A history of experience
It was the early nineties; I was a young martial arts student who grew up with the idea that there really was a “magic touch of death”. It was on the pages of martial arts magazines, there were books written about it, it was fashion, and Jean-Claude Van Damme even made a movie about it. I remember seeing the movie “Blood sport” starring Jean-Claude VanDamme. He played the real-life character of Frank Dux in a not-so-true-to-life story fabricated by Mr. Dux to become famous. It was the story of a Westerner who trained in the mystical arts of “Death Touch” or “Dim Mak” and became the first champion of an ancient tournament where deathmatches were sanctioned. It was and is to this day quite entertaining. As a young martial artist I knew it then; that’s what I wanted to become.
I had been studying martial arts and fighting for years when I was introduced to the late Master Stan Hart. My teacher and dear friend, the late Master Royal Seymour, wanted me to attend a seminar with him, where secret and forbidden strokes and points would be taught through the application of traditional forms of Karate or Kata. When we arrived they told me that I couldn’t be in the room because I was too young and not a black belt. Master Seymour was on an intimate level with Master Hart and convinced him to at least allow me to observe. The sessions lasted for days and were completely closed to the public. I felt honored and privileged to just be able to watch. Master Hart was possibly the world’s greatest expert in the arts of Hakuda and Hakushu; and a highly decorated master of Ryu-Kyu Kempo. He studied with famous author and pressure point guru George Dillman. Both Dillman and Master Hart were direct students of Taeika Oyata, whose family art was today’s Shurite / Ryu-Kyu kempo. I watched and paid close attention to how Master Hart taught and demonstrated knockouts with just a tap or tapping on certain areas of the anatomy. I learned attentively the grips and claws that Master Hart would apply to put his protesting students in excruciating pain. Then I knew that this is what I wanted to learn and be able to apply to anyone. If only he would accept me as a student.
Almost a year went by and they still didn’t allow me to do anything but watch this training. Whenever Master Seymour and I returned from these classes; I would immediately ask him to apply the techniques to me. Many times they did not work for me. However, there was an advantage to looking; I was learning. Class after class I would watch and then after class I would become a punch man and yes, I would also practice with Master Seymour. Master Seymour took it upon himself to teach me the training. Finally, Master Seymour approached Master Hart and explained that I was learning and in fact he was teaching me. He was able to convince Master Hart to allow me to participate in the classes. I became the mannequin of the class. The only thing Master Hart wouldn’t do is knock me out. I was very young. I was not allowed to perform the techniques yet. I was what is known as Uke. That’s basically the one who takes a beating. For the next two years, I learned the techniques of Master Seymour and Master Hart by taking a beating.
After two years of being beaten, I was told that I could finally fully participate; however, he refused to classify or certify me in art. As time went by, Master Seymour convinced him of my diligence in training; he finally accepted me as a full-fledged student and years after the first training session I was classified. Over the years, I have learned about weak spots, disability points, knockout points, recovery points, herbs, and more. I saw the points applied over and over again. I have often performed these techniques, and many have been performed. I also witnessed the failure of many of these techniques. I was seeing a pattern. certain techniques worked for some and not for others. I also noticed that we never did live training. We always train these techniques under predetermined and choreographed attacks. He also found many of the techniques difficult, if not impossible, to apply in live grappling or fighting situations.
Years passed and I joined the Army. I began to learn military fighters that did not focus on small pressure points and mystical targets. I noticed the effectiveness of learning these techniques and how easy they were to learn. I got involved in the No Holds Barred fights; the real “Bloodsport” and I couldn’t execute any of these techniques. In fact, there were no champions who were highly trained at these mystical pressure points. All the pressure point experts were losing. As the years went by and I researched more about why these methods weren’t working, I began to find my answers.
Why pressure points just don’t work in a fight
1. In a fight, the heart rate can exceed 180 beats per minute.
When the heart rate reaches or exceeds 180 BPM, we lose all fine motor skills and functions. Studies have been done showing that expert pianists cannot play a tune after a simple exercise on a treadmill in which their heart rate reaches or exceeds 180 BPM. This is by design; When the heart rate reaches certain levels, the blood flow only goes to the areas necessary for the fight or flight response. This is how the body is capable of extreme physical feats. Blood only goes to the large muscles needed for running and for battle. In most there is only gross motor function. It becomes very difficult for the body to hit tiny points. even the brain goes into survival mode.
2. In a fight there is adrenaline
In extreme situations, our body transforms into “fight or flight” mode. Adrenaline spikes and many of our nerve receptors are not sensitive. The dopamine and cortisone drugs that are naturally produced in the body are released to help protect our body from pain to overcome the survival situation. Adrenaline acts as a kind of jump starter in many situations. There have been many recorded incidents of people shot multiple times in combat and continuing to fight through the situation. Adrenaline numbs the body and triggers many other hormonal changes that can make the ability to execute and feel these mystical pressure point hits unlikely, if not impossible.
3. Body types are different
I can tell you from my own experience that these bumps are highly dependent on the structure and type of the bodywork. The thinner and more fragile the physics, the easier it is to access the nerves and pressure points. Sometimes if someone is muscular or obese, the techniques may need to be performed differently or may not work at all. Whether someone is taller or shorter decides the ability to access the points. Some people have a thicker nerve sheath than others. The bottom line is that you may risk trying one of the controversial techniques, but have a backup plan.
What goals work?
The evil sensei from the movie Karate Kid says: “If a man can’t see, he can’t fight, if a man can’t breathe, he can’t fight, and if a man can’t bear it, he can’t fight.” This evil fictional character was onto something. I recently had a debate with the father of one of my karate students. She was interested in why I took a more progressive approach to martial arts instead of the traditional one that she once trained in. I was a little pomp and I could not resist making fun and belittling those who believe and practice the imaginary. “Touches of death” and pulling “Chi balls”. He asked me why I had this attitude towards the mystical. I replied that it was, “because these things cannot be scientifically proven.” Then he incorporated religious faith into the equation by stating that God was not scientific either. She was right, because many believe in an entity that cannot be turned on. I assured him that God and faith have nothing to do with our conversation. I began to explain to him that I only taught him things that could be useful and showed that they worked. We talk about vital goals. She had no idea of my experience in this field. I simply explained that I have spent many years training in the theories of mystical impact, as well as the science of anatomical and biomechanical impact.
I explained that there are some things that cannot be denied. “If a man can’t see, he can’t fight, if a man can’t breathe, he can’t fight, and if a man can’t bear it, he can’t fight.” Now I’ll cover some real life goals that are guaranteed to work in any situation:
1. The eyeballs and the basin ts
2. Throat
3. Ears
4. Destroy the joints by making them move in the opposite direction as intended.
5. Arteries
6. Any other soft tissue area. That is, eyes, ears, nose, throat, neck, groin, and base of the skull.
These lenses were designed to create bodily functions. By destroying these targets, the body cannot function.
Taking the traditional and the mystical in perspective
In the end, I wish to leave the reader a bit of enlightenment. Not everything is lost. These ancient techniques for striking and manipulating pressure points are the product of a more primitive time when mysticism was a great influence on life. I have personally witnessed and been taught many of these techniques and seen them work in a controlled environment. There is something about it and I definitely believe that these arts should be preserved and passed on as an art. I firmly believe that the principles behind this training have more healing value than a martial one. When it comes to a life and death scenario, I don’t want to roll the dice and rely on faith. I want to go with what I know will work. Master Stan Hart published an article on fighting arts.com. the title was “Too Much Fuss and Little Nuts About Pressure Points.” This was an article that I never knew existed until after he passed away in 2007. It talks about the practicality or lack of many pressure point attacks. This is something he never spoke about directly when I trained with him. He had also devised a website dedicated to the preservation of these types of techniques.
Looking back on the many years that I trained and corresponded with Master Hart; Now I realize that he never promoted these methods as street fighting or for combative use. He promoted many techniques only for defense and as a reactive measure; that at one point even he himself admitted that reaction is not the way to go in a real fight. He always promoted art for what it was and had great love and respect for its preservation. Master Hart was very different from his rival George Dillman, who continues to promote the mystical coup as effective and practical in street or fighting situations. there is no doubt that its objective is solely monetary.
conclusion
I teach the art of Hakuda and Hakushu that I was fortunate to have learned from Stan Hart himself. I have great respect for much of the science behind many of the principles and for the art itself. However, due to the amount of time and diligence it takes to learn these objectives and methods, I only train a select few students. I am sure to explain that when I teach pressure points it is only for the preservation of an ancient art that was once lost. I focus more of my teachings to today’s general population on practical martial arts.