKE LOCK

Some people at times take a great :<ielightinexhibiting their amazing strength by a tight gripor a hard squeeze, whilst in a supposed friendlyhand-shake. If you happen to be the victim of sucha vicious hand-shake, you will na doubt be placedin an embarrassing position, particularly so, if itoccurs in the presence of your friends 'Orladies,when yau are not his physical equal ta resist orretaliate, especially when he makes you rise onyour toes wriggling with pain.

A bully may try this on you through his rowdymentality coupled with an air of physical superior-ity, in order ta tease or belittle you in the presence'Ofhis or your frien~s.

The art of self-defence is the only medium(a friena-in-need) through which you could not'Onlyfree yourself instantaneously from such a sit-uation, but also teach the opponent a good lessonas ta how his strength succumbs ta this art.

34

3ij SCIENTIFIC UNARMED COMBAT

palm, thus making him realize his folly, when everyinch of his body aches with excruciating pain.

The whole operation from the start of hand-shake until completion of the "lock" is one contin-uous movement performe!:i.in a flash.

Just visualize within yourself the haughty andarrogant attitude your opponent adopted when hesqueezed your hand (illustration 20), and the pre-dicament in which he is placed the very nextmoment (illustration 23), brought about by thesimple process of turning and twisting, with sys-tematic movement of feet performe4 with littleeffort.

W arningWhilst practising with a partner perform every

move slowly, step by step, being in readiness tostop short on hearing the word "stop" from thepartner, when he cannot bear the pain any longer.You will gain speed gradually with constant prac-tice.

Never practise these locks an~ defences withone who delights in exhibiting his strengthor prowess, to avoid disastrous consequences.Once you have grasped the "technique" of this artand its underlying principles, you will be ina position to know (whilst practising these locks,holds, grips, etc.) when and where to stop at the"hurting point" without causing any injury to yourpartner.

,~


"DEFENCES FOR "HOLDS FROM BEHIND'!.

Defence 2FLYING MARE

Illustration (24) speaks for itself the positionyou are placed in, when you are caught from be-hind, around your arms, unawares. Remember insuch a situation to keep a cool head and to actswiftly. Ben'ding and lowering your body slightly,step forward, raise with a jerk your hands upwardsand sideways, bent at the elbows at right-anglesto the forearms as in (25). This action will loosenyour arms from his hold. Now, with your hands,grip your opponent's right wrist and straightenhis arm over your right shoulder with a suddenpull, bringing him close against your back, as inillustration (26), and throw him forward, as in illus-tration (27). This throw is popularly known as the"flying mare". Now proceed with the ground lock,as in illustration (28), as a further punishment ifyou so desire.

GROUND-LoCK

When your opponent is thrown on the ground,still maintaining the grip at his right wrist, go downon your left leg to a squatting position, bringingyour right leg and crossing it over his arm, encirc-ling same, so that his forearm falls on your calf.


Now turn his palm upwards as in illustration (28).His arm can now be dislocated both at the shoulderand at the elbow joints. With your free right handyou can deliver a cut at the Adam's apple, jugularyein, or solar-plexus.

NOTE: Stop at the position in illustration (27)whilst practising.

SCIENTIFIC UNARMED COMBAT 39Defence 4

A SQuAT-aN-KNEE BREAKER

From position in illustration (24), move one ofyour legs sideways, bearing in mind that if yourright leg is moved, you can grip your opponent'sright ankle as in illustration (31) or vice versa.Raising both your hands up as in illustration (25),bend down in a flash with hands thrust downwards,and gripping your opponent's ankle quickly raisehis leg with a su~den jerk. Whilst bending downto grip his ankle give him a push with your but-tocks. Rest your buttocks on his knee while main-taining the upward pun at the ankle as in illustra-tion (32). Your opponent must then fall with abruised leg. Further injuries may be caused byyour falling on his abdomen or the back of his headcoming in violent contact against a hard object orhard ground.

/Defence 3

THE RIGHTELBOW-DIG

From position in illustration 24, place yourright leg forward as before and relinquishing thegrip as in illustration (25), twist your body towardsthe left, as in illustration (29). Keep your oppo-nent's arms still raised, and give a "back-hand"dig at his solar-plexus with your right elbow, as inillustration (30). All the moves should be done ina flash.

Reverse the process to give the left elbow dig.GROUND-LOCK

W arnillg

Whilst practising never give the dig to yourpartner, as this is one of the most fatal digs knownto this art of self-pefence.

Illustration 33

Imme~iately your opponent falls on his back,revolve to the right on the ball of your left foot,and as you do so bring your right leg across with aswing and place the sole of your right (shoe) footat the left thigp. of your opponent. At the sametime, trapping his ankle in your right armpit, go


down to the position seen in illustration (33).Bringyour left forearm under his calf and pull his en-trapped right foot behind with your back, whilstpushing hard with your foot at the inner thigh ina splitting manner. Unbearable pain will be causedto every inch of his body but felt badly at his hipjoints and spinal column.

Illustration (34) is a yariation where the rightfoot is placed at his left ankle and his right ankleis grasped with the left palm and pushed fartheraway to bring about the same effect.

GROUND-LOCKS

(applied after throws)

Illustration 35

Holding his right wrist go down to the squat-ting position on your left leg, whilst shooting yourright leg under his right arm and place same onhis chest. Place the other hand on his cheek andapply pressure both at his cheek and at the wrist,palm turned up, using the leg as fulcrum.

This would cause dislocation of the elbow.Illustration (36) shows a variation where you

go down on your right knee and use the thigh boneas fulcrum.

J-


Defence 5A "BACK-HEEL" SCROTUM KICK

In case your opponent referred to in previousdefences happens to be a tall and an extraordin-arily strong man, he might sometimes raise youabove ground with his hold around your arms. Youwill notice that none of the defences explainedearlier could then be applied. As your opponentlifts you aboye ground, allow him to do so at ease,or even just assist him in the act by jerking your-self up (as in a high jump), and when you are beinglifted up give a sharp back-heel kick at his scrotum.

~

W arning

Be extremelycareful not to kickat the scrotumwhilstpractising.

CHAPTER THREE

DEFENCES AGAINST GRIPSA:T WAIST

If an opponent gets a firm grip at your trouserband or any clothing you wear, from the front, asin illustration (37), with his right hand, there arevarious tricks or counter grips, nerve pinches, !1igs,etc., to make him release the grip instantaneously.There are also many locks by the application ofwhich his arm could b~ broken or dislocated at thewrist, elbow or shoulder.

Defence 1

ARMPIT COLLAR-BoNE GRIP

Step forward with your right leg, thrust yourright hand at his right shoulder and obtain a firmgrip with your thumb and first finger, digging yourthumb under the armpit and your first (index)finger into the hollow behind the collar-b.one, asin illustration (38).

This vice-like grip makes his right arm or eyenhis whole body paralysetl.

If your opponent holds you with his left handapply the grip with your left hand.

42

SCIENTIFIC UNARMED COMBAT ~3Warning

Be very careful, whilst practising, not to pullwith this grip on, as the collar-bone will get dis-located.

Defence 2HEAD-TO-FOOT TWIST

From position in illustration (37) thrust bothyour hands forward placing the hollow of yourright palm against your opponent's chin and grip-ping his hair on the back of his head with your lefthand, give a sudden twist to his left siae, pushingwith your right and pulling with your left, as inillustration (39). This will result in your opponentgetting twisted from head to foot and falling onthe ground.

You may then apply any of the ground-locks.If your opponent happens to be one with a

specially developed strong neck (as that of all-inwrestlers) place your right leg behind his right legand trip him whilst twisting his head sideways.

Defence 3AN ELBOW BREAK

From position in illustration (37)hold his wristwith your right hand and give a sharp tap with thelittle finger side of the clenched fist or the heel of


your left palm at his elbow. This will dislocatehis right elbow.

Defence IJ

DOUBLE NERVE-CENTRE PINCH AND COME-ALONG

HOLD

At this stage it will benefit you to understandthe :varying 'degrees of pain brought about by anormal pinch, a nerve pinch and a nerve-centrepinch. A knowledge of human anatomy is essentialto understand properly the positions of the nervesand nerve-centres.

Pinch your own body and note the differencesof pain when you pinch at the nerve-centres ex-plained in the defences that follow. The strongestman can be made motionless with these nerve-centre pinches.

On the nerves and nerve-centres which cannotbe pinched, you can administer cuts, blows, digsana kicks. The cuts and blows of course are notlimited to nerve-centres, but can be delivered onall other vital spots.

From illustration (37) you can apply thisdouble nerve-centre pinch as shown in illustration(40).

Pinch at your opponent's fleshy space betweenthe thumb ane:!the first finger with your rightthumb and first finger, thumb placed above and the

l


first finger underneath (both fingers held as theclaws of a vice). At the same time, pinch with yourleft thumb on the nerye-centre at the elbow jointplacing the other fingers underneath. You can lo-cate these two spots by pinching your own hand.Where the pain is most severe when pinched arethe identical spots. (See 13 and 14 in chart I, page85).

If you pinch at these exact spots correctly youropponent will release his grip immediately, as oneremoves his hana when pricked with a pin.

With the pressure of the pinch at the elbow stillmaintained, slide your right palm over his handand bend down his wrist at right-angles to the fore-arm, as in illustration (41). Move towards himbringing his forearm against your body. Releasingthe elbow-pinch, whilst maintaining the downwardpressure at the wrist to prevent his arm beingstraightened, slide your left fdrearm round hiselbow, so that the back of his elbow falls into thecrook of your left elbow, as in illustration (42).Now you will notice that your forearm is at right-angles to your upper arm and the two forearmscome into line. Open the fingers of your right handana place your left palm on his downwara. benthand {a process of transferring the pressure at thewrist from one hand to the other). After securinga firmgrip with your left hand you can take offyourright hand, as in illustration (42).This is one of thefinest come-along holgs. .

I

~

4~ SCIENTIFIC UN~RMED COMBAT

WarningWhilst practising never use more pressure than

is necessary as you might damage your opponent'swrist.

Defence 5

ELBOW-BREAK AND THROW

From position in illustration (40) with the twonerve pinches, bring his hand to the position inillustration (43). Raise your opponent's arm andstep forward with the left foot, wheeling to theright on the ball of your left foot, bring his straight-ened arm over your left shoulder as in illustration(44).You can nowbreak his arm at the elbow (usingshoulder as the fulcrum) by applying downwardthe pressure at the wrist, or draw him close againstyour body and throw him forward. Proceed with aground-lock if required (See Ill. 28, 35, 36 and 80).

Defence 6

FORELOCK-HoLD, ARM-LoCK

If your opponent grips your forelock as inillustration (45)with his right hand, place the little-finger-edge side of your left forearm against hisforearm about 2 inches from his wrist towards the

S'IENTIFIC UNARMED COMBAT 47

elboW(palm facing him), and bring your right armup from underneath enclosing his forearm, and in-terlock the fingers as shown in illustration «(6);and with a scissors-motion, force his hanp downand away from you. This causes his arm to be bentat the elbow and gets locked as in illustration (47)causing unbearable pain.

Warning

Continued downward pressure would dislocatethe shoulder joint. Be extremely careful whilstpractising.

ADDITIONAL DEFENCES

You can apply the "collar-bone armpit hold"described in illustration (38)or administer the two-finger dig at the solar plexus.

Defence 7

DEFENCES AGAINST A PUSH-ON-THE-CHEST

A "SPINE-BREAKER"

If an opponent attempts to push or pushes youas in illustration (48), strike his hand offwith yourclenched left fist in an up and outward motion.

~


Shoot both your arms straight through alongsidehis waist (between his arms and the body), and lockyour fingers in a chain-grip at his small-of-the.back, so that the left knuckles come in contact withhis spine. At the same time, butting at the centreof his chest with your head, draw him in with yourchain-gripped hands as in illustration (49), andgive a sharp pin-point pressure with your protru-ding left-centre knuckle. This will make youropponent suddenly flop and bend into an "S". Youcan now drop him to fall flat on his back by themere separation of your gripped hands and simul-taneously pushing with your head.

Warning

Be extremely careful whilst practising as theapplication of too much pressure woul4 result inthe breakage of his spine.

DEFENCES FOR ARM-HoLDS OR PULLS

Defence 8

THE "SNAKE-COIL GRIP" ANDARM-LoCK

If a bully or rowdy pulls your left arm with hisleft hand, and if you happen to be the weaker, youare very likely to be tumbled down and "lick thedust". Here again this art will aid you to turn thetables on the opponent to apply an effortless "arm-

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lock" on that y:eryarm of his, by a simple processof twisting and turning your arm, to the astonish-ment of his or your friends who may be witnessingthe incident.

When your opponent pulls you as in illustra-tion (50), step forward with your left foot withoutoffering any resistance, hold round his left elbowwith your right so that your thumb falls on thenerve-centre of the elbow and the four fingers grip-ping underneath (see No. 13 in chart I, page 85,and No. 3 in chart II). Pinch at the nerve-centrewith your right thumb. This will make him sud-denly loosen his hold. At the very moment, withoutrelaxing the nerve pinch, twist his arm outwardlytowards him by lowering your elbow and raisingyour forearm with clenched fist at the same time-just as a cobra an9 polonga (snake) coil in a deadlycombat-.-and turning your palm towards his wristwith outstretched fingers, seize his wrist firmly withyour left hand in the same manner as the cobra(after coiling in a deadly combat) would swiftlyturn its hoo'd towards the polonga's head to strike.A sudden twist at his captured wrist with your lefthand and a simultaneous aownward push at hiselbow with your right will bring your opponent toposition shown in illustration (51).

To lower your elbow and raise your forearm,you should lower your body bending at the kneesand waist slightly, taking your chest forward at the

D

~50 SCIENTIFIC UNARMED COMBAT

same time. When your forearm comes at right.angles to the upper arm (in the process of loweringyour elbow), turn your palm an~ apply the "snake-coil-grip" .

You will notice that when you lower your elbowand raise the forearm and turn your palm towardshis wrist, his arm gets automatically twisted andhis grip becomes infirm. Practise this a dozen timesor more at a stretch until you have mastered thetechnique, i.e. when you could apply this grip andhold in a flash without any effort ang withoutcilusing the least pain to your partner.

If your opponent pulls you with his right handthe same procedure to be adopted reading "right"as "left" ang "left" as "right" jnstead.


handed snake-coil grip", go on twisting his armuntil his back is turned towards you. Immediatelygrip his hair on the back of his head with your freehand and pull him back, whilst at the same timetwisting at his wrist. He is now forced to form asemi-circle and strained to look towards the sky;and would yell in pain when his shoulder joint andthe whole spinal column begin aching. You maymarch him forward to any place you want to takehim.

W arning

With this snake-coil grip and the hair-grip on,never give the wrist-twist and a sudden jerking pullsimultaneously. You may cause a breakage of hisspine and .damage his shoulder joint as well.

Defence 9

SINGLE-HANDEDARM TWIST OR SNAKE-COIL GRIP

When a rowdy or bully seizes your wrist to giveyou an admonition, in presence of his friends,treating you as a physically inferior person or as acowar~, you could apply the same "snake-coilgrip" with your capture~ arm in a jiffy, as ex-plained above. In this instance, when you are notbeing pulled, you need not use the other hand to "

hold his elbow. With the application of the "single-

DEFENCE AGAINST BLINDFOLDING FROM BEHIND

Defence 10

A BLINDFOLD SHOULDER THROW

If an opponent blindfolds you with his handsfrom behind as in illustration (52), there is a ten-dency for you to lean back or to be forced to thatposition. Remember that balance is almighty ir:

"I


self-defence, and the moment you lose your bal-ance you lose the battle. Lower your body there-fore immediately, bringing your left foot behindto regain your equilibrium. Seize his left wrist withboth your hands, pull him close against your backand ben~ing forward throw him over yourleft shoul~er. If you seize his left wrist you couldthrow him over your left shoulder [see illustration(53) ].

CHAPTERFOUR

DEFENCES AGAINST KICKS

There are no safe defences against kicks inwrestling or in boxing. Expert ju-jutsuans whoknow Kenjutsu and the Japanese Sumo wrestlers,however, have a few def~nces against kicks.

Legs are the strongest and heaviest limbs ofthe body and it therefore follows that a kick canbe more forceful and deadlier than a blow with thehand on any part of the bo:dy except, of course,~ital spots.

Whilst fist blows are aimed mostly above thewaist, kicks can be delivered on any part of thebody ranging from head to foot. Thugs and ruffiansare accustomed to kicking. China-footing is theonly system that teaches the scientific and system-atic art of defence and attack with the legs, andagainst kicks.

Defence 1

A LEG-HoLD TURN-OVERTHROW

Your opponent attempts to kick you with hisright leg as in illustration (54). You immediately

53

L


side-step to your left anp step forward with YOurright leg, bringing your right hand crossing YOurbody with a circular swinging motion (down andup), so that his outstretched legs come into rest inthe crook of your right elbow, as in illustration (55).Raise his entrapped leg with your right arm andhe will fall heavily on his back.

You can also catch his right wrist with yourleft hand, as in illustration (56) and throw himheavily on the ground to his right, by raising hisentrapped right leg and pulling his right wristsimultaneously.


apply press~re. This pressure would give him ex-cruciating pain and more pressure would dislocatehis knee-joint.

WarningNever apply sudpen pressure on the knee

whilst practising.

Defence 3

Defence 2

ANKLE-HoLD KNEE-BREAKER

As your opponent kicks, turn to your right, re-:volvingon the ball of your left foot, and take yourright leg behina. With an upward swinging motionof your left arm from below, divert the kick up-wards away from you with your palm in a control-ling movement, so that his leg rests in mid-air onyour left palm, and thus keep him balancing onone foot. The slightest movement, either by youor by your opponent in this position, will result inhis losing his equilibrium and falling back. Imme-diately his right foot is brought to rest in mid-air,trap his ankle under your right armpit as in illus-tration (57),and placing your left palm on his knee,

STANDINGLEG-SPLIT

After the leg has been trapped under your rightarmpit, and with downward pressure on his knee,you can switch on to a standing "Leg-Split" bypushing at the side of his left knee with your leftfoot and pulling his entrapped ankle back withyour shoulder as in illustration (58).

Warning

Whilst practising do not raise the right leghigh up an.d do not give too much pressure on theleft knee as the hip joint might get dislocated.

CHAPTER FIVE

DEFENCES AGAINST CLUB OR POLEATTACKS

When a man is infuriated he does not know

what he is doing. More often than not, in hisd,esire to revenge himself upon his opponent, hemay use anything that he can lay hands on for thepurpose of a brutal attack. It may be a chair, a pole,or an iron rod. He will not hesitate to use any ofthese if he can smash the head of his opponent orattack him otherwise.

Many believe that defence against an iron rodor a pole-attack is well-nigh an impossibility.F aced with a situation of this nature the paramountimportance of swift action must again be empha-sized.

You will learn some of the finest defence~known to this art under this head. All students ofthe art of self-defence are well advised to master

these lessons thoroughly, and also to practise themas often as possible to gain both accuracy andspeed.

56


Defence t

ARMS- TWIST ANDSTOMACH-BLOW

Illustration (59) shows your apparently help-less position when you are charged by an opponentwho is armed with a rod.

The first idea that should strike your mind isthe defensive posture. The right leg is placed for-ward in this instance. As he delivers you the blow,thrust both your open palms against both elbowsof your opponent, so that his elbows alight on thehollow of your palms, and hold the elbows so thatyour thumbs fall inside and the four fingers over-lapping as in illustration (60). Go down a little bybending your knees and elbows to give a springaction to the whole body.

Remember that at any stage your palms shouldnot be brought lower than the level of your head.Pass your right hand quickly over his left wristand grasp his right wrist from underneath, byturning the palm, so that the little finger edgecomes up (palm facing him). Straighten your rightarm, and both his arms get twisted as in illustration(6I), so that he cannot even drop the rod.

With your free left hand give a knock-out blowat the solar-plexus. It may be a two-finger dig or aleft-hand blow with closed fist.

58 SCI~NTIFIC UNARMED COMBAT

Defence 2

ARMS- TWIST ROD-END DIG

From position in illustration (61), without de-livering the knock-out blow, holding the middle ofthe rod with your left hand, snatch it off from theopponent's locked hands and give a dig with tlleend of the rod at the solar-plexus.

DEFENCE WITH A WALKING-STICK

Defence 3

A DIG AT TEMPLE

If you happen to be in possession of a walking-stick at the time you are attacked by an opponent,as in the previous defence, the following ~efenceswill prove to be y'ery useful :

As the blow is delivered, hold the walkipg-stickwith your hands, well aboy.eyour head, allowing aspace of about 18 inche~ between your hands, andreceive the blow on the middle of your walking-stick as in illustration (62), with sirnJilarspring-action as explained in illustration (60). Quicklypush his rod forward to his right, and when yourstick falls in line with his temple, give a dig withthe en9.of your stick at his temple as in illustration(63). The stick should be slid with your left hand


through the grip of your right hand, as the move-ment of a piston working through a piston-ring.

Defence4

A LEG-TRIP ANDPUSH

From position in illustration (63), get closer toyour opponent by placing your left leg forward,and maintaining pressure on his rod, give a swing-ing-back-kick at the back of his right knee withyour right leg, as shown in illustration (64) to triphim behind. You can, if you so desire, deliver ablow at your opponent's chest with the end of yourstick, as you give the kick to trip him.

ADDITIONAL DEFENCES

SCROTUM-BLOW OR KNEE-BREAK

As a variation you can, from position in illus-tration (63), give a kick at your opponent's scrotumor deliver the knee-kick as seen in illustration (97).

DEFENCES AGAINST CLUB ATTACKS

Defence 5

\

AN ARM-LoCK

.Illustration (65) showsthat you are on the pointof being attackea with a club by your opponent.

60 SCIENTIFICUNARMED COMBAT

An assailant may use, instead of a club, a batonhatchet or sword. You aajust yourself swiftly t<;the defensive posture by placing your left legforward in this instance. Illustration (66) explainshow your opponent's hand should be grasped withyour left hand as the blow is delivered. Place yourright leg forward, and at the same time bring yourright hand up from under and give a sharp blowwith the wrist bone (little-finger-edge downwards)at the offside of his elbow. This makes his rightarm bend inward at the elbow, however strong hemay be. You can now either grasp your left wristQrhis wrist with your right palm, and raise his bentelbow with your right forearm simultaneouslypressing down his wrist with your hand. The effectof the lock woul~ cause severe ~amage to youropponent's shoulder-blade loints.

WarningBe extremely careful whilst practising. Avoid

the sharp wrist blow and pressure when bending.I

Defence 6A HAND-TwIST ANDDIG-AT-RIB

As the blow is being delivered as in illustration(65), you siae-step to the left, taking the right legforward ana grasping his wrist in an outward cir-cular motion as it comes down, thus bringing his

SCIENTIFIC UNARMED COMBAT ~I

arm to the position shown in illustration (68).Twisthis arm outwardly with your right hand, and withyour left raise the club, which will twist your oppo-nent's hand further as in illustration (69), and theclub gets released.

Illustration (70) speaks for itself what youshould then do. This blow should be aimed at thefloating rib.

CHAPTER SIX

DEFENCES AGAINST KNIFE ORDAGGER ATTACKS

Illustration (7I) might appear to be rather terri-fying at first sight. With the knowledge you haveso far gaine.d, and with the self-confi.dence youhave by now acquired. it should not be so to you.Here again the paramount importance of calmnessand swift but firm action is emphasized. In contra-distinction to the lessons given by some otherteachers of this art, the defences described beloware not exclusively based on the power of yourarms. Legs play an all-important part.

Rhythmical, systematic, side-stepping, dodg-ing, stepping forward, back-stepping, tOgetherwith the coordinated movements of the hands arespecial features in these defences. Always keepyour eyes fixed on your opponent's, except to ce-ceive him by lightning changes in your looks, asoccasions demand. You can deceive and puzzleyour opponent by fictitious movements of yourhands and feet) and by grins as well.

When you gain experience you will be able toread your opponent's next moye from his eyes by

62

SCIENTIFIC UNARMED COMBAT J)3

intelligent anticipation. Always bear in mind thathe may change hanas, change pirections, or mayeven, whilst threatening you with the knife, resortto other forms of attack, like a blow with the freehand or a kick.

A law-abiding citizen resorts to attack with aknife only when he feels that his chances otherwiseare remote. It is no doubt cowardly to use a knifeeither as a means of attack or defence. When oneis being attacked mercilessly and brutally by sev-eral unscrupulous ruffians or by robbers, the use ofa knife or any other weapon that he can lay handson, as a last resort, purely for self-protection, can-not be classed as either ungentlemanly orcowarply.

Incidents of this type are not uncommon in allparts of the world.

Defence 1

STRAIGHT-ARM ELBOW-BREAK

In illustration (7I) your opponent armed with adagger (knife) attempts to plunge the ~eadlyweapon into the Clepthsof your heart. You, thoughfully on the alert, pretend to be very calm. Notecarefully illustration (7I). As your opponent stabs,you side-step to the left at ninety degrees, theidea being to avert the direction of the knife. Illus-tration (Z2) shows how the knife has missed its


object. In a split second you grip your opponent'swrist with your right hand, as shown in illustration(73). Bring your left leg forward and, placing yourleft palm on his right elbow, as in illustration (74),apply pressure.

W arningSudden pressure on the elbow of a straightened

arm as shown would cause dislocation of the elbow.Do not apply any pressure while practising.

Defence 2

BENT-ARM LOCK

Before your opponent's hand gathers momen-tum on the downward drive, you, with your legsin the defensive position, grip his wrist with yourleft hand, as shown in illustration (75). Bring yourright leg forward quickly to position shown in illus-tration (76) and apply the lock at lightning speed,as explained in illustration (67). The front andback views of this lock are clear in illustrations(67) and (76) respectively.

Defence 3

STANDING-LEG LOCK OR KNEE-BREAK

From illustration (75) you can apply the stand-ing-leg-lock, with pressure on the vital spot, just

"'Fe

SCIENTIFIC UNARMED COMBAT 95at the joint where the nose meets the upper lip, asin illustration (77). The correct way of applyingthis "nose-press" is to place the sharp edge of yourfirst finger or thumb at the joint and press in at anangle of 45 degrees. Try this "nose-press" on your-self first.

Defence 4

A SHOULDER-THROW

To throw him overhead from position in illus-tration (73), you can revolve to your right on theball of your right foot, and taking your opponent'sarm over your left shoulder throw him as in illus-tration (78). The other steps of this throw are ex-plained in illustrations (26) and (27).

Defence 5

A HIP-THROW

Illustration (79) explains another importantthrow known as the hip-throw. From position inillustration (75) as you bring your right leg for-ward, mioveyour right hand around his stomach,and placing your hip behind his hip, press himagainst your body with your palm placed on hisback. Stoop your body and lifting your opponentwith your hip, throw him whilst simultaneouslypulling his wrist, as in illustration (79), so that he

B

6~ SCIENTIFIC UNARMED COMBAT

falls heavily on his back in front of you. Proceedwith the ground-lock, as in illustration (80).

GROUND-LOCK

As you throw your opponent in front of youremember still to maintain the grip of his capturedwrist. Place your left foot on the jugular vein ofyour opponent's neck, and gripping his capturedwrist with both your hands, go down on your rightleg. You can then place your right foot againsthis ribs, and pressing with both your legs, pull the

.captured arm with both your hands. See illustra-tion (80).

Defence 6

CROTCH-HoLD ROLL-OVER-SHOULDERS THROW

From position in illustration (75) bring yourright leg forward and place same between youropponent's feet. Lowering your body slightly,whilst maintaining a firm grip on his captured wrist,as in illustration (8J), shoot your right hand be-tween his legs and under his crotch.

Bring down your opponent's captured wristover your nape ana left shoulder, q.ndholding itfirmly with a downward pull, lift him above groundwith your right shoulder aided by your right arm,as in illustration (82). You can now roll him over

SCIENTIFICUNARMED COMBAT ~7

your shoulders, as in illustration (83), so that hefalls headlong on the ground with all the fightknocked out of him.

Defence 7

ROLL-OVER-BACK THROW

From position in illustration (75) place yourright foot forward and whilst bending down, forcehis right arm over your back and left shoulder, asin illustration (84). Entwine his right leg from be-hind with your right arm, and lift him aboveground, by raising his right leg and pulling downhis right arm simultaneously, whilst straighteningyour legs, as in illustration (85).

You can now throw him like a dead weight.Give a jerking pull at his captured wrist just atthe moment you throw him. Maintain the hold onthe captured wrist for further attack if considerednecessary.

Defence 8

NAPE-HoLD SOMERSAULTTHROW

From position shown in illustration (75) bringyour right leg between his legs and lowering hisarm with your left-hand grip, bring your right handaround his neck entwining it, and get a firm hold


on the nape with your palm, as in illustration (86).Slide your right shoulder under his chest whilstmaintaining the firm hold on the nape. Pull himdown as you jerk him up with your hip, as in illus-tration (87), and dash him on the ground somer-saulting him right over your shoulder. See illustra-tion (88)and proceed with ground-lock.

SCIENTIFIC UNARMED COMBAT t)g

shown in illustration (89). Place your right palmon your opponent's cheek-bone and trip him up toyour left whilst pushing him on his cheek with yourright and pulling his captured right wrist with yourleft hand, so that he falls heavily on his back. Thepurpose of placing your foot behind his heel andhooking it is to prevent him from moving his legand regaining his balance. The important point isto perform the three steps simultaneously.GROUND-LOCK

Your opponent in this throw falls so that hislegs will be farther away from you, but you willr~tain your grip on his right wrist with your lefthand. Change the grip to your right hand on hisright wrist. Immediately grasp his left wrist withyour free left hand and place your right foot onhis right shoulder. Go down on your left leg to sit-ting position, and placing the left foot on his leftshoulder, pull with your hands whilst pushing withyour legs at his shoulders bringing the elbows overyour legs.

W arningMore force would seriously damage his shpul-

ders and elbow-joints.

Defence 10

WRIST-AND-SLEEVE HOLD KNEE-TRIP

The three illustrations (91,92 and 93) explaina similar. defence on the same principles as theprevious defence. The difference lies in placingthe right leg against the side of your opponent'sright knee. The hand is not placed on the cheek-bone but grips the right sleeve of your opponent'sshirt.

Defence 9

WRIST-AND-CHEEKHOLD LEG-TRIP

From the position in illustration (75) bring yourright foot just behinQ his right heel" hooking it as

GROUND-LoCK

As your opponent falls on the ground trampleon his right wrist with your left foot and grip hisright sleeve with your left fingers in the same man-ner. You will note that when you have correctlygripped the shirt sleeves you will be in a positionto apply pressure on his upper arms either with


your knuckles or with the second joints of yourfingers. You will also be able to control him in thatposition and pin him to the ground as in illustration(93).

Your opponent might endeavour to use his lefthand to free himself but will be unable to do so ashis hands are almost powerless.

Defence it

THROW-AT-EYES REVOLVING KNEE-KICK

The defence shown in illustrations (94) to (97)is a typical trick in "cheena-adi" self-defence. Asyour opponent thrusts with his dagger take yourright leg behind revolving to your right on the ballof your left foot, as in illustration (94). Stretchingyour right hand take anything that you can gethold of from the ground, as in illustration (95); beit pebbles, sand or even dust. Keep your eyes fixedon his eyes and still keeping the left hand on guard,as in illustration (95), throw the sand or pebblesor whatever it is in his eyes, as in illustration (96).He will naturally close his eyes; and that is thevery moment for you to act. Illustration (97)is self-explanatory. Revolve back forward on the ball ofyour left foot and deliver the kick at his knee. Akick of this nature may break his leg and put himout of action for a long time to come.

Even if you do not gather any sand or pebbles


or any object to throw in his eyes, that pretendedaction of throwing and sud~en opening of thefingers of your closed fist is sufficient to make himclose his eyes. This is a natural instinct of manand beast.

Defence 12DOUBLE-FOOT KNEE-BREAKER

The two illustrations (98) and (99) showanother simple but very effective defence.

As your opponent stabs go down on your handsas in illustration (98), hook the back of opponent'sright ankle with your right foot. Place your leftfoot on his knee, as shown in illustration (99) andapply pressure. This will make him fall on theground. A kick at the knee with the left foot willcause a serious knee-break.

NOTE:-Going down on your hands shouldbe well timed.

Defence 13A KNIFE-DROPPING STOMACH-CUT

Your opponent in illustration (100) makes useof his left hand either as aCtefensiveor an offensivemeasure when he attempts to stab you. Make fic-titious movements with your hands on the pretextof stopping his left with your right and grasping


his right with your left. Bringing your right legclose to his left foot, quickly revolve outward onthe ban of your right foot to the left, and deliver asharp cut with the little-finger-edge of your righthand at his solar-plexus, as in illustration (101). Acut on the solar-plexus win effectively wind himand keep him half bent, grasping his stomach withboth his hands, finding it difficult to breathe orstraighten his body, as in illustration (102). Nevergive the "cut" whilst practising with your partner.All the moves should be performed in a flash.COUNTER: In case you have accidentally givenfl "cut" to your partner whilst practising, imme-iately give the "counter-blow" with the heel ofyour palm on the centre of his back at the spot justopposite to the solar-plexus. He can then straight-en up his body and breathe freely. Then rub downgently at his solar-plexus. If the unfortunate manwho receives the "cut" happens to be your assail-ant, give the "counter-blow" only after adminis-tering him a solemn warning, or good advice orwhatever it may be.

Defence 14

A JUGULAR-PRESS AND ARM-TRAP

When your opponent stabs at you, side-step tothe left, lower your body and thrusting up your


right shoulder to come under his armpit, grip himround his neck with your right arm, placing yourright leg behind him, hip against hip, as in illus-tration (103). Apply pressure on the left jugularvein with the narrower side of your wrist bone andlift his right arm with your shoulder. Tighteningof the hold would make him giddy in a few seconds.He could be tripped and pushed behind if desired.

Defence 15

WRIST-PULL AND HIP-KICK

Illustrations (104) and (IOS) explain finecheena-adi feats so easily and quickly performed.This is more spectacular than a flying-mare, fromwhich the armed assailant (being kicked ortripped) goes on toppling for a few seconds andthen falling face downwards "bites the ,dust".

From position in illustration (73) pull youropponent, and just as he goes forward flyingpast you as in illustration (104), give a sharp (well-timed) side kick at his hip ot buttocks, as in illus-tration (IOS). Revolve back in a flash on the ballof your left foot and watch how your opponentgoes toppling down.

NOTE:- This is an art in which you have to makeuse of your opponent's weight, force, movement,


apparel, hair, or whatever it is, to your own advan-tage and to his disadvantage.

For instance, if your opponent rushes at you tostab, when you seize the wrist holding the knifeand pull your opponent almost in the same direc-tion, you are making use of his movements andforce in this defence to your advantage and to hisdisadvantage. Study carefully the illustrations(72), (73), (ro4) and (r05).

Defence 16

WRIST-PULL AND TRIP

This trick is also performed on the same prin-ciples. Here, instead of kicking at his hip, you triphim with your right foot at his right ankle just ashe goes flying.past you after pulling him, as seenin illustration (ro4).

If you inadvertently fail to bring this trick off,give a sharp kick at his hip or buttocks with yourright foot as in illustration (roS).NOTE:- The above is a good example of how youcan switch on to another form of attack in a flashif you do not succeed in one. The foot-attacks incheena-adi self-defence are entirely different fromfoot-fighting in La Savate.

!5CIENTIFIC UNARMED COMBAT 75

Defence 17A WRIST-PARRY KNEE'-K'ICK

Your opponent perhaps attempts to rip openyour stomach, as seen in illustration (ro6). Makefictitious movements with your hands on the pre-text of trying to stop his stabbing hand. As theknife descends slant to your right as in illustration(107) to avoid it. Now quickly revolve forward onthe ball of your left foot, whilst parrying and push-ing his knife-hand witli your right, and deliver akick at his knee (nearest to you), as seen in illustra-(roB).NOTE:-When you revolve on the ball of yourfoot, your whole body should move as a doormoves on its hinges.

Defence 18

A KNIFE-DROPPING NERVE-CUT

In illustration (rog), as the hand of your oppo-nent comes (fown, give a sharp cut at the nervewhich is about 2inches from the wrist. This cut willcause your opponent suddenly to stretch hisfingers, and the knife will automatically bedropped or thrown off. If this cut is properly de-livered it will paralyse his arm for a short while.

7b SCIENTIFIC UNARMED COMBAT

Defence 19

ARM-BREAK HIP-THROW

From positio'n in illustration (75), whilst l1}ain-taining your grip of his wrist and placing yourright leg behind him, hip behind hip, bring hisarm over so that his elbow comes over your nape,and straighten the arm. You can now either breakhis elbow or throw him to one side or do both, asin illustration (110).

Defence 20

HAND-TWIST ANDDIG

Illustration (III) shows another defence. Fromposition in illustration (75) twist your opponent'shan'd out lowering it, bring your right leg forwardand give a dig with the first two fingers at his solar-plexus. This dig is aeadlier than a fist-blow at thisspot.

DEFENCE AGAINST KNIFE ATTACKS WITH

A WALKING-STICK

Although the use of weapons or clubs is notadvocated in this art of unarmed combat, yet ifyou are in possession of a walking-stick it may be


used with advantage, as shown in the followingdefence.

Defence 21

WRI9T-PARRY ELBOW-BLOW

As your opponent stabs, hold your walking-stick above your head, as shown in illustration (112)(holding the stick a few inches from the two ends).

When his wrist comes in contact with yourstick, force his hand pown to your left, as shownin illustration (113). Maintaining this pressurewith the left hand, give a sharp elbow blow at histemple, as shown in illustration (114). The elbowblow may be given at his jaw bone too.

Defence 22

HAND-TWIST ANDSTICK-DIG

From position in illustration (I 13),maintainingthe downward pressure with the stick with yourright hand, seize his hand with your left hand, sothat the four fingers of your hand overlap the ballof his thumb, and your thumb placed at theback of his palm comes in line between the secondand third fingers. Now give a sudaen outward twistand aig at the solar-plexus with the end of thewalking-stick, as shown in illustration (115).


Defence 23

Two y. ONE: HANb- TWIST ANDELBOw-DIG

In illustration (1I6) your assailant comes withan accomplice to attack you. In such a situationyou should always bear in mind that there is one,or more, perhaps, behind you to be dealt with.Keep a cool head at all times even if you are facedwith an armed gang single-handed. Your handsand legs should then come into action at lightningspeed. When you have had constant practice and

,enough experience, you will marvel how yourhands and legs think and act automatically andindependently of your brain. A cool head, steelnerves an'd tricks, in conjunction with a goodknowledge of this art, can do wonders in the mostdifficult situation.

If you are confronted by several opponents,as a rule, give a quick vital-point knock-out blowto the leader first or to the one nearest to you, tosend him reeling to the ground. This will certainlyhave a "stunning" effect on his accomplices andmake it easy for you to floor the rest, one by one inquick succession, with your hands and legs.

In illustration (116) your assailant grasps yourleft hand at the wrist and elbow, with both hishands. His accomplice stands behind you and at-tempts to catch you round your neck from behind,or to hinder you from taking any offensive action


against his friend--your assailant. With a suddenoutward twisting turn of your left upper arm (usingelbow as a pivot), you could seize your assailant'sleft wrist which is automatically brought into yourleft hand as in illustration (I 17),and go on twistinghis arm as seen in the same illustration. At the sametime to deliver a knock-out "right elbow-blow" atthe other's face or jaw. If the latter happens to beyery tall, an elbow-dig can be given at his solar-plexus to silence him. Deal in a suitable way withyour assailant who is now at your mercy.NOTE:-Be extremely careful while practisingwith your partners not to deliver the .digor to givea sudden twist of the arm.

Defence 2(a

Two v. ONE: NECK-TwIST ANDKNEE-KICK

In the defences shown in illustrations (1I8) to

(12 I), a further complication arises when one of theopponents is armed with a knife.

In illustration (118) the assailant aims a knifeat you whilst his accomplice attempts to seize youaround your neck from behind. You can knock outboth in a jiffy with vital point blows without givingthem the least chance to cause any injury to you.

Seize the stabbing hand, as seen in illustration


(118),before itgathersmomentum,at his wristwithyour left hand, and bring it down in the same :direc-tion as his arm travels, giving it an inward twistat the same time. Immediately throw your rightarm round the accomplice's neck and placing yourfour fingers on the nearer side of his nose, forcehis head back with an outward twist to his headso that he may topple over your thigh and legplaced behind him for that purpose. See illustra-tion (119). Immediately give a kick at the assail-ant's knee to disable him. You may not necessarilystick to this order of attacking. Knock-out blowscan be given to the accomplice first and then tothe assailant or vice versa according to circum-stances. It does not matter in any way as both theopponents can be knocked out in a matter of twoor three seconds or almost simultaneously.

If the nose of the accomplice is out of reachyou can catch him by the hair and push his headaway from you as in illustration (121). The assail-ant with knife can of course be severely dealt withby delivering a damaging kick at his knee or aninstep kick at his scrotum.

Additional defences :-

Instead of seizing the accomplice's noseor hair, you can give the fatal right elbow-dig athis solar-plexus or a fist-blow at his scrotum withyour right hand.

CHAPTERSEVEN

PISTOL DEFENCES

In the illustration (122) your opponent holdsyou up for some sinister purpose at the point of arevolver. As usual he expects you to surrender byraising both your hands. When doing so remembernot to raise your hands above the ley.el of yourheaG. By all means show him that you have surren-dered and are prepared to obey any of his com-mands. Never lose courage. It should be yourscheme to capture though you pretend to be cap-tureg.

Do not give your opponent the faintest inklingthat you haye in mind to overpower him, lest heshould be still more careful not to give you theslightest chance. One wrong move would cost youyour life.

When your opponent is confident that you arenot the type who would try to offer resistance or beaggressive, he will, with his free hand, search yourpockets. Allow him to do so, and while he is at itis the time for you to act swiftly and effectively.

81Ii'


Defence 1

WRIST-GRIP AND THROAT-AxE

In a flash seize your opponent's right wrist withyour left hand and, bringing your left leg forwardat the same time, push his hand down so that thebarrel of the revolver points away from you.

Now bring your right leg forward an!:!give asharp cut at his Adam's apple, as in illustration(123). This cut is known as the "Throat-axe".

Warning :-Never administer the "Throat-axe".while practising.

Defence 2

BENT-ARM WRIST-BREAKER

In illustration (124) your opponent, presum-ably in haste and with the utmost confidence in hisrevolver, aims at your head almost point blank. Heutilizes his other hana to remove your belongingsfrom your pocket. He tries to take whatever he canand get away quickly.

Seize his right wrist in a flash with your righthand (slanting to your right at the same time) andgiving it an outward twist. Immediately grasp hisright hand with your left (the four fingers over-lapping his thumb and your thumb placed on theoutside of his palm, as eXplainep. in illustration


(115); give a further twist to his hand to bend it athis wrist. Now slide your right hand up bringingyour right thumb side-by-side with your leftthumb, and go on twisting with both your handsas in illustration (125). Further pressure or a sud-den twist will cause a dislocation of his wrist.

Defence 3

WRIST-HoLD, TRIP-AND-PUSH

Illustration (126) explains an additional de-fence. Seize his right wrist with your left hand fromposition shown in illustration (124), ana take yourright leg behind his right leg to prevent him frommoving. With the hollow of your palm placed un-der his chin give a push immediately. Changingthe grip at his wrist with your right palm as he falls,twist his hand with both your hands, as explainedin the previous defence. His grip of the revolverwill get loosened by your twist and the revolverwill drop to the ground.

Defence 4

DOUBLE-ARM- TWIST ARM-LoCK

Illustration (127) explains a further defence.From position in illustration (124), swiftly grip thepistol entrapping his finger in the trigger guardand give a sugden push upwards.


Bring your right forearm above his left fore-arm and pass same alongside his body under hisleft upper-arm. Now with a slight outwar~ twistof your arm and placing the wrist at the back ofhis upper arm, hook it with your fist. With an up-ward jerk on his forearm with your forearm, and alittle downward pressure with your hooked fist onhis upper arm, you could bend his arm at the elbowas in illustration (127).At tlie same time, with easeyou could bring his right arm bent over his neck,as in the same illustration. This will cause severeI;>ainto every inch of his body above his waist.


All photographs from Nos. 4 to 128 reproducedin this book are by TURRET STUDIOS, Ltd.,

Kollupitiya, COLOMBO, CEYLON.

Chart 1

8~ SCIENTIFIC UNARMED COMBAT

CHART I

Given in the order of their vulnerability


A cut, blow, dig or kick (as the case may be)correctly delivered on the identical spots willknock out any assailant instantly.

A

B

C

Nos. 1-2-3-7-10-1 I-I 11-12-121-13-14--15-151_-16-161.

Nerve pinches, nerve presses, cuts, blows ordigs when correctly appliea or administered onthese spots (as the case may be) will have a deadlyeffect on any opponent. Anyone can be made toremain motionless or be put out of action tem-

porarily. A kick with the tip or heel of the shoe on15-15\or on anyspot in the bracket 16-161,willbring about the same result.

W arningNever give a hard blow on points 10-12-121

and 7-11-111 as stated under A and B respec-tively. Just a mild pressure with the thumb or firstfinger on 10, or pressure with the second joints ofyour first and second fingers on 7-12-12\ or athrust with the index finger (held rigidly) at I I orIII (which is the depression at the end of the jaw-bone behind the ear-lobe), will be quite sufficientto obtain the desired effect.

Nos. 4--5---6-10-12-121.

Never attempt to attack your assailant or assail-ants on the spots mentioned above, unless you arecompelled, under very trying circumstances, to ex-ercise your RIGHT OF SELF -DEFENCE, asa last resort.

Remember that these are VI,TAL TOUCH-

ES (VARMA-ADI), the results of which wouldinvariably prove fatal if the cuts, blows or digsalight on the exact spots.NOTE:-Study carefully the COUNTER blowto reviv~ an assailant receiving a blow, cut or digon NO.4, as explained in Defence 13, page 72,chapter VI, under "Defences against knife ordagger attacks".

Nos. 7-8-81-<)-91__1 I-I 11_15-151-16--161.

Resort to these only when you are attacked bydangerous criminals, or to extricate yourself froma tight corner when being attacked by a number ofmen, or in exercising the RIGHT OF SELF-DEFENCE.

88 SCIENTIFICUNARMED COMBAT SCIENTIFIC UNARMED COMBAT 89CHART 2

Given in the orger of their vulnerability

D

7' 1

No.6.It is well advise'd to avoid causing any injury

to one's coccyx. A kick or a backwarp fall on hardground or object could cause severe injury to thatpart of the anatomy. Bear in mind that a damagedcoccyx cannot be cured unless removed by surgicaltreatment.No.5.

A cut with the little-finger-edge of the hand atthe base of the skull is much more deadly than afist blow at that spot, ana will send e~en the strong-est man reeling to the ground.Nos. 2-21.

These are the enas of the two funny bones atthe elbows. A hard knock at them with the second

joint of the second finger of the closed fist will-totally disable the opponent's arm for several min-utes.

Never try any of these as a means of attack onany person other than a hardened criminal.

E>

Nos. 1-8-81-3-7-71.

These are points where nerve pinches can beapplied with deadly effect. Any strong, boisterous

Chart 2


or dangerous criminal can be silence'd or broughtunder absolute control with a vice-like grip, withyour first finger and thumb held around I or 8.

You can pinch or press with your thumb on 3-7-71while the four fingers are placed around insupport.


as their indiscreet use would defeat the very noblepurpose they are intended to serve. Finally Ishould ask every student scrupulously to obsery.ethe ten precepts at all times. The more knowledgeand experience one acquires in this scientific art themore cool-hea'c:led and self-reliant he shouldbecome.

FNo.4.

This is the spot where a "counter" blow has tobe given immediately after a "cut" or "dig" on (4)in chart I, in order to revive the :victim. .

THE END

CONCLUSION

I have laid bare a good number of secrets andtheir detailed manipulation in this UNARMEDCOMBA T which other teacners have not expli-citly touche'd upon. A keen student of this noble artof self-defence, who has earnestly practised thesedefences, studied and mastered my techniqueshould know HOW, WHEN, WHERE and onWH 0 M to aaminister these nerve-pinches andvital point blows. The student should also have bynow acquirea complete SELF-RELIANCE anaSELF -CONTROL. E~en at this stage I feel itis not inappropriate to remind one to be extremelycautious in the exercise of these vital-point blows,

Scientific Unarmed Combat

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