Master At Arms James A.

Keating and Comtech

Random Thoughts on Tactics, Knives, Combat and Life
By James A. Keating
Many people know me in regards to the Bowie Knife, it has definite common bonds with
other methods of blade usage. In fact Jim Bowie may have even witnessed some filipino
knife methods. His long time friend, pirate Jean LaFitte had many Filipino fighting men
aboard his ships and in Barataria (the pirate stronghold).
Both Bowie and LaFitte had great interest in the blade. It is not a far stretch of the
imagination to at least consider that Bowie MAY have been exposed to the FMA at some
point. On with our chapter.....

When using the big steel it is advisable to exercise caution during the initial phases of
training. Perform the actions of your choice slowly and deliberately. You should not
worry about speed, it will occur of it's own accord as by-product of proper training. This
advice I am giving you not only provides a safer training environment, but also allows for
proper neuro-muscular development to occur. If you think about it, neuro-muscular
programming can be percieved as being the "reason behind the reason" for any type of
training in any given field from typing to hang gliding.
The methods of close quarter knife combat which are peculiar to the dreaded
American Bowie knife are outstanding examples of that unusual cosmic-amalgam known
as "sophisticated simplicity". It is a descriptive term which captures the deadly, but
relatively easy to learn movements of the Bowie methods. The result is a clever,
deceptive, means of fighting one or more opponents. The next component of this combat
equation is the Bowie knife itself. Several of the better knife fighting techniques that I
personally recommend can only be accessed if you are using a real, honest to God Bowie
knife. So, with that in mind, choose a good one for yourself. I'll be providing you some
food for thought throughout this article on several different makes of Bowies. Other types
of knives such as daggers, folders and tantos cannot perform the manuevers and cuts that
the Bowie knife methods demand in order to be successful in close quarter combat.

THE BOWIE KNIVES

There are many versions of the Bowie knife currently available for purchase. I
will keep this short and sweet because the information I will share with you is accurate, it
needs no further elaboration. For top grade, custom fighting Bowies you need a Bagwell
Bowie. And you'll pay over a grand for it. Is it worth it? Absolutely! If you can swing the
dough, a Bagwell Bowie is the Tiger of the knife world. But, what if you simply cannot
afford the Bagwell? Consider my own Crossada fighting knife. The Keating Crossada is
large bowie, but unique in it's many features as a true fighting knife. Lastly if all else fails
then try to get your hands on a Cold Steel Trailmaster. It is a Bowie knife that has some
great aspects and won't break your bank either. These are just some pointers, your knife is
your choice. Choose wisely!
TWO VERSIONS OF ROTATIONAL CUTTING

The Bowie methods are actually well balanced in their employment of point and
edge. The thrust is preferred over the slash in most cases. Although the edge and
sharpened back clip are also important factors in the larger picture of the knife to knife
fight. Because most people are more comfortable when beginning their knife training
with the edge oriented techniques than the point based methods, I shall address two
rotational cutting methods for you to practice. The first one is a forward rotation
(convex/repel) technique and the second is a rearward rotation (concave/impel) action.
#1. Circular technique number one is done as though you were twirling a lariat or
piece of rope in front of your abdomen. The main or primary cutting edge of the knife is
used in this method. The hand should be about solar plexus level and will prescibe a
forward arc, edge out toward the opponent. This action can be done as an arm rotation
(large arc) or as a wrist rotation (small arc). The method we are sharing with you in this
article is the larger arm rotation version. Notice in the pictures where my blade rotates
into the edge forward postion again (the wrist must roll). It is at the end of the sequence
and occurs at about belt line level. Try this for yourself, work up to a smooth three set
series of cuts. It won't take you long to become good at this action. Here is the reason
why I chose this cutting action over others to begin our edged education with.
You see, the above circular cutting motion contains within it's simple format the
ability to deal with any type of attack that opponent may throw at you. This is due to the
angle of response to the ever changing, unpredictable body mechanics involved between
two armed combatants. Trying counter or second guess an adversary can be dangerous. If
nothing else, when the going gets tough just do this action, it will work in a tight spot to
save your butt just about as good as anything can. It is simple, effective, easy to
remember, hard for the enemy to deal with and has the capacity to deliver multiple
devastating wounds in short succession. In other words this method protects you no
matter what the attack may be.
#2. Circular cutting technique number two is once again done in a arcing manner.
But this time the arc comes back toward you (be careful !) in a reticulated action. The
edge we want to use now is the sharpened back clip of your Bowie, not the primary edge
as in version number one. The wrist plays a pivotal roll in the success of this manuever.
This snapping, rolling motion can best be explained by this: Hold your hand thumb
upright, now as smoothly and swiftly as you can point your thumb toward the Earth.
There you have it, simpler than you thought ! Now, try it slowly with your Bowie, if you
are right handed be sure to keep your left leg to the rear, out of harms way. Allow the
wrist and forearm to move in unison. This time the wrist roll will occur on the high line,
this is a must in order to set up the second backcut attack line. As with the first cutting
action, this one should also be practiced in multiples. It not strengthens the wrist but
familiarizes you the action for combat purposes. Notice that the backcut is an overhand
type motion, this can also be thought of as an evasion in the case of the opponent
attaempting a hand cut. Let's talk more about the Backcut later in this chapter.

TWO VERSIONS OF LINEAR THRUSTING TECHNIQUES

Here are two idea's on using a linear or thrusting action to achieve some of your
combative Bowie knife goals. When assuming a guard position keep the point of your
knife directed toward your opponents eye's. The guard position should ride a bit higher
than what initially appears natural. When performing any thrusting technique always
move the weapon first. Any other timing sequence will result in failure or grave injury to
your person.
 A. The first thrust we will cover is based around an attempted hand attack and
subsequent evasion which in turn spins your arm into a high line articulated thrust.
Remember, in this case the opponent is attacking you, your guard position will act as
"bait" forcing him into an attack. When he does, your opportunity to smite him in
retaliation for his impudent attack is then at hand. As he attempts to cut your right arm
you must arc your wrist in a counter clockwise (inward bound) manner driving the point
forward toward his face aggressively. Simutaneously shift your left leg rearward and
across, flattening your body so that it is in alignment with the path of the thrust. Use your
left arm as a counter balance to maintain control during the execution of this explosive
manuever. This action is quite dramatic, the more extension one achieves in their overall
execution of this technique the better and safer it seems to work in real combat. It is a
variation to the classic "In Quartta" fighting technique that has been bandied about in
knife fighting circles for many centuries.
B. Thrusting technique number two is certainly a linear action, but in this specific
instance the point will be exchanged for the the primary edge. This unique and deceptive
"thrusting" attack is done with the belly or center area of the blade. The Bowie does this
odd cut better than just about any other edged weapon other than the old style saber.
Originally this type of cut was known as a carving cut, today we call such a technique a
"snap cut".
In order to pull this off against an opponent, you must launch the center edge of
the Bowie knife as though it were the point. The intent is to rap the opponent on the crest
of the skull, just above the forehead. If done correctly the the Bowie knife will
effortlessly split the skull. It uses it's weight and blade design coupled with the speed of
your launch to create a devastating blow that appears to be nothing worse than a glancing
blow. This is because of how the knife appears to sort of richochet off the crown of the
opponents skull after it has hit it's mark. This unexpected attack can catch the enemy off
guard allowing you an open shot to halt the momentum of the fight then and there. It can
also be employed to draw his guard out, at that point he must react or be struck down.
This offers you ample opportunity to strike swiftly in safety. Why do I say "in safety" ?
Because, what good is any of this material if you end up getting cut up in the fight too ?
There are many, many techniques that will "git"someone if you are willing to pay the
ultimate price. This sort of rudimentary knife fighting behavior is based upon an angry,
backward logic that appeals to those poorly informed knife fighters who think anger can
replace skill. Personally I prefer the methods of bladework which exact a heavy toll from
my opponents on every level of their being, yet in turn tax me very little, if at all.
Usually the flank of the adversary will be exsposed when this high line attack ruse
is employed. A backhanded carving cut is then often delivered to the ribs (flank)
immediately after initiating this straight on thrust/chop manuever. Remember, that when
using carving cuts of any kind that the goal is to wound and harass, not necessarily to kill.
All of the moves I have shared with you are to be done in a brisk manner. In this method
the bowie knife is allowed to do the lions share of the work during the fight. Your part is
to merely guide the knife and maintain your overall combat awareness throughout the
entire lethal force encounter.

It would be irresponsible of me if I did not relate to you that it is solely up to you

to be aware of all laws pertaining to edged weapons in your city, state or country. Always
stay within the law when ever you can. If you ever find yourself in a situation to where
you may have to use a knife to defend yourself against a lethal force type assault you
must understand that to stay out of the slammer you will need to have several factors
present in order to prove to a court of law that you acted judiciously and because no other
options were available to you at the time.
The DETAILS of the BACKCUT (as promised)

Ah, the dreaded and deadly motion known as the "backcut" is our topic today. While
every aspect and motion of using a knife in your personal defense is viable, there is one
motion which stands out over all others. That motion is called the backcut and it is often
associated with the particular edged weapon known as the bowie knife. I am going to
share some random thoughts on this action with you. Let's see where it takes us.
Although, the motion of the backcut can be done with any weapon, including canes and
swords, it is the bowie knife that truly adds the dash of awe to this dynamic action. This
is due to the bowies deadly design. The subtle secrets of swinging the great bowie in a
tight prescribed arc is what is at stake here. Much like casting a small rock net for fishing
purposes, one makes a brisk, slightly overhand snap at the wrist to complete a backcut.
Let me explain in greater detail about the pro’s and con’s of backcutting.

You see this enveloping action of "tossing a net" over your advesrsary is a clever way to
describe to you whats really being done when a backcut occurs. Think about it for a
moment, a backcut traverses a line that few other strokes follow. Hmm, so questions
arise, how is it done and more importantly, why is it done in such a manner?

Ok, here's the scoop amigos! Nearly every cut and blow that is commonly encountered in
knife fighting, knife training and tactical knife defense are done in a repelling manner.
The cut in effect "knocks" the opponent away from you. The backcut works on the
opposite line! The backcut does not repel, it impels! And in saying that I'll remind you
that more things in nature follow this path than not. Meaning a backcut is a "catspaw"
motion. A viscious swipe that is part tear, part puncture and all pain! The action comes
back toward you in it's path. You must allow for this to happen, move your body and legs
aside, clear a path by using proper footwork. A backcut is a "whole-body" action, not just
something done with the arms.

When an adversary attempts to cut you, often one is taught to counter the move by
cutting the attackers weapon bearing limb. This is called "defanging the snake" in some
methods of knife play. It works well and follows a path of common sense and tactical
opportunity. But in doing so your own hand also becomes subject to the same damaging
cut. If you instead use a backcut your hand is automatically protected. In one case the
hand leads and in the other case where a backcut is employed it is steel which leads and
that is what you want. That is instant, automatic success with a minimization of threat to
you merely via proper blade alignment.

The backcut is not only a favorite because of how it deploys your knife in a superior way,
it is favored because it is deceptive also. Yes, containing a definite "trick-phase" which
throws off the adversaries sense of timing the backcut often does it's damage totally
unseen. It is felt, not seen, it is that deceptive and it is this quality that has become it's
deadly trademark. A well delivered backcut encompasses both defense and attack in one.
When the backcut needs a back up or an aid to cause distraction it calls upon the timed
thrust. It spans distance with deceit, footwork and elastic use of the torso. The thrust
opens the gates for the backcut to enter. The powerful flip of the wrist on delivery of the
backcut causes torque and moves your knife / hand / arm connection into another, safer
space. Without spatial awareness and relativity to act upon, the enemy becomes lost. This
in turn breeds fear and panic, a backcutter stays calm, he plans his work, then works his
plan. The backcut comes in from an angle few suspect, like a jet fighter emerging from
the sun, it is hard to see. And once it is seen, it is even harder to get out of it's way. An
even mix of backcutting and well placed, well timed thrusts make for a simple, yet
effective defensive profile that even a busy person can maintain.

A Multi-Stroke Action

Many people think that there is only one backcut. This is both true and yet not entirely
accurate either.
Indeed the backcut is always done with the swag of the bowie knife. And it is always
reticulated. So in that sense, one action does dominate. But when using the backcut action
one can apply it on any of the diagonal, horizontal or vertical planes of motion. This
aspect flings open the doors to creativity and offers us a wide array of options on how to
make the backcut into a technique that can answer any attack, any time. To get even more
sophisticated one must seek out my own Comtech Bowie Knife training. In this training
you are shown how backcuts work in pairs or teams. This simple, yet very critical aspect
of combat can bring victory to your door. Remember, properly done backcuts will always
work in pairs. It is via this double-up method that one can immediately begin gaining the
upper hand. There are eight backcuts taught in my Comtech Bowie methodology. They
follow a “logic chain”. They work in harmony for your defense. Survival is primary,
bringing harm to others is secondary to survival. In my method of knife play the knife is
cast as a lifesaving tool. Not as a weapon of destruction. An old saying goes thusly: “One
sword keeps another in it’s sheath”. And so it is today!

Perhaps the most widely known of the pair attacks is the diagonal line lead-in combined
with the horizontal line abdomen attack. Playing the shortened arc and changing it’s line
rapidly the double-up attack using a spiralling action as an elevator to access targets
which the adversary considers to be “safe”. It is those “he’ll never hit me here” attitudes
that eventually do get them hit, often at the final bell. Two short, semi-circular, whipping
actions done with your bowie knife and the deed will be done.

Another surprising aspect about the backcut action is its incredible ability to generate
massive power in a very brief amount of space and time. Think of it this way, give me
the “thumbs up” sign, ok, now as swiftly as you can give the “thumbs down” sign (turn
your thumb from upright to pointed at the floor). In essence, there is the backcut, you
have just performed one of the quickest actions the human body can make. Within this
simple roll-over motion is the principle of torque and combined with the weight of your
bowie knife (inertia) you create a vortex of edged energy that is nothing less than
awesome in its science and horrific in its effect. Ideal fare for those knife men with
limited time to practice!

A backcut can be a snapped strike (hit and pull back) or it can be driven through the
target. Each action has its place. I prefer to use snapping backcuts when I employ a folder
instead of a bowie knife. In such an instance the folder is held edge up. The blade cannot
close then by accident. It is then rolled in backcut fashion using the primary edge to strike
with versus the false edge or backside of the blade as with the bowie knife.

Other than with the Bowie knife and within my own Comtech curriculum of training the
backcut is rarely seen. It exists today mainly in the study of classical saber fencing. This
art is found on many of todays most elite college campuses masquerading as a sport. Foil
and epee do not employ the backcut, only the saber does. One may look therein to
discover more about the backcut if the desire to learn so leads you . Since my inclusion of
the backcut into the public domain of combative awareness their have been many
pretenders who have come forth. Each claiming to have the “right” way of doing a
backcut. Largely lost in their own illusion of grandeur. But, the realm of the knife is like
fire, it is self cleansing. "Through fire, all things are renewed" this is known.
FMA -KALI in TODAYS WORLD

Westernized FMA is often called "white kali" in some circles. While not complimentary,
it's also not "racially charged". It's an attempt to explain a difference of ability,
philosophy and performance. It's the difference between having a art similar to other
fighting arts or having an art that is truly different and unique. In the world of combat a
unique method, device or plan is often a key factor in achieving victory. As the saying
goes "that which is unknown can kill you" and it's an accurate saying for todays world.

Other arts exist that have been expressly designed for the westernized mind and body.
Bukti Negara is a fine example. Modified silat principles serve better purpose here in the
west. Was it a "bastardization" of the original arts it was drawn from? Or is it a brilliant
modification to keep a fighting art functional and alive in it's new home of America? My
vote is for the latter. It was and is a great idea and one that other arts should look into,
perhaps copy even. This is the era of the hybrid fighting art! For example: The deep and
difficult silahs (sempok & dempok) were replaced with the somewhat higher articulated
kneeling position. Much easier for western body types to perform.

Perhaps one of the easiest aspects to spot between white kali and filipino kali is the height
of the stances and footwork. Most western expressions of Arnis and Kali are done erect.
Standing straight up or just slightly crouched. How much kneeling is shown in the overall
curriculum? Not just leaning over, but real crouching, kneeling and prone applications
(attacks and defenses). The ability to play the low line is rare. Those who can play it
possess a very unique method of mayhem. Unexpected, dismaying and hard to defend
against, the low line play offers much to the man who can do it well. Study of the close
quarter and low line methods such as the siko tuhod (elbow-knee) methods help to build
the abilities required for an effective low line capacity.

The environment itself is often a reason that we in the west decline from playing more of
the low line. Pavement and asphalt are unforgiving factors in the wild world of the west.
In places more agrarian based, less hardtop and more dirt roads exist. Fields, meadows
and dirt are in abundance. The Earth is a nice place to play the low line versus a
macadam parking lot. Dojos (studios) are another place where he arts can come off
looking just fantastic. They have mats, gear, pads and more to make the art they are
teaching you work. Without these critical components the same art in the street fares far
less successful than it had in dojoland.

The low line stuff requires your legs and abdomen to be in tip-top shape. Fitness isn't one
of America's strong points at this moment. So, there ya go, most people simply CAN'T
play the low line. It's a physical impossibility for them. As I stated, I believe in the low
line work, but to make it effective you must not only be good, you must be REAL good.
Otherwise you are setting the stage for disaster and defeat. Basics are a way of getting in
shape to play the low line. Speaking so much of this makes me think we should explore
some of the technical side of this equation before we go much further. Below are some
basics to get going.

Concepts of Low Line Play

Here are a few examples of low line skills. Nothing special, but through consideration
and study they will open the doors of your mind to your own creations and your own
versions of things. Lets explore some of this material together and see what appears on
our tactical horizons! I believe you can do this stuff.
Remember, these aren't "my stuff", these are tried and true methods of close quarter
fighting. They are generic in nature,
The Foot Crush:
An easy to perform tactic is the simple, but effective foot crush. Off a parry, block or
strike on the high line you merely drop straight down and slightly to the side. Where
upon you crush the top the opponents arch with your knee. You don't have to kneel on it
with force. Just drop your weight, that will be sufficient. In the process of kneeling you
will also avoid the conflict. It's like you almost just disappear in front of his eyes. Always
enter with pain, deception and follow ups! Like with any fighting skill, you will need a
sense of timing and distance combined with a knowledge of the technique in order to
make the low line foot crush a reliable option for your combative consideration.

The Leg Lever:

Here is another easy to play low line favorite. Its as easy as sitting down and really puts
people on their asses quickly. It's an effective and surprising technique. It works well
empty handed and it works even better with a knife or pistol. Hey, what more can ya ask
for, eh?
The leg lever is just what it says it is. It is a technique which uses your foreleg (lower leg-
shin) to trap-unbalance the opponent. Like the previous action, you play this off a parry,
strike or some other brief high line engagement. You simply slide into this action. If you
have ever trained in Capoeria then imagine sliding into a negativa-negachiva (dialectical
pronunciations). Yes, that's the idea! You apply this technique to his lower leg. They are
catapulted away from you in the course of the throw. You stay safe. A swift kick to his
privates, roll away and up you go.... it is all you need. Now get out of there fast, run!

Step, Duck and Push::

Gosh almighty, here is a classic, the granddaddy of festering foul play and tactical
trickery, the much vaunted footrap in action. While not actually played in the low line, it
is still a low line skill of worth. It is so subtle that most opponents never see it coming.
But they do indeed feel it! The damage done by the fall is greatly enhanced due to the
foot being pinned. It shortens the arc of the fall. Often resulting in broken ankles and
dislocations of the adversaries nether-joints (kness, ankles, toes, etc). This move does not
require flexibility or strength, it is an easy one to play. I list it in the arsenal because it is
so valuable in real fighting situations.

Now comes the next part, the ducking part. Yes, avoid being hit by ducking in low. Then
using either one or two hands just push on his knee. Push to the rear and down. Sure, you
could also pin his foot and merely give him a shove. But, by aquiring that low line knee
push you accelerate the fall and you can also guide it's
direction. A nice touch in multiple adversary type encounters. Learn to parry his attacks
or dive in swiftly to avoiding his attacks in order to make this "step-duck & push" work
as it should. Fast and effective it is!

The Encircling Leg:

Like the other moves we have covered you simply shift to the opponents flank, drop into
this action and push them away. Take a look at the pictures, you'll see what I'm doing.
You can attack either of his legs with either of your legs. This one works nicely if you are
ever knocked down and must operate from there. Meaning, whether you deliberately put
yourself into this technique or if you just end up there, it'll work either way. Remember,
the opponent is standing, you will be seated. He should fall back and away from you.
Follow up with an ankle lock or leg crush done with your arms.

There is a technique where you actually learn to walk in this manner. Very much like
some types of drunken kung fu. But, it is not easy, so it is best left for another time. For
now, practice getting into postion, drop smoothly and accurately in order to encircle or
wrap up his leg. Try to get used to getting the "right" reaction from your partner. Seek
control during training. And yes, this works well with an edged weapon in your hand
also. Experiment some, these techniques are meant to be jumpgates to higher
understanding. This can only happen if you are willing to dare, to think and to experiment
intelligently.