About Dancing footwork
Dancing.[8] Makashi duelists also trained themselves to avoid enslavement to form, as such devotion opened the practitioner to be defeated by unpredictable tactics — what Count Dooku dubbed "the unforeseen".[9] Dooku deflects blaster bolts. However, for all its effectiveness, Form II was not without its weaknesses. As it was designed to combat enemy duelists rather than enemy gunmen, it provided poor blast-deflection training. While this was ultimately the reason for the style's decline and eventual obsolescence, it could be overcome through skill and practice.[10] Also, Makashi was most potent when used against a single opponent, and was reduced in effectiveness when fighting groups of adversaries. However, skilled practitioners could still fare very well against multiple foes;[7] Dooku could engage up to three opponents with little difficulty, relying on his footwork to outmaneuver them and take them one at a time;[10][11] Asajj Ventress compensated by wielding dual-blades.[12][13]However, the greatest flaw of the Makashi system of combat was its inability to generate kinetic energy in its application; the focus on precision and blade control hampered an adherent's ability to generate momentum in both offensive and defensive maneuvers. This meant that a duelist who possessed a sufficient level of physical strength could potentially overwhelm a Makashi practitioner, shunting aside strikes from the form's precision offense and simply bashing through its evasive, footwork-oriented defense. This lack of physical force left Makashi practitioners vulnerable to duelists utilizing more contemporary forms, which emphasized power and brute strength. This weakness was especially pronounced against practitioners of the
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A zero-pressure area where it had already released much of the force. The lower diagonal lines that resemble an upside-down of the “V” will represent evasion, thus avoiding destruction by evading the business end of the stick of your opponent.Linear Footwork. Aside from the triangle, other footwork approaches can be witnessed in the many styles of FMA such as the linear footwork resembling boxing and western fencing.Circular Footwork. There are styles of Eskrima like the Balintawak style that uses circular footwork. The rationale is to move around so you don't get cornered by your opponent in a tight space. Circular footwork is facilitated by “shuffling” the rear leg either left or right and then continue to move clockwise or counter-clockwise.Hakbang (step). “Hakbang,” or “step” in Filipino, is a general expression for footwork. For instance, “hakbang paiwas” is pivoting footwork, whereas “hakbang tatsulok” is a triangle stepping.Fundamental tactical ranges:Corto (close-range)Medio (medium-range)Largo (long-range)Other Tactical Ranges and their TerminologiesHakbang: general expression for footworkCorto Mano: short movements, close range, a slight extension of the legs, weapons, and arms, cutting distanceSerrada: “split step,” short-range split action, quick, footwork, back and front, low stance. This footwork is a triangular framework methodology’s baseLargo Mano: long-range, extended motions, full extension of the weapons, arms, and legs, creating distanceFraile: short-range footwork, balanced position, short hop, hopping action, going away from the lead footRitriada: short-range footwork, shuffling action, pushing toward the back by shoving off the lead foot, providing 6 to 8 inches of range every action.Banda y banda: side-to-side actionYou can find more information about Eskrima footwork in the article – Escrima Basic FootworkStrikingA lot of Filipino systems focus on reacting to or defending against attack angles rather than specific strikes. In fact, the principle behind this is that nearly all forms of hand-to-hand attacks (with a weapon or
