...i'm not being cheeky, i don't know who Steve Morris is, but i found this article by chance and thought it was kinda cool. follow with your head, was the theme...though i never read things carefully enough, i get the idea it was tactical/practical, but even as he was alluding to lionesses following their kills, i wondered whether there wasn't a psychological edge. an inside script that spoke to an attackers subconscious and said, "you are prey, and i'm locked in..." this is the angle i found interesting, because i think there's a hidden NLP-ish thing there. sorry Richie, i would like to now add my disclaimer that i know little to nothing about NLP suffice to say that the little i'm picking up on i like in a big way and find it central (being such a mindset slut myself).
here's what i cut and pasted...we'll read the whole thing together (ha ha). dyslexic me...i get more, the more i re-read. sorry for being a bit thick but i think there's something to it. i haven't done 'the drill' or anything. i'm more intrigued by what i mentioned above (so far).
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When we made the Primal film, I forgot to do the head chase drill on the day that Trish was filming, so I filmed some of it later myself, and included it in the appendix on Disc 2. But what I forgot to include is the explanation for what the drill is for and how it should be done.
One of the themes on the film is the role of the head in leading the action of the body. I created this drill when doing a private lesson for a professional boxer who came to see me down at Pillage's on a Saturday afternoon.
Many boxers have a very stylized way of moving. Their footwork tends to be kind of trained, and it's not natural. So, if you come up against a guy who really presses you, you're lost. What I was trying to show this particular boxer was how no matter how evasive he thought he was, he couldn't get away from me. Because it wasn't my feet that were pursuing him, it was my head.
Just watch a lioness in pursuit of her prey to see how the head leads both the direction and the tempo of her chase.
So I was pursuing this boxer with my head, closing down the range between us, and he had to try to get away. He couldn't, because I was locked on target. I wasn't thinking about what my feet were doing; my CNS was sorting that out. But he was relying on trained footwork and evasion, and he didn't understand the essence of pursuit and evasion.
Afterward, I thought, 'there's a drill here.' So I introduced the head chase drill at Primal. It can work for both guys.
Offensively, you're chasing him with your head. You're trying to close down the range for an appropriate skill (you can nominate the skill or leave it open). For example, it could be for a right cross, a left hook, a takedown, whatever. You don't do it, you're just looking to set him up for it.
Defensively, the other guy is trying to evade that attempt and to maintain a controlled range from which he can make his moves.
One of the key points in this drill is that because the head is leading the action in both cases, the feet have no choice but to take care of themselves and follow. This is natural footwork. It's goal-oriented and stimuli-driven; it's not a footwork pattern that you learn. As an observer, you'll see familiar footwork emerge. But it's happening as a consequence of what you need to do; you're not thinking about the feet.
We also extend this drill to what we call the dog-chase drill. One guy goes down on the floor on all fours and pursues the other guy for ankle takedowns, doubles or single legs, and the other guy has got to adjust his head position to orient to the attacker. That in turn forces him to take his hips and legs back to a safety position.
A lot of guys when they shoot and fail, they don't persist. The dog-chase drill teaches you to keep going for that leg no matter what, and again, because the head is leading the action and is chasing the other guy at the speed he's moving, then the run on all fours naturally adjusts. You really do move.
So, it's only covered for a few minutes on the film, but it's a really important drill. If you've got the film, take a look at it on Part 4 in the extra material.
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