Rumble in Roosevelt with 4 martial arts clubs and videos

November 15th Roosevelt Hall Room 203 from 6-8pm four martial arts clubs had a performance called Rumble in Roosevelt. MMAA, Tae Kwon Do, and Brazilian Jujitsu club showed off MMA drills and techniques. There were many black belts there and you could not tell from looking at them in street clothes. Bruce Lee was about five foot 6 inches and about 150 pounds. One black belt said most go into the martial arts because of being bullied. In the performance was paddle kicking and forms. Brazilian Jujitsu the bulker person has the advantage. It was asked if woman can compete. It was said they are at a disadvantage but a six four inch volleyball player fought — and was a worthy opponent. I mentioned tactics I learned borderline dangerous to escape. You can’t learn right away to be a good fighter but need many sessions. You can learn a few moves to just get out of danger and of course you have to practice them. In a self-defense class they stressed if someone has a weapon to give up the money. You can replace it or possessions but not all body parts or a life. I saw a graphic novel cartoon of a black belt telling his student to not show off with his skills and give up the money to a weapon and always try to avoid a fight. The key is to avoid danger. On the way home someone heckles him and the martial art student uses his skills. The heckler then beats him up and takes off a mask and it is the black belt who had just warned him. I have worked in dangerous areas at nights. I learned to avoid gangs. If there was a hangout in my path I would cross the street to avoid them or go back. I showed the black belts some techniques I learned. One is retreating away throwing chops and kicks keeping your balance. Between rounds a girl walked around with a round sign like they do in boxing matches. There are at least 4 martial arts clubs. If you are a beginner or a female you are welcome. For a video and detailed information on ABADÁ-Capoeira:   ABADÁ-Capoeira is based in Rio de Janeiro, Brazil. A stylized martial-art dance from Brazil which is characterized by acrobatic fighting maneuvers and athletic dance steps.   It is a technical, mental, musical, and acrobatic workout.  The technique is to improve efficiency and prevent injury.  Equally important is the understanding of and reverence for capoeira’s rich history, including the preservation and recovery of the instruments, rhythms, and games of capoeira, individual competency in and knowledge of the game’s music and instruments,   It has two main objectives. One is to keep the capoeirista in a state of constant motion, preventing him or her from being a still and easy target. The other, using also fakes and feints, is to mislead, fool, trick the opponent, leaving them open for an attack or a counter-attack.   The attacks in the Capoeira should be done when opportunity arises and must be decisive, like a direct kick in the face or a vital body part, or a strong takedown. Most Capoeira attacks are made with the legs, like direct or swirling kicks, rasteiras (leg sweeps), tesouras or knee strikes. The head strike is a very important counter-attack move. Elbow strikes, punches and other forms of takedowns complete the main list.   The defense is based on the principle of non-resistance, meaning avoiding an attack using evasive moves instead of blocking it. Avoids are called esquivas, which depend on the direction of the attack and intention of the defender, and can be done standing or with a hand leaning on the floor. A block should only be made when the esquiva is not possible. This fighting strategy allows quick and unpredictable counterattacks, the ability to focus on more than one adversary and to face empty-handed an armed adversary. A series of rolls and acrobatics (like the Cartwheels called aú) allows the capoeirista to quickly overcome a takedown or a loss of balance, and to position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks, defense and mobility which gives Capoeira its perceived ‘fluidity’ and choreography-like style.   Many acts are not done fully to not hurt someone in practice.




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