STRIKING FIST PUNCH

1. Back Fist Strike

The blinding speed of riken uchi, the backfist strike, makes it the
ideal atemi. Like the front-foot punch, backfists are thrown with the lead
hand, and not from the hip. This makes backfist one of the few hand
techniques available when fighting from a full-side-facing position,
Backfists target the opponent’s nose, temples, or the side of the jaw. The
backfist's striking point is the riken, the back of the first two knuckles.
(Thus, the name.)

To throw a backfist, extend your arm, much like a front-foot

punch, but with a loose hand and a limp wrist. Pretend that your hand is
a jellyfish swimming through the air to the target. At the instant before
your hand contacts the target, clench your hand into a fist, and pull your
arm back to its starting position twice as fast as it went out. Your limp wrist will snap the hardest
part of your hand at the target like a bullwhip, or a wet towel.

2. Back Fist Strike/ Hammer fist Strike

 The Hammer fist is a technique in Karate, Krav Maga, and other martial arts.
 The bottom of a fist is used to strike a blow similar to how a hammer would hit a nail.
 The Hammer fist is also called Tetsui Uke in Karate.
 Unlike a punch there is less chance of damage to the hand of the striker, making it more
practical for self defense.

Steps

Step 1) Without being obvious, assume a casual fighting stance with one
leg in front of the other and your hands in a pondering position like the
picture above. This stance makes you look calm, but your hands are up
enough that you can attack or block without telegraphing your intent.
 2) DON’T pull your hand back like you’re winding up for a punch.
Instead, lead with your hammer fist and turn your body to add torque and
power to your movement.

Step 3) Whip your hand forward, similar to a knife hand,

but with a closed fist held vertically, striking the target.

DOUBLE HAMMER FIST

This is done a Hammer fist done with both hands simultaneously. This is done in Taekwondo
forms such as Hansoo.

Step 1) Start with a forward-facing stance.

Step 2) Pull both arms over your shoulder, holding the fist
vertically.

Step 3) Bring both fists down, at the same time, forward

and inward, striking a target the target in front of you.
INWARD HAMMER FIST
 Called Tettsui Oroshi Ganmen Uchi in Kyokushin.
 It’s generally delivered anywhere between the neck to the top of the head of the
opponent.

Step 1) Start with facing forward.

Step 2) Pull the rear arm up towards your ear on the corresponding side.
Step 3) In one twisting motion of your body, whip the arm forward as if
skimming a stone along the surface of a lake.
Step 4) Strike the target with the side of the fist.

Best places to strike with a Hammer fist

The Hammer fist is most effective when used against the soft, vulnerable areas of the target’s
body.
No matter if the attacker is small or large, a proper hammer fist will usually leave them unable to
continue the attack.

These areas include the following:

The nose
A hammer fist to the nose will very likely end a fight or confrontation. Not only is being
hit in the nose painful, but it causes the eyes to tear up making it hard to see.

The eyes
A Hammer fist to the eye can leave the opponent temporarily (or even permanently)
blinded, leaving the striker enough time to get away.

The groin
 A blow to the groin is so painful it’s normally crippling to a man for several minutes.
After a good kick in the junk or hit in the junk any male attacker will definitely be
“discouraged”.

Side of the neck

A lot of nerves, and a serious artery, runs up the neck. A well-placed Hammer fist will
leave the offender in a lot of pain or even knock them out.

The temple
The temple is an area on your head just behind the eyes. The skull is thinnest at this point.
A Hammer fist strike to that area can knockout an opponent.

The jaw
The jaw is another area vulnerable to strikes. The position of the jaw leaves it exposed to
strikes, and a Hammer fist there can leave the opponent unconscious.

The throat
A Hammer fist strike to the throat can disable or even kill an opponent if targeted to the
windpipe or trachea. It may not be the first choice of a target since it’s harder to hit than other
areas such as the groin or the eyes.

Ears
A Hammer fist to the ear, or both ears can leave the aggressor in pain. It may even cause
the eardrum to rupture. A double hammer fist can even do twice the damage as it can be
executed to both ears. This will add to the confusion of the attacker that its inflicted on.

The forehead
A carefully placed blow to the forehead with a Hammer fist can stun an opponent.
However, this is more effective when done by an experienced karateka.

Collarbone
 A Hammer fist to the collar bone can be very painful for the opponent. He may also find
it difficult to move his arm if the collarbone is broken from the strike.
3. Backhand Strike
Back hand strikes (and slaps) are often used when the striker doesn't want to severely injure
an opponent. Rather, they are used to "warn" an opponent. However, a powerful back hand strike
can do damage to an attacker. For example, if someone is trapped in a rear bear hug, a back-hand
strike can temporarily incapacitate an opponent if used against the attacker's groin. However, in
self-defense situations, a back-fist strike (closed fist) is more likely to cause damage than a back-
hand strike (open hand).
In Karate, the back-hand strike is known as Haishu Uchi

4. Knife Hand Strike

In martial arts, a knife hand strike is a strike using the part
of the hand opposite the thumb (from the little finger to the
wrist), familiar to many people as a karate chop (in Japanese,
shutō-uchi). This refers to strikes performed with the side of
the knuckle of the small finger. Suitable targets for the knife
hand strike include the mastoid muscles of the neck, the
jugular, the throat, the collar bones, ribs, sides of the head,
temple, jaw, the third vertebra (key stone of the spinal
column), the upper arm, the wrist (knife hand block), the
elbow (outside knife hand block), and the knee cap (leg
throw).
In many Japanese, Korean, and Chinese martial arts
systems, the knife hand is used to block as well as to strike.
5. Palm Heel Strike
The palm heel strike is a basic Karate technique typical for Trditional Okinawan Goju-
Ryu Karate. A soft weapon (palm heel) is used on a hard target (head). Image shows a Goju-Ryu
Karate student practicing the strike with a partner.
The strike is a basic Karate technique typical for Trditional Okinawan Goju-Ryu Karate
tha t emphasises hard/soft techniques. A soft weapon (palm heel) is used on a hard target (head).

 The picture shows a Karate class, where students

of Goju-Ryu Karate student practice the palm
heel strike to the head.

 Using palm heel strikes to the head instead of

knuckles of the fist significantly reduces the
chances of injury to the hand and wrist of the
striker.

6. Elbow Strike

An elbow strike (commonly referred to as simply an "elbow")

is a strike with the point of the elbow, the part of the forearm
nearest to the elbow, or the part of the upper arm nearest to the
elbow. Elbows can be thrown sideways similarly to a hook,
upwards similarly to an uppercut, downwards with the point of the
elbow, diagonally or in direct movement and in several other ways,
like during a jump.
 BLOCKING TECHNIQUES

1. Rising Block
An Age-Uke block or rising block is used to block or deflect attacks from high angles (i.e. a
club swinging downward towards a martial artist’s head). Karate blocks are used in self-defense,
Karate katas, Karate kihon, etc.
01: Mark the target.
02: Make a cross. The hand closest to the face is still flat (not in a fist). Palm towards face.
03: The hand the fist has-that hand twists at the end. This serves to redirect the energy of
whatever is coming at you.
04: The knees slightly bend in the middle of the move as force is exerted some time at the top.
05: You get into a downblock.
06: There is a turning of the hip.
07: Get into Zenkutsu dachi (front stance) and do a Gedan barai

2. Forearm Block

 Outer Forearm Block (Bakat Palmok Makgi):

When performing this block your front arm snaps forward
into a horizontal frame. It can either be performed high, middle,
or low. Walking stance is a common stance that this block is
performed in.

 Outside Forearm Block (Bakat Palmok Makgi):

With this block you use the outside part of your forearm to block high, medium, and low attacks.
Generally, in TaeKwondo, you start in ready stance and move to walking stance to do this block.
As you move to walk stance, you snap your arm forward blocking with the outer forearm.
 Inner Forearm Block (An Makgi):
You perform this block by stepping forward and making a chopping motion with your arm. They
arm is vertical with your palm facing inward and the inside of your arm taking the blow of the
attack.

3. Knife Hand Block

With a knife hand block, martial arts students use the
outside of an open hand in order to block an opponent’s attack
(versus a closed fist used in many other blocks). This technique
allows them to use their open hand to block and then grasp an
opponent or counter attack with a knife hand strike. The
disadvantage of knife hand techniques is the greater likelihood
of damage to a martial artist’s fingers on the open knife hand
(versus a closed fist with fingers curled & protected).
 Start by crossing your forearms.
 Your blocking hand is by you opposed ear and your other hand is in front of you.
 Move your blocking hand to the front to meet the attack.
 Keep your fingers together aligned with your elbow.
 Your block should be complete when it reaches the limit of your body.
 The tip of your fingers should be at the shoulder level in a 90% angle
 Do the same on the other side.

4. Downward Block

Downward Block (naeryo makgi) is a block the purpose of

which is to drop the opponent's hand, foot or weapon attacking the
solar plexus and point below. It is executed principally from rear
foot and L stances, though occasionally a walking or vertical
stance is used. The blocking tool should reach its point of focus in
a circular motion, keeping the elbow bent about 45 degrees at the
moment of the block.
5. Punching Block
Blocking High Punches (Age Uke)

a. Assume the proper defensive stance. Spread your feet

slightly wider than shoulder-width apart. Lower your center
of gravity between your legs with the knees bent and the
body stable and unmoving. Your weight should be
positioned mainly on the balls of your feet. In age uke, the
body can be facing the opponent head-on or may be angled
slightly to present less of a target.
 Create a solid base, but stay light on your feet so that
you can move at a moment’s notice.

b. Have the arms poised and ready. To begin the blocking

movement, your arms should be in a “chambered” position
(fists clenched with fingers facing upward at either hip) or
raised defensively in front of the body. This is to have them
as close as possible to the anticipated strike in order to
effectively protect the head and face. Your fists can be held
open or closed, but do not clench them until the moment of
impact.
 Clenching your fist creates unnecessary tension in the
arms and shoulders, which can exhaust you and
reduce your reactive speed.

c. Raise the blocking arm to meet the strike. With

the elbow bent at roughly 45 degrees, lift your
blocking arm up and outwards in a tight arc until
your forearm is held laterally over your forehead. As
you begin the block, your forearm will catch your
opponent’s strike and redirect their force safely over
the top of your head or off to the side. This high
blocking technique is known as age uke.
 Age uke will stop high punches to the head, as well
as downward smashing strikes with the fist or a
bludgeoning weapon.
 Whenever possible, meet your opponent’s striking arm with both large bones of the
forearm rather than the edge. This is known as a “double bone block,” and is much more
effective at shutting down attacks as well as preventing injury.
 d. Initiate a counterattack. Now that your opponent’s
strike has been deflected, their balance will be
compromised and they will be open to a counter strike.
Take advantage of the opportunity and strike back with a
straight punch to the face or solar plexus. Both the block
and the counterattack should be performed with quick,
powerful motions, “snapping” the technique upon impact.
 Power in the counter punch should come from
quick, twisting motion of the hips and shoulders, shooting
the arm straight out like a piston. Make contact with the
largest knuckles of the pointer and middle fingers to keep from hurting your hand.

 Your best target for counter attacking is based on your positioning in relation to your
attacker. The head and body both make good targets when left exposed. You can also trap the
attacker’s punching arm to apply a grappling technique. This will allow you to subdue them
without having to hit them in return.

Blocking Punches to the Body (Soto Uke/Uchi Uke)

a. Adopt a stable defensive posture. Sink your weight
between your knees to keep from being knocked off your
center of balance. For blocking strikes directed at the body,
you may take either naihanchi-dachi (with the legs wide
and the body facing your opponent) or zenkutsu-dachi
stance (with the legs staggered and your weight positioned
over the front foot). Have your hands chambered or raised
to protect the midsection.
 It is critical to take a wider stance when defending
body attacks to prevent being forced off balance by a strike
to the center of your mass.
 The lower you sink into your defensive stance, the harder you will be to move. You’ll also
have a clearer shot at your opponent’s lower extremities such as the ribcage, solar plexus and
groin.
b. Turn your body away from the opponent slightly.
Rather than accept the strike head-on, rotate your shoulders
and hips so that one shoulder is pointing toward your
opponent. Angling the body slightly creates a smaller target
for the attacker to aim for, making you harder to hit. From this position, you can decide whether
to employ an inward block (uchi uke) with the lead arm or an outward block (soto uke) with the
rear arm.
 By turning your upper body slightly, you “close off” your body, keeping your torso more
guarded, and present your shoulder to your attacker rather than your chin.
 From this position, punches delivered with the rear chambered hand will have the most
power.

c. Bring the blocking arm up and inward from the hip

(Soto Uke). With your fist clenched and your arm held firm,
swing your blocking arm up and inward to deflect the
punch. When delivering an outward block, your fingers
should be facing you, and you will make contact with the
inside of your forearm or elbow.
 Soto uke is defined as an “outward” block because
the blocking arm begins its from outside the body’s center
line and moves inward. Use soto uke to defend against jabs
and straight punches.
 Outward blocks divert the attacker's arm to the inside of your guard. This leaves you in a
position to use a counter punch, knee strike, arm lock or throw. Outward blocks are quite
similar to a boxer's parry.

d. Turn the blocking arm up and outward from the

hip (Uchi Uke). As an alternative to soto uke, you
might be in a better position to employ uchi uke, or an
inward block. From a chambered or defensive guard,
raise and rotate your blocking arm outward from your
opposite hip, catching the punch with the outside of
your forearm.[8]
 Uchi uke is known as an “inward” block because
the trajectory of the blocking arm moves from the inside
out. Uchi uke should be done to protect the body from looping “haymaker” blows, straight
punches and hooks.
 Inward blocks open up the center of your attacker’s body, allowing you to follow up with an
unobstructed strike
e. Counter the strike. Your attacker should now be in a vulnerable position with their arm fully
extended and their face and body exposed. Continue diverting the punch with your forearm and
return a strike of your own to the most sensitive target on your opponent’s body. The block and
counter strike should be performed in quick succession as one fluid movement.[9]
 Decide whether to strike to the ribs, midsection or face depending on the position of your
opponent’s punching arm and the placement of your own body.

Blocking Low Punches (Gedan Barai)

a. Get into a staggered stance. Place the foot

corresponding to your non-dominant hand in front of the
other. For example, if you are right-handed, put your left
foot forward. Let your feet find a natural and comfortable
position; the best way to do this is to take a normal step,
then pause and stabilize your weight. For blocking low
strikes, it is generally easier to defend from a walking
(shizentai-dachi) or cat stance (nekoashi-dachi), as this
allows you to defend the lower body without the legs
getting in the way of the block.
 Gedan barai can be employed from many different defensive stances, but stances with the
legs staggered are the most natural as they put the body in a less clumsy position to protect
the hips, groin and legs.
 In nekoashi-dachi (cat stance), the weight is poised mostly over the back foot, with the heel
of the front foot raised to enable a quick transitional movement or kick. This positioning
closely resembles a boxer’s fighting stance.

b. Raise the blocking arm to your opposite shoulder.

Bring your blocking arm across your body until your fist is
positioned beside your opposite ear. As you initiate the
block, you will quickly reverse this motion, creating enough
momentum to slow or stop the oncoming strike.
  In a downward block, the blocking arm should pass from the opposite shoulder down to
the lead hip. Keep the fist close to the body and use the leverage of the hips and shoulders
to stabilize the blocking arm.

c. Bring the blocking arm downward to neutralize the

attack. From your opposite shoulder, bring your blocking
arm down and across your body forcefully to intercept the
strike. Your fist should stop a few inches above your lead
leg, forearm parallel with your thigh. Tense your arm and
shoulder at the moment of impact to ensure that the strike
doesn’t break through your defense.
The purpose of the downward block is not so much
to stop an attack outright, but to minimize its impact
and do damage to the opponent’s attacking limb.
 Gedan barai is useful for breaking a grab and defending against uppercuts and hooks to
the body.
d. Strike back. Once the attack has been defended, launch
a strike of your own to fend off or incapacitate your
opponent. One benefit of a staggered stance is that it allows
for greater diversity in your choice of counter attack. You
can respond with a straight punch thrown from the hip, but
will also be in a position to throw a kick or knee strike with
the rear leg. Strike at an undefended point on your
opponent’s body, and be prepared to defend against any
other follow-up attacks.
 Though they are somewhat less stable than deeper
defensive postures, cat stance and walking stance
arguably offer a greater variety of offensive options.
6. Kicking Block
According to the Kukkiwon World Taekwondo Headquarters, the Taekwondo kicking block
is a “technique of blocking the assailant’s attack by striking it with the foot or leg. This blocking
skill is to directly confront the opponent’s advance by striking it with the leg or foot, causing
serious injury to the attacker. This skill makes defense and offense possible at the same time.”
7. Hammerlock
The hammerlock or chicken-wing is a standing shoulder lock and come-along hold,
frequently used by policemen and nightclub bouncers. Hammerlocks are the to-go way to
restrain and relocate an opponent; wherever you move, they will follow. Hammerlocked
opponents can be used as human shields, and shoved into another opponent’s path as an atemi.
Since the hammerlock is a completely nonviolent technique, it is ethical to use on people who
are intoxicated, hysterical, and/or threatening self-harm.

To perform a hammerlock:
a) Grab the opponent’s same-side wrist.

b) Reach over the opponent’s arm, and hook their elbow with your opposite-side hand.
 Ideally, place your middle finger in the crook of their elbow.

c) Simultaneously pull your opposite-side hand down to towards your hip, and press your same-
side hand in towards the opponent’s neck. This should turn the opponent around, pinning
their hand behind their back, with their elbow pointing out to the side (thus, a “chicken-
wing”).
 If the opponent’s elbow will not bend, apply nikkyō instead.

d) Push the opponent’s elbow towards their spine, and slide their wrist up towards their neck to
increase shoulder joint pressure.
 The goal is not to cause pain; the goal is to force the opponent on to their tiptoes, which
makes them easy to off-balance. Mechanical-compliance holds are always more effective
than pain-compliance holds.

e) Take your hand off the opponent’s elbow, and use it to establish head control by:
 Grabbing the back of the opponent’s jacket collar.
 Reaching across the opponent’s neck to grab their opposite-side lapel.
 Reaching across the opponent’s neck to hook the side of their face with the back of your
hand, like an irimi hold.
While this step is not required, it is strongly recommended since most hammerlock escape waza
assume that this step was omitted. These extra grips keep the opponent from side-stepping or
ducking to extend their arm. Also, your forearm will jam or check elbow strikes from the
opponent's free arm.

f) Take a small step backwards, to slightly pull the opponent’s shoulders back past the plane of
their hips. This breaks the opponent’s balance, making them easier to move and steer. This
also precludes the opponent from performing foot hooks, sweeps, trips, or desperation
moves.

8. Grabbing

9. Headlock
 a) First, you will need to get in a position where he does not control your arms.
b) Preferably with the arm going around his head (strong arm) in a dominant collar tie
position and the other arm holding his/her triceps.
c) To initiate the headlock step across his body with the leg that on the same side as your
“strong arm” and throw your hips into your opponent.
d) Take the arm that was in the collar tie and throw it around your opponent’s head. The
back of his/her neck should be on your bicep.
e) Keep a tight grip on his triceps with the other hand and try to pull it across your body.
f) If you executed the footwork properly your opponent should be “loaded up” behind your
hips.
g) Rotate your shoulders aggressively towards your opponent’s head and he/she should be
thrown over your hips.
h) Make sure once you are on the ground to keep your feet away from your opponents or
they could reverse it on you.

10. Handgrips