Total Domination Pt. 2 Joseph Simonet

Inside Kung-Fu
“Total Domination part 2”
Interview by Michael Janich
July 2005
Pg 62-66, 108, 111

The attitude behind Jospeh Simonet’s KI Fighting Concepts system is simple: One move and you’re done.

In last month’s Inside Kung-Fu, Joseph Simonet explained the 30-year background behind his impressive martial arts resume and the genesis of his eclectic KI Fighting Concepts curriculum. In part 2 of his interview, this outspoken martial artist explains his personal fighting philosophy, the role of wooden dummy training in the quest for personal martial excellence, and his plans for the future.

INSIDE KUNG-FU: What are the key components of the KI Fighting Concepts philosophy and curriculum?
JOSEPH SIMONET: Every aspect of my personal study of the arts was a quest to fill in the gaps in both my own knowledge and skills and the curriculum that I offer to my students. After devoting myself to a variety of different arts, I stepped back and began to cherry pick the elements that were most valuable. Again, the goal was to synthesize the various elements at the foundational level, not to arbitrarily lump things together.
In its current form, the key elements of the system include proper structure and alignment, as derived from my interpretation of wing cun and silat; sensitivity and spontaneity, adapted from the Filipino arts, taijiquan, and wing chun; and an attitude of “wherever you’re standing, you’re stand in my spot,” which is a reflection of both my personality and some elements of Indonesian silat.
IKF: Wherever you’re standing, you’re standing in my spot. What does that mean?
JS: It means having the attitude and commitment to totally dominate your opponent. Most martial arts separate fighting into four ranges: kicking, punching, trapping, and grappling. We believe in only one range: trampling range. That’s the range between my initial impact with your body and your impact with the ground. At that point, I’m standing in your spot.
IKF: Certainly somebody of your size and strength could pull that off. But is that a sound foundation of an entire system?
JS: The system works because it is based on proper anatomical structure and a committed attitude. My partner and assistant instructor, Addy Hernandez, weighs half as much as I do and is about one-third as strong, but she can easily knock most men my size on their butts. If the system works for her, it will work for anyone.
IKF: What is Addy’s martial arts background?
JS: In addition to being the first person to earn a black belt in the KI Fighting Concepts curriculum, she has also earned black belts in kenpo, doce pares eskrima, and eskrido, and has instructor’s certification in taijiquan and yoga. She has also kickboxed competitively in the ring.
IKF: If KI Fighting Concepts is a superior system, why did she train in the traditional arts as well?
JS: To teach the full KI Fighting Concepts curriculum effectively-especially to people already trained in other styles-it was important for her to experience some of the traditional arts in their pure forms. That gives her the frame of reference to relate to the other arts, to understand the lineage of our core concepts, and, most importantly, to have a full appreciation of what we do and why. As my assistant and protégé, she needed the additional background. For anyone else just interested in developing fighting skills, the KI Fighting Concepts curriculum is all you need.
IKF: How would you describe your typical student?
JS: Most of our students, both at our school in Wenatchee, Wash., in our affiliate schools in New York, and in our distance learning programs, are experienced martial artists over 30 years old who are frustrated with the traditional arts and really want to learn how to fight. They’ve been around the block, are tired of the hype and want something real.
IKF: Why do they come to you?
JS: In most cases, they got a taste of my approach through my book or one of my videos and like what they saw. They were looking for both a system that made sense and a mentor with the courage to lead, so they came to me.
IKF: You’re a pretty tough and opinionated instructor. Why do they stay?
JS: It’s interesting that usually whatever brings a student to us is never what keeps him here. Our students always grow in ways they never anticipated. Many of them came looking for a physical challenge and never expected the mental and emotional growth they experienced. Others came to me to give them confidence and they ended up finding it themselves through the physical aspects of what we do. It’s just further proof that the martial arts is a personal journey, not a production line to create people who all move and fight the same way.
IKF: Wooden dummy training is usually associated with the practice of specific Chinese systems like wing chun or choy lay fut. Why is this traditional training method such an important part of your eclectic art?
JS: The wooden dummy allows me to practice proper form and structure with full power and resistance. Unlike a heavy bag, it also provides the anatomical tools to practice full-power blocks, traps and other techniques with great realism. Best of all, it’s the only training partner I’ve ever had that never whines and is never tired, sick, bored or injured.
IKF: The core of your wooden dummy training is a form you developed called the “Slam Set.” Why would an eclectic martial art need a form? Are you just replacing someone else’s tradition with your own?
JS: The Slam Set represents all the essential elements I’ve learned in 33 years of training condensed into a 60-second form. If you’ve been around the arts for a while, when you first see it, you’ll see what look like elements of kenpo, eskrima, silat, muay Thai, whing chun and other arts. But when you analyze the form and start extracting applications from it, you realize that what looked like kenpo was not only kenpo, it was also an element of eskrima, and expression of taijiquan, and a fundamental concept of silat. Ultimately, it becomes a window to understanding the common ground of all martial arts.
I developed the Slam Set as a vehicle to train all the core principles of the arts I’ve studied and to provide a set of essential fighting skills in one form. I did it on the wooden dummy so that all the movements would have to be done with contact and intensity and would not degenerate into a meaningless dance. In the process of developing the set, I subconsciously included a number of elements that I knew needed to be there, but at first even I wasn’t completely sure why. As I practiced and analyzed the form and its possible applications, I realized that it truly includes all the movements and skills essential to a real righting system. Even now, years later, I will see a technique or application from another art that I really like and I re-evaluate my curriculum to make sure I haven’t missed anything. In most cases, I end up discovering those movements somewhere in the Slam Set.
IKF: It still seems like practicing a rote form is inconsistent with the spontaneity and “formlessness” you claimed to achieve with KI Fighting Concepts. Aren’t they opposites?
JS: Forms, like oral traditions, are a convenient and effective way of passing on a large body of knowledge, because they allow you to remember things in a sequence. You just need to understand that it’s the knowledge that’s important, not the sequence.
Any movement or series of movements in the Slam Set can be practiced individually as a drill, in any combination, and in any order. With proper visualization and intensity, they can also represent thousands of different applications. For example, what looks like a wing chun bong sao/lop sau/backfist combination to you might be a figure-four armlock to me. The movements are the same, but the intent-and therefore the application-are very different.
By mastering the physical movements of the Slam Set and then creatively expressing them in as many different ways as possible, you don’t do techniques; you make techniques.
IKF: What is the Art and Science of Mook Jong (ASMJ)?
JS: Once I realized that the Slam Set is, in fact, a distillation of all the essential elements of KI Fighting Concepts, it made sense to use it as a primary tool to teach the system to others. In the ASMJ program, students begin by learning the Slam Set form and the most obvious, literal translations of the movements as applications. Once they are competent of the movements. That’s the science.
Then, based on their understanding of the applications, they start analyzing the form and discovering their own combative expressions of the movements. They start seeing applications in the transitional movements of the form-between the “techniques”-and tap into the full potential of their skills. That’s the art.
IKF: How does someone get involved in your curriculum?
JS: We recently established a worldwide federation to provide an infrastructure to share our art. We also host an annual training camp at our facility in Chelan, Wash., which features more than 40 wooden dummies, and teach seminars all over the country. The resources are already there. You just need an open mind and the guts to train hard.
IKF: What are your goals for KI Fighting Concepts and for you as a martial artist and instructor?
JS: I want to build a professional organization of like-minded people who are interested in continuing the development of the effective fighting arts. I want to find worthy instructors who are interested in sharing this information with motivated students. Most of all, I want to leave more than I take.
It’s not about me taking credit for what I’ve done; it’s about enabling others to continue to build upon it without having to do it all over. They shouldn’t have to repeat history. I know that there are plenty of people who have changed their approach to the arts after seeing what I do without ever giving me credit. That’s fine. As long as the evolution continues, I’ve done my part.
IKF: That sounds amazingly humble compared to some of the other things you’ve said in this interview.
JS: Humility is about balancing what you can do with what you say you can do. It’s not about selling yourself short to try to impress someone. When you get right down to it, most of today’s martial arts legends has-beens surrounded by wannabes. I’m here now and I’ve got a lot to offer. People who really want to learn appreciate that and are lining up to train with me. That’s it.
IKF: Nevertheless, I’m sure you know that you’ll probably ruffle a few feathers when this interview is printed. Any final words for your critics?
JS: Sure. I don’t accept challenges; but I do respond to attacks.

Michael Janich is a freelance writer, author and instructor in Longmont, Colorado. He also is a founder of the Martial Blade Concepts system of edged-weapon defense and director of product development for the Masters of Defense knife company. He can be reached at www.martialbladecomcepts.com

Supported Elbow Frame

Grappling
“Weapons of Mass Destruction”
By Joseph Simonet
January 2006
Pg 88-90, 127

If you are an MMA Fighter who wants a weapon that is versatile, simple and powerful, consider the Supported Elbow Frame.

I have trained in the martial arts since 1972. From the very beginning, my interest and/or motivation was to be able to defend myself and become a functional fighter. My journey of 30-plus years has been filled with highs, lows, injuries and triumphs.
Anyone who pursues the truth in the fighting arts ultimately will get his ego crushed and his hat handed to him on a regular basis. The karmic freight train is coming around the bend, and it’s coming for you.
I have experienced countless “reality bites” moments. One such moment occurred November 12, 1993 at McNichols Arena in Denver, Colorado. I found myself ringside at the Ultimate Fighting Championship. Being a veteran martial artist and holder of multiple black belts offered little solace as I stared into the face of reality.
“Oh, (bleep), I have to learn the ground”.
There I was, nearly 40, and immediately desperate to gain knowledge of the ground. My first opportunity was with the local high school wrestling team. I was allowed to train with the varsity heavyweights. It was a humble beginning as my pursuit of knowledge took yet another turn.
Since that fateful day, my training has become more refined and focused. My system of training has been organized into what I call “The Art and Science of Mook Jong” (ASMJ, wooden dummy training).
5 Ranges
It is widely accepted there are five ranges of unarmed combat: kicking, punching, trapping, clinch and grappling. “The Art and Science of Mook Jong” focuses on trapping and/or clinching range. The movements I utilize are essential ingredients distilled and extracted from preeminent martial arts systems such as kenpo karate, wing chun, silat, doce pares, tai chi, boxing and an eclectic ground game. I have discarded 90 percent of the techniques and training these arts had to offer. I felt most of the material just did not hold up in real fighting.
“The Art and Science of Mook Jong” is powered by a superior attitude. In the stand-up game, superior attitude defeats superior techniques. However, it is only when you add conditioning to the attitude and technique methodology that real success can be achieved.

The Supported Elbow Frame
The supported elbow frame is one of the most significant and essential weapons in the ASMJ arsenal. All MMA practitioners should train and utilize this weapon because of its versatility, simplicity, and power.
To create a supported elbow frame (1-4), start in a left lead, with your body leaning forward. Thrust your left elbow up until it is pointed into your opponent’s centerline. Cover your left ear with the palm of your hand. As this is happening, your right hand creates a frame by attaching to your left inside forearm near the elbow. This is the basic supported elbow frame.
It is imperative to established a lower art base. When executing the supported elbow, sink your base as you move forward to prepare for absorbing a powerful strike, such as a head-high roundhouse kick or a huge over hand punch.

Surviving the Big Punch
Distance is one key to using the supported elbow to survive the big punch. This forces my opponent to bridge the gap and commit to a big bomb. While standing just outside of punch range, I have allowed myself time to react to a big right hand (5-6).
As my opponent loads for the punch, I begin to sink my weight and move forward into his centerline. By creating the supported elbow frame, I have protected my head, neck and face, while solidifying my base. When my opponent makes contact, he is not prepared to hit such a solid target, which in turn disrupts his timing and base.
My left elbow also acts as an attack as I drive the point into his oncoming shoulder (7). Note my body position and/or base. I have successfully absorbed the big punch, bridged the gap, and disrupted his base, while attacking with an elbow point by entering into trapping range.

Wrap, Trap, Attack
After blocking his right punch, my left hand now circles counterclockwise to trap my opponent’s right arm above the elbow, while simultaneously striking his jaw with my right elbow (8). My left hand now attaches to my right biceps, which creates another support, adds striking power and hyperextends his right arm. I follow with a standing armbar on his right arm as I crash down on his collarbone or jaw (9).
I then hook my right hand around his neck as I jerk him into a right knew to the race, while still locking his right arm (10). I release my opponent’s left arm and proceed into a guillotine (11-13). I finish by sitting and falling back into guard position as I plant his face into the mat.
In developing fighting skills, simplicity and versatility of technique weighs heavy on value. It only makes sense to develop muscle memory and skill sets that work at all ranges.

Supported Elbow When Mounted
This next example begins from the mounted position. The attacker throws a big right punch. The defender on the bottom (14-15) prepares for impact with a supported left elbow frame. Once the punch is deflected and jammed (16), the defender wraps his opponent’s right arm with his left arm. Notice, this is exactly what was demonstrated in the stand-up version.
After wrapping the right arm, the defender strikes with his right hand and then reverses position. Note, the defender’s elbowlock and right hand position (17-18). If his opponent extends his hips to free up pressure on his face, he only adds more tension to his left elbow. The defender now applies more pressure, stretching the elbow joint and punishing the face (19). When tension reaches its peak, the defender releases his right hand for a downward elbow cut to the face (20).

Prevent the Rear Choke
When you find yourself mounted from the rear and your opponent is moving in for the kill (choke), the supported elbow frame may just save you from defeat. I can use the elbow frame to block my attacker’s attempts to put me in a choke. Essentially, I am tucking my chin, locking my arms, supporting my heard forward, and buying time.
Next, the attacker briefly aborts the choke attempt and decides to strike. I simply reverse my elbow position to my left side and block his strike. As a follow-up, I grab his left arm, extend it over my right shoulder and apply pressure with my head and body.

Developing Training Drills
Now that we have demonstrated the technical value of the supported elbow frame, let’s establish functional training drills as well. Begin by facing off in a fighting position wearing focus mitts or gloves. Have your partner throw big punches to your head as you counter with the supported elbow frame. This should be done on both sides. Add intensity and realism to the attacks as you get more comfortable with this drill. In other words, try to take his head off with huge powerful attacks. Make it real.
To follow up, feel free to add tie-ups with knew attacks. Be creative and intense.

Sticking and Contact Drills
Sensitivity drills are extremely important in “The Art and Science of Mook Jong.” Body contact is a key component in learning to listen to my opponent’s intent. For example, the next photo sequence will demonstrate a training drill guaranteed to develop muscle memory and body awareness.
Face off with a partner and begin the drill with your partner’s right punch and your left supported elbow frame counter. Now, wrap your partner’s right arm as you strike with your right hand while applying a lock with your left arm. Hook behind his head and applying a follow-up right knew to his midsection.
After your knee strike, plant your right foot back and let go of the lock. While this is happening, your partner throws a left punch. Repeat the same counter-sequence on the left side. This pattern should be repeated from side to side. To attain a higher and more intense level of training, include heavier contract that continues for the equivalent of two-minute rounds.
Linking drills is a challenging, essential aspect of sensitivity training. Repetition and body sticking will enhance every fighter’s skill level. After excusing the left knee, step forward with the same leg and begin the pummeling drill. Make sure to repeat on each side.

Skills Box
By now you should have gained a new insight and greater appreciation for the supported elbow frame. You will find its function to be an essential tool in your fighting skills box. When in doubt, train harder.

Choosing a Knife

Inside Kung-Fu
“Choosing a Knife”
By Addy Hernandez
June 2007

Carrying a weapon for self-defense is a serious commitment. If you are going to trust your life to a piece of gear, you owe it to yourself to choose that gear carefully. When it comes to choosing a knife for personal defense, there are some specific qualities you should consider.
Strength tops the list of qualities that a good self-defense knife should have – particularly if it is a folding knife. The design, engineering and quality of execution of a folding knife lock all affect a knife’s inherent strength and its ability to withstand the physical stresses of powerful cuts and thrusts. A lock failure could cause a folding knife to not only live up to its name at the wrong time, but it could also cost you a few fingers in the process.
Functionality is another necessary characteristic. The blade style, shape of the point, edge geometry and sharpness all have a direct bearing on how well the knife actually cuts and punctures when employed in a high-speed defensive situation. The best way to understand this quality is through actual test cutting on targets that replicate the body parts you would be cutting with your style of knife tactics. For example, if you focus on disabling cuts that target the connective tissues of the arms and legs, you can make test targets using meat roasts wrapped in plastic (to simulate skin) and covered with clothing. If your knife performs well and creates the depth of cut necessary to hit your preferred targets, you’ve validated the functionality of your knife. You’ll also have a realistic understanding of the true destructive power of your blade.
Another aspect of functionality has to do with the shape and construction of the knife’s handle. A good knife handle must provide you with a secure grip and allow you to manage the shock that is transferred back into your hand during full-power cuts and thrusts. Slippery, poorly shaped handles can compromise your control of the knife and, in extreme cases, could even result in self-inflicted cuts. Imagine thrusting full force at a soft-tissue target and hitting solid bone. If the shape and material of your knife handle won’t allow you to positively manage that type of shock, you need to keep shopping.
Convenient carry must also be a prerequisite of a defensive knife. To ensure that the knife is available when you need it, it should be carried in a comfortable, accessible location on your body at all times. That carry position must work with all the styles of clothing and allow you to carry the knife in a consistent location on your body. Many knife collectors brag about their “rotation” of knives, and often have a different carry knife (or knives) and carry style for every day of the week. Knife players who truly understand self-defense, however, know that the rapid deployment of a knife is a critical component in effective fighting. Always carrying your knife in the same position is one of the keys to rapid deployment, since reflexes are based on consistent, repetitive actions.
Quick, reliable deployment of a knife begins with carry location, but there is more to it than that. That’s why “deploy-ability” – a combination of design characteristics that allow the knife to be rapidly drawn and opened to a ready position – is also an essential quality of a personal defense knife. For folding knives, this usually means a combination of a clothing clip and some type of hole, stud or disk in the blade that allows it to be opened with one hand. For fixed blades, it’s typically a synergy of knife and sheath design that supports comfortable concealed carry and a fast reflexive draw.
The final basic quality of a good personal defense knife is that it is legal to carry in the areas in which you operate. Research of the knife laws in your area – both state and municipal – will help define the types of knives and methods of carry that are legally permissible. In many cases, the terminology of the laws may seem unclear, but if you focus on key elements like blade length restrictions on double-edged blades and other specific characteristics, you can usually get a pretty good idea of what is and isn’t legal.
By choosing a knife that clearly falls within these parameters, you will not only be able to defend your life and the lives of your loved ones, but you will be in a much better position to justify your actions in court. And unfortunately in today’s world, defending your actions just as real a challenge as defending your safety. Do your research, choose your knife wisely and you’ll be well prepared to do both.