Subject: rec.martial-arts FAQ part 1 of 4 (LONG)
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Subject: rec.martial-arts FAQ part 2 of 4 (LONG)
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Subject: rec.martial-arts FAQ part 3 of 4 (LONG)
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Subject: rec.martial-arts FAQ part 4 of 4 (LONG)
Disclaimer and Copyright Notice Some answers given may reflect personal biases of the author and the martial arts FAQ listing's contributors. The answers contained herein pertain to discussions on the rec.martial-arts group, and are by no means exhaustive. The martial arts FAQ list owes its existence to the contributors on the net, and as such it belongs to the readers of rec.martial-arts. Copies may be made freely, as long as they are distributed at no charge, and the disclaimer and the copyright notice are included. -- Matthew Weigel Research Systems Programmer email@example.com
16) What are the different Arts, Schools and Styles? This is a question with many, many answers---some could say that there are as many styles as there are martial artists. So, we'd like to introduce some Schools and Styles that will give you a basic familiarity with the world of martial arts. The Arts are listed alphabetically. Important note: This information is true to the best of the knowledge of those who wrote the descriptions of the various arts. If your style has only a small write up or none at all and you have enough information on it to make a good FAQ entry, write it up in the form shown below and send it to firstname.lastname@example.org. If you have a question about a particular style or its writeup, one option is to look in the next section for who contributed to the art's writeup, and send e-mail to them. Otherwise, comment to email@example.com.
16.1) Aikido (contributors: Eric Sotnak - firstname.lastname@example.org, Alex Jackl - email@example.com) Intro: Aikido emphasizes evasion and circular/spiral redirection of an attacker's aggressive force into throws, pins, and immobilizations as a primary strategy rather than punches and kicks. Origin: Japan. History: Aikido was founded in 1942 by Morihei Ueshiba (1883-1969). Prior to this time, Ueshiba called his art "aikibudo" or "aikinomichi". In developing aikido, Ueshiba was heavily influenced by Daito Ryu Aikijujitsu, several styles of Japanese fencing (kenjutsu), spearfighting (yarijutsu), and by the so- called "new religion": omotokyo. Largely because of his deep interest in omotokyo, Ueshiba came to see his aikido as rooted less in techniques for achieving physical domination over others than in attempting to cultivate a "spirit of loving protection for all things." The extent to which Ueshiba's religious and philosophical convictions influenced the direction of technical developments and changes within the corpus of aikido techniques is not known, but many aikido practitioners believe that perfect mastery of aikido would allow one to defend against an attacker without causing serious or permanent injury. Descriptions: The primary strategic foundations of aikido are: (1) moving into a position off the line of attack; (2) seizing control of the attacker's balance by means of leverage and timing; (3) applying a throw, pin, or other sort of immobilization (such as a wrist/arm lock). Strikes are not altogether absent from the strategic arsenal of the aikidoist, but their use is primarily (though not, perhaps, exclusively) as a means of distraction -- a strike (called "atemi") is delivered in order to provoke a reaction from the aggressor, thereby creating a window of opportunity, facilitating the application of a throw, pin, or other immobilization. Many aikido schools train (in varying degrees) with weapons. The most commonly used weapons in aikido are the jo (a staff between 4 or 5 feet in length), the bokken (a wooden sword), and the tanto (a knife, usually made of wood, for safety). These weapons are used not only to teach defenses against armed attacks, but also to illustrate principles of aikido movement, distancing, and timing. Training: A competitive variant of aikido (Tomiki aikido) holds structured competitions where opponents attempt to score points by stabbing with a foam-rubber knife, or by executing aikido techniques in response to attacks with the knife. Most variants of aikido, however, hold no competitions, matches, or sparring. Instead, techniques are practiced in cooperation with a partner who steadily increases the speed, power, and variety of attacks in accordance with the abilities of the participants. Participants take turns being attacker and defender, usually performing pre-arranged attacks and defenses at the lower levels, gradually working up to full-speed freestyle attacks and defenses. Sub-Styles: There are several major variants of aikido. The root variant is the "aikikai", founded by Morihei Ueshiba, and now headed by the founder's grandson, Moriteru Ueshiba. Several organizations in the United States are affiliated with the aikikai, including the United States Aikido Federation, the Aikido Association of America, and Aikido Schools of Ueshiba. Other major variants include: * the "ki society", founded by Koichi Tohei, * yoshinkan aikido, founded by Gozo Shioda, * the kokikai organization, headed by Shuji Maruyama, * "Tomiki aikido" named after its founder, Kenji Tomiki.
16.2) Baguazhang (Pa Kua Chang) (Contributors: William Breazeal - firstname.lastname@example.org, Mike Martelle - email@example.com) Intro: Baguazhang is one of the three orthodox "internal" styles of Chinese martial art (the other two being Taijiquan and Xingyiquan). Translated, Bagua means "Eight Trigram". This refers to the eight basic principles described in the ancient metaphysical treatise the Yijing (I-Ching), or "Book of Changes". Bagua is meant to be the physical manifestation of these eight principles. "Zhang" means "palm" and designates Baguazhang as a style of martial art which emphasizes the use of the open hand over the closed fist. Baguazhang as a martial art is based on the theory of continuously changing in response to the situation at hand in order to overcome an opponent with skill rather than brute force. Origin: Northern China. History: Although there are several theories as to the origins of Baguazhang, recent and exhaustive research by martial scholars in mainland China concludes without reasonable doubt that the art is the creation of one individual, Dong Haichuan (or Dong Haiquan). Dong was born in Wen'an County, Hebei Province about 1813. Dong practiced local martial arts (which reportedly relied heavily upon the use of openhand palm strikes) from his youth and gained some notoriety as a skilled practitioner. At about 40 years of age, Dong left home and travelled southward. At some point during his travels Dong became a member of the Quanzhen (Complete Truth) sect of Taoism. The Taoists of this sect practiced a method of walking in a circle while reciting certain mantras. The practice was designed to quiet the mind and focus the intent as a prelude to enlightenment. Dong later combined the circle walking mechanics with the boxing he had mastered in his youth to create a new style based on mobility and the ability to apply techniques while in constant motion. Dong Haichuan (or Dong Haiquan) originally called his art "Zhuanzhang" (Turning Palm). In his later years, Dong began to speak of the Art in conjunction with the Eight Trigrams (Bagua) theory expoused in the Book Of Changes (Yijing). When Dong began teaching his "Zhuanzhang" in Beijing, the vast majority of his students were already accomplished martial artists in their own right. Dong's teachings were limited to a few "palm changes" executed while walking the circle and his theory and techniques of combat. His students took Dong's forms and theories and combined them with their original arts. The result is that each of Dong's students ended up with quite different interpretations of the Baguazhang art. Most of the various styles of Baguazhang found today can be traced back to one of several of Dong Haichuan's (or Dong Haiquan's) original students. One of these students was a man called Yin Fu. Yin studied with Dong longer than any other and was one of the most respected fighters in the country in his time (he was the personal bodyguard to the Dowager Empress, the highest prestige position of its kind in the entire country). Yin Fu was a master of Luohanquan, a Northern Chinese "external" style of boxing before his long apprenticeship with Dong. Another top student of Dong was Cheng Tinghua, originally a master of Shuaijiao (Chinese wrestling). Cheng taught a great number of students in his lifetime and variations of his style are many. A third student of Dong which created his own Baguazhang variant was Liang Zhenpu. Liang was Dong's youngest student and was probably influenced by other of Dong's older disciples. Although Baguazhang is a relatively new form of martial art, it became famous throughout China during its inventor's lifetime, mainly because of its effectiveness in combat and the high prestige this afforded its practitioners. Description: Baguazhang is an art based on evasive footwork and a kind of "guerilla warfare" strategy applied to personal combat. A Bagua fighter relies on strategy and skill rather than the direct use of force against force or brute strength in overcoming an opponent. The strategy employed is one of constant change in response to the spontaneous and "live" quality of combat. Bagua is a very circular art that relies almost entirely on open hand techniques and full body movement to accomplish its goals. It is also characterized by its use of spinning movement and extremely evasive footwork. Many of the techniques in Bagua have analogs in other Northern Chinese systems;however, Bagua's foot work and body mechanics allow the practitioner to set up and execute these techniques while rapidly and smoothly changing movement direction and orientation. Bagua trains the student to be adaptable and evasive, two qualities which dramatically decrease the amount of physical power needed to successfully perform techniques. The basis of the various styles of Baguazhang is the circle walk practice. The practitioner "walks the circle" holding various postures and executing "palm changes" (short patterns of movement or "forms" which train the body mechanics and methods of generating momentum which form the basis of the styles' fighting techniques). All styles have a variation of the "Single Palm Change" which is the most basic form and is the nucleus of the remaining palm changes found in the Art. Besides the Single Palm Change, other forms include the "Double Palm Change" and the "Eight Palm Changes" (also known variously as the "Eight Mother Palms" or the "Old Eight Palms"). These forms make up the foundation of the Art. Baguazhang movements have a characteristic circular nature and there is a great deal of body spinning, turning and rapid changes in direction. In addition to the Single, Double and Eight Palm Changes, most but not all styles of Baguazhang include some variation of the "Sixty-Four Palms." The Sixty-Four Palms include forms which teach the mechanics and sequence of the specific techniques included in the style. These forms take the more general energies developed during the practice of the Palm Changes and focus them into more exact patterns of movement which are applied directly to a specific combat technique. Training: Training usually begins with basic movements designed to train the fundamental body mechanics associated with the Art. Very often the student will begin with practicing basic palm changes in place (stationary practice), or by walking the circle while the upper body holds various static postures (Xingzhuang). The purpose of these exercises is to familiarize the beginning student with the feeling of maintaining correct body alignment and mental focus while in motion. The student will progress to learning the various palm changes and related forms. The Sixty-Four Palms or other similar patterns are usually learned after some level of proficiency has been attained with the basic circle walk and palm changes. Some styles practice the Sixty-Four Palms on the circle while other styles practice these forms in a linear fashion. All of the forms in Baguazhang seek to use the power of the whole body in every movement, as the power of the whole will always be much greater than that of isolated parts. The body-energy cultivated is flexible, resilient and "elastic" in nature. In addition to the above, most styles of Baguazhang include various two-person forms and drills as intermediate steps between solo forms and the practice of combat techniques. Although the techniques of Baguazhang are many and various, they all adhere to the above mentioned principles of mobility and skill. Many styles of Baguazhang also include a variety of weapons, ranging from the more "standard" types (straight sword, broadsword, spear) to the "exotic." An interesting difference with other styles of martial arts is that Baguazhang weapons tend to be "oversized," that is they are much bigger than standard weapons of the same type (the extra weight increases the strength and stamina of the user). SUBSTYLES: Each of Dong Haichuan's (or Dong Haiquan's) students developed their own "style" of Baguazhang based on their individual backgrounds and previous martial training. Each style has its own specific forms and echniques. All of the different styles adhere to the basic principles of Baguazhang while retaining an individual "flavor" of their own. Most of the styles in existence today can trace their roots to either The Yin Fu, Zheng Dinghua, or Liang Zhenpu variations. Yin Fu styles include a large number of percussive techniques and fast striking combinations (Yin Fu was said to "fight like a tiger," moving in swiftly and knocking his opponent to the ground like a tiger pouncing on prey). The forms include many explosive movements and very quick and evasive footwork. Variations of the Yin Fu style have been passed down through his students and their students, including Men Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian. Zheng Dinghua styles of Baguazhang include palm changes which are done in a smooth and flowing manner, with little display of overt power (Zheng Dinghua's movement was likened to that of a dragon soaring in the clouds). Popular variants of this style include the Gao Yisheng system, Dragon style Baguazhang, "Swimming Body" Baguazhang, the Nine Palace system, Jiang Rongqiao style (probably the most common form practiced today) and the Sun Ludang style. The Liang Zhenpu style was popularized by his student Li Ziming (who was the president of the Beijing Baguazhang Association for many years and who did much to spread his art worldwide).
16.3) Brazilian Jiu-Jitsu (Contributor: Don Geddis - firstname.lastname@example.org) Intro: Possibly the premier ground-fighting martial art. Made famous by Royce Gracie in the early UFCs in the mid-1990's, it specializes in submission grappling when both fighters are on the ground. Techniques include positional control (especially the "guard" position), and submissions such as chokes and arm locks. Origin: Brazil. History: In the mid-1800's in Japan, there were a large number of styles ("ryu") of jiu-jitsu (sometimes spelled "jujitsu"). Techniques varied between ryu, but generally included all manner of unarmed combat (strikes, throws, locks, chokes, wrestling, etc.) and occasionally some weapons training. One young but skilled master of a number of jiu-jitsu styles, Jigoro Kano, founded his own ryu and created the martial art Judo (aka Kano-ryu jiu-jitsu) in the 1880's. One of Kano's primary insights was to include full-power practice against resisting, competent opponents, rather than solely rely on the partner practice that was much more common at the time. One of Kano's students was Mitsuo Maeda, who was also known as Count Koma ("Count of Combat"). Maeda emigrated to Brazil in 1914. He was helped a great deal by the Brazilian politician Gasto Gracie, whose father George Gracie had emigrated to Brazil himself from Scotland. In gratitude for the assistance, Maeda taught jiu-jitsu to Gastao's son Carlos Gracie. Carlos in turn taught his brothers Osvaldo, Gasto Jr., Jorge, and Helio. In 1925, Carlos and his brothers opened their first jiu-jitsu academy, and Gracie Jiu-Jitsu was born in Brazil. At this point, the base of techniques in BJJ was similar to those in Kano's Judo academy in Japan. As the years progressed, however, the brothers (notably Carlos and Helio) and their students refined their art via brutal no-rules fights, both in public challenges and on the street. Particularly notable was their willingness to fight outside of weight categories, permitting a skilled small fighter to attempt to defeat a much larger opponent. They began to concentrate more and more on submission ground fighting, especially utilizing the guard position. This allowed a weaker man to defend against a stronger one, bide his time, and eventually emerge victorious. In the 1970's, the undisputed jiu-jitsu champion in Brazil was Rolls Gracie. He had taken the techniques of jiu-jitsu to a new level. Although he was not a large man, his ability to apply leverage using all of his limbs was unprecedented. At this time the techniques of the open guard and its variants (spider guard, butterfly guard) became a part of BJJ. Rolls also developed the first point system for jiu-jitsu only competition. The competitions required wearing a gi, awarded points (but not total victories) for throws and takedowns, and awarded other points for achieving different ground positions (such as passing an opponent's guard). After Rolls' death in a hang-gliding accident, Rickson Gracie became the undisputed (and undefeated!) champion, a legend throughout Brazil and much of the world. He has been the exemplar of Brazilian Jiu-Jitsu technique for the last two decades, since the early 1980's, in both jiu-jitsu competition and no-rules MMA competition. Jiu-jitsu techniques have continued to evolve as the art is constantly tested in both arenas. For example, in the 1990's Roberto "Gordo" Correa, a BJJ black belt, injured one of his knees, and to protect his leg he spent a lot of practice time in the half-guard position. When he returned to high-level jiu-jitsu competition, he had the best half-guard technique in the world. A position that had been thought of as a temporary stopping point, or perhaps a defensive-only position, suddenly acquired a new complexity that rapidly spread throughout the art. In the early 1990's, Rorion Gracie moved from Brazil to Los Angeles. He wished to show the world how well the Gracie art of jiu-jitsu worked. In Brazil, no-rules Mixed Martial Art (MMA) contests (known as "vale tudo") had been popular since Carlos Gracie first opened his academy in 1925, but in the world at large most martial arts competition was internal to a single style, using the specialized rules of that style's practice. Rorion and Art Davie conceived of the Ultimate Fighting Championship. This was a series of pay-per-view television events in the United States that began in 1993. They pitted experts of different martial arts styles against each other in an environment with very few rules, in an attempt to see what techniques "really worked" when put under pressure. Rorion also entered his brother Royce Gracie, an expert in Brazilian Jiu-Jitsu, as one of the contestants. Royce dominated the first years of the UFC against all comers, amassing eleven victories with no fighting losses. At one event he defeated four different fighters in one night. This, from a fighter that was smaller than most of the others (at 170 lbs, in an event with no weight classes), looked thin and scrawny, and used techniques that most observers, even experienced martial artists, didn't understand. In hindsight, much of Royce's success was due to the fact that he understood very well (and had trained to defend against) the techniques that his opponents would use, whereas they often had no idea what he was doing to them. In addition, the ground fighting strategy and techniques of BJJ are among the most sophisticated in the world. Besides the immediate impact of an explosion of interest in BJJ across the world (particularly in the US and Japan), the lasting impact of Royce's early UFC dominance is that almost every successful MMA fighter now includes BJJ as a significant portion of their training. Description: Brazilian Jiu-Jitsu is primarily a ground-fighting art. Most techniques involve both fighters on the mat. There is a heavy emphasis on positional strategy, which is about which fighter is on top, and where each person's legs are. Positions are stable situations, from which a large variety of techniques are available to both fighters. The primary positions include: * Guard: The person applying the guard is on the bottom with his back on the ground; his legs are wrapped around his opponent's hips (who is said to be "in the guard"). * Side control: Chest-on-chest but without the legs being entangled. * Mount: On top of his opponent (who "is mounted"), sitting on his chest, with one leg on either side of his torso. * Back mount: Behind his opponent, with his feet hooked around his opponent's hips and upper thighs. Specific techniques taught are designed either to improve one's position (for example, to "pass the guard", by going from being "in the guard" to getting around the opponent's legs, resulting in side control); or else as a finishing submissions. Most submissions are either chokes (cutting off the blood supply to the brain) or arm locks (hyperextending the elbow, or twisting the shoulder). Belt ranks start at white belt, and progress through blue, purple, brown, and then black. It generally takes about 2-3 years of training multiple times per week to be promoted to the next belt rank. However, there is no formal rank test. Instead, rank is about the ability to apply jiu-jitsu techniques in a competitive match. A student generally needs to be able to reliably defeat most other students at a given rank in order to be promoted to the next rank. Given the jiu-jitsu roots, and the interest in competition, occasionally related techniques are taught. In each case, other specific martial arts focus on these sets of techniques more than BJJ, and they generally just receive passing mention and rare practice in BJJ training. For example, takedowns tend to be similar to Judo and western wrestling; leg locks (such as in Sambo) are not encouraged but sometimes allowed. Some schools teach street self-defense or weapon defense as well; this instruction tends to be much more like old-style Japanese jiu-jitsu with partner practice, and rarely impacts the day-to-day grappling training. Also, many dedicated BJJ students are also interested in MMA competition, and attempt to practice their techniques without a gi, and sometimes with adding striking from boxing or Muay Thai. Training: Most training has students wearing a heavy ("jiu-jitsu" or "Judo") gi/kimono, on a floor with padded mats. A typical class involves 30 minutes of warm ups and conditioning, 30 minutes of technique practice with a willing partner, and 30 minutes of free sparring training, against an opponent of equal skill who attempts to submit you. Most of the training is done with all students on the mat. For example, training usually beings with both students facing each other from a kneeling position. Competition is also encouraged. For a jiu-jitsu tournament, competitors are divided by age, belt rank, and weight class. Time limits are generally five to ten minutes, depending on belt rank. Matches start with both competitiors standing, on a floor with a padded mat. A tap out from submission ends the match. If time runs out without a submission, points determine the winner: * 2 points: Takedown from standing; Knee-on-stomach position; or Scissor, sweep, or flip, using legs (from bottom position to top) * 3 points: Passing the guard * 4 points: Mount; or Mount on back (with leg hooks in) Many BJJ students are also interested in open submission grappling tournaments (different points rules, usually no gi), or Mixed Martial Arts (MMA). Most BJJ instructors encourage such competition, and often assist in the training. However, typically BJJ classes wear a gi, start from the knees, and prohibit strikes. Sub-Styles: None. However, note that Brazilian Jiu-Jitsu is sometimes taught under slightly different names. In Brazil it is generally known simply as "jiu-jitsu". Members of the Gracie family often call it "Gracie Jiu-Jitsu", and in fact this name probably pre-dates the now more-generic BJJ for labelling the art when outside of Brazil. (This probably would have become the generic name for the art, but Rorion Gracie trademarked the phrase for his academy in Torrance, CA. A later lawsuit between Rorion Gracie and Carley Gracie was resolved to permit Gracie family members to use that phrase when teaching their family's art of jiu-jitsu. However, the generic term "Brazilian Jiu-Jitsu" is now preferred for referring to the art independent of instructor.) Also, the Machado brothers (cousins of the Gracies) sometimes call their style "Machado Jiu-Jitsu". Any of these names refer to basically the same art.
16.8) Daito Ryu Aiki-Jujustu (Contributors: Torben Alstrup/Ole Kingston - email@example.com) Intro: A prominent sub-style of Jujutsu History: Daito-ryu Aiki-Jujutsu is an old Jujutsu style presumably founded my Minamoto, Yoshimitsu in the eleventh century. Originally, it was only practised by the highest ranking Samurais in the Takeda family in the Kai fiefdom in northern Japan. Feudal overlord Takeda, Shingen died in 1573, and his kinsman Takeda, Kunitsugu moved to the Aizu fiefdom, where he became Jito - overseer of the fief. Kunitsugu introduced Daitoryu Aikijujutsu at the Aizu fiefdom, where the secret fighting art only was taught to the feudal lords and the highest ranking samurais and ladies in waiting. The feudal system was broken down after 1868 when the Meiji restoration begun. Saigo, Tanomo (1829-1905), the heir to Daito-ryu gave the system to Takeda, Sogaku (1859-1943) and instructed him to pass it on to future generations. Takeda, Sogaku first used the term "Daito-ryu Aikijujutsu" in the beginning of the twentieth century and taught the art of it to many students. Takeda, Sogaku taught Daito-ryu from the beginning of the twentieth century until his death in 1943 two of his best known students were Ueshiba, Morihei, founder of Aikido and Choi, Yong Sul, founder of Hapkido. Other prominent 20th century Daito-ryu masters include Horikawa, Kodo (1894-1980); Takuma, Hisa (1895-1979); Hakaru, Mori (1931-), the current director of the Daitoryu Aikijujutsu Takumakai; Sagawa, Yukiyoshi (1902-); Takeda, Tokimune (1916-1993), son of Takeda, Sogaku; Katsuyuki, Kondo (1945-); and Okamoto, Seigo (1925-), who is often considered the most progressive teacher of Daitoryu Aikijujutsu. Description and Training: The way of teaching Daitoryu comes from Takeda, Sogaku's students in the same manner as the understanding, feeling and character of the techniques. Daito-ryu Aikijujutsu has four levels of techniques: Shoden (Lowest), Chuden (advanced), Okuden (highest) and Hiden (secret techniques). Shoden The training in Daito-ryu starts with Shoden, where the student learns ukemi (falling and rolling), taisabaki (moving the body), tesabaki and ashisabaki (movements of the hands and feet and legs), defense against grappling, and continues with defense against punches, kicks and weapons, as for instance short and long staffs (tanbo, jo and chobo) and knives and swords (tanto and katana). There are techniques that can be done from standing, sitting or lying positions. The first transmission scroll Hiden Mokuroku describes the first 118 jujutsu techniques from the Shoden level. Chuden These are advanced jujutsu techniques with large soft movements as known from Aikido. The actual aiki training consists of a combination of these techniques and those from Shoden. At this level of training it is allowed to use some amount of force, several steps and large movements. Okuden When doing Okuden all movements should be as small as possible. Breathing, reflexes, circles and timing are used instead of muscles; the techniques are small and fast, and it is not necessary to hold an attacker in order to throw him. The reflexes of the attacker are used against him. He gets a soft shock, similar to an electric shock activating his reflexes, and it becomes easy to manipulate the body of the attacker so it is felt as an extension of one's own. Hiden These are the secret techniques. The real aiki consists always of soft techniques that only work properly when the whole body and proper breathing is used. The attacker is touched easily, you are as glued to him, and the techniques are so small that even experienced budokas cannot see what is happening. However, the most fascinating part of Daito-ryu Aikijujutsu is that it is unnecessary to use physical power for incapacitating the attacker his own force is turned against him.
16.10) HapKiDo (Contributors: Randy Pals - firstname.lastname@example.org, Ray Terry - email@example.com, Dakin Burdick - firstname.lastname@example.org) Intro: This Korean art is sometimes confused with Aikido, since the Korean and Japanese translation of the names is the same. Origin: Korea History: Hapkido history is the subject of some controversy. Some sources say that the founder of Hapkido, Choi, Yong Sul was a houseboy/servant (some even say "the adopted son") of Japanese Daito Ryu Aikijujutsu GrandMaster Takeda, Sokaku. In Japan, Choi used the Japanese name Yoshida, Tatsujutsu since all immigrants to Japan took Japanese names at that time. Choi's Japanese name has also been given as Asao, Yoshida by some sources. According to this view, Choi studied under Takeda in Japan from 1913, when he was aged 9, until Takeda died in 1943. However, Daito Ryu records do not reflect this, so hard confirmation has not been available. Some claim that Choi's Daito Ryu training was limited to attending seminars. Ueshiba, Morihei, the founder of Aikido, was also a student of Takeda (this is not disputed). Hapkido and Aikido both have significant similarities to Daito Ryu Aikijujutsu, so it would seem that Hapkido's link to it is real, regardless of how and where Choi was trained. Choi returned to Korea after Takeda's death and began studying Korean arts and teaching Yu Sool or Yawara (other names for jujutsu), eventually calling his kwan ("school") the Hapki Kwan. Ji, Han Jae, began studying under Choi and eventually started his own school, where he taught what he called Hapkido, after the grandmaster's school. Along the way, Hapkido adopted various techniques from Tang Soo Do, Tae Kyon, and other Korean kwans (schools). Korean sources may tend to emphasize the Korean arts lineage of Hapkido over the Aikijujutsu lineage, with some even omitting the Aikijujutsu connection. However, as noted above, the connection can be seen in the techniques. Ji now calls his system Sin Moo Hapkido. He currently lives and teaches in California, as does another former Choi student, Myung, Kwang Sik, who is GrandMaster of the World Hapkido Federation. Some other Choi Hapkido students are still living. Chang, Chun Il currently teaches in New York City, and Im, Hyon Soo lives and teaches in Korea. Both of these men were promoted to 9th dan by Choi. One of the first Hapkido masters to bring the art to the western culture was Han, Bong Soo. In the 1970's and 80's Hapkido was taught as the style of choice to elite South Korean armed forces units. Description: Hapkido combines joint locks, pressure points, throws, kicks, and strikes for practical self-defense. More soft than hard and more internal than external, but elements of each are included. Emphasizes circular motion, non-resistive movements, and control of the opponent. Although Hapkido contains both outfighting and infighting techniques, the goal in most situations is to get inside for a close-in strike, lock, or throw. When striking, deriving power from hip rotation is strongly emphasized. Training: Varies with organization and instructor. As a general rule, beginners concentrate on basic strikes and kicks, along with a few joint locks and throws. Some of the striking and kicking practice is form-like, that is, with no partner, however, most is done with a partner who is holding heavy pads that the student strikes and kicks full power. Advanced students add a few more strikes and kicks as well as many more throws, locks, and pressure points. There is also some weapons training for advanced students - primarily belt, kubatan, cane, and short staff. Some schools do forms, some do not. Some do sparring and some do not, although at the advanced levels, most schools do at least some sparring. Many Hapkido techniques are unsuitable for use in sparring, as their use would result in injury, even when protective gear is used. Thus, sparring typically uses only a limited subset of techinques. There is generally an emphasis on physical conditioning and excercise, including "ki" exercises.
16.12) Iaido (Contributor: Al Bowers - email@example.com) Intro: The Art of drawing the sword for combat. Origin: Japan History: This art is very old, and has strong philosophical and historical ties to Kenjutsu. It was practiced by Japanese warriors for centuries. Description: The object is to draw the sword perfectly, striking as it is drawn, so that the opponent has no chance to defend against the strike. Training: Usually practiced in solo form (kata), but also has partner forms (kumetachi). Sub-Styles: Muso Shinden Ryu, Muso Jikishin Ryu, and others.
16.13) Judo (Contributors: Neil Ohlenkamp - JudoSensei@aol.com, Michael D'Auben - firstname.lastname@example.org) Intro: Judo is a sport and a way to get in great shape, but is also very useful for self-defense. Origin: Japan History: Judo is derived from Jujutsu (see Jujutsu). It was created by Professor Jigoro Kano who was born in Japan in 1860 and who died in 1938 after a lifetime of promoting Judo. Mastering several styles of jujutsu in his youth he began to develop his own system based on modern sports principles. In 1882 he founded the Kodokan Judo Institute in Tokyo where he began teaching and which still is the international authority for Judo. The name Judo was chosen because it means the "gentle way". Kano emphasised the larger educational value of training in attack and defense so that it could be a path or way of life that all people could participate in and benefit from. He eliminated some of the traditional jujutsu techniques and changed training methods so that most of the moves could be done with full force to create a decisive victory without injury. The popularity of Judo increased dramatically after a famous contest hosted by the Tokyo police in 1886 where the Judo team defeated the most well-known jujutsu school of the time. It then became a part of the Japanese physical education system and began its spread around the world. In 1964 men's Judo competition became a part of the Olympics, the only eastern martial art that is an official medal sport. In 1992 Judo competition for women was added to the Olympics. Description: Judo is practiced on mats and consists primarily of throws (nage-waza), along with katame-waza (grappling), which includes osaekomi-waza (pins), shime-waza (chokes), and kansetsu-waza (armbars). Additional techniques, including atemi-waza (striking) and various joint locks are found in the judo katas. Judo is generally compared to wrestling but it retains its unique combat forms. As a daughter to Jujutsu these techniques are also often taught in Judo classes. Because the founder was involved in education (President of Tokyo University) Judo training emphasizes mental, moral and character development as much as physical training. Most instructors stress the principles of Judo such as the principle of yielding to overcome greater strength or size, as well as the scientific principles of leverage, balance, efficiency, momentum and control. Judo would be a good choice for most children because it is safe and fun. Training: Judo training has many forms for different interests. Some students train for competition by sparring and entering the many tournaments that are available. Other students study the traditional art and forms (kata) of Judo. Other students train for self-defense, and yet other students play Judo for fun. Black belts are expected to learn all of these aspects of Judo. Sub-Styles: Because Judo originated in modern times it is organized like other major sports with one international governing body, the International Judo Federation (IJF), and one technical authority (Kodokan). There are several small splinter groups (such as the Zen Judo Assoc.) who stress judo as a "do" or path, rather than a sport. Unlike other martial arts, Judo competition rules, training methods, and rank systems are relatively uniform throughout the world.
16.14) Jujutsu (Contributor: Darren Wilkinson - email@example.com) Intro: Old, practical, fighting art. A parent to Judo, Aikido, and Hapkido. Origin: Japan History: The begining of Ju-jutsu can be found in the turbulent period of Japanese history between the 8th and 16th Century. During this time, there was almost constant civil war in Japan and the classical weaponed systems were developed and constantly refined on the battle field. Close fighting techniques were developed as part of these systems to be use in conjunction with weapons against armoured, armed apponents. It was from these techniques that Ju-jutsu arose. The first publicly recognised Ju-jutsu ryu was formed by Takenouchie Hisamori in 1532 and consisted of techniques of sword, jo-stick and dagger as well as unarmed techniques. In 1603, Tokugawa Ieyasu brought peace to Japan by forming the Tokugawa military government. This marked the beginning of the Edo period of Japanese history (1603-1868), during which waring ceased to be a dominant feature of Japanese life. In the beginning of this period there was a general shift from weaponed forms of fighting to weaponless styles. These weaponless styles were developed from the grappling techniques of the weaponed styles and were collectively known as ju-jutsu. During the height of the Edo period, there were more than 700 systems of jujutsu. The end of the Edo was marked by the Meiji Restoration, an abortive civil war that moved power from the Shogun back to the Emperor. A large proportion of the Samurai class supported the Shogun during the war. Consequently, when power was restored to the Emperor, many things related to the Samurai fell into disrepute. An Imperial edict was decreed, declaring it a criminal offence to practice the old style combative martial arts. During the period of the Imperial edict, Ju-jutsu was almost lost. However, some masters continued to practice their art "under-ground", or moved to other countries, allowing the style to continue. By the mid twenty century, the ban on ju-jutsu in Japan had lifted, allowing the free practicing of the art. Description: The style encompasses throws, locks, and striking techniques, with a strong emphasis on throws, locks, and defensive techniques. It is also characterized by in-fighting and close work. It is a circular, hard/soft, external style. Training: Practical with a heavy emphasis on sparring and mock combat. Sub-Styles: There are many, each associated with a different "school" (Ryu). Here is a partial list: Daito Ryu, Danzan Ryu, Shidare Yanagi Ryu, Hokuto Ryu, Hakko Ryu, Hontai Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu. A more modern addition to this list is "Brazilian Jujutsu" or "Gracie Jujutsu", so named because of its development by the Gracie family of Brazil. Gracie/Brazilian Jujutsu (or GJJ/BJJ as it has come to be known on rec.martial-arts) has a heavy emphasis on grappling/groundfighting.
16.17) Karate (Contributors: Howard S. High - GODZILLA@kuhub.cc.ukans.edu, Avron Boretz - firstname.lastname@example.org, Izar Tarandach - email@example.com, Richard Parry - firstname.lastname@example.org) Intro: Somewhat generic term used for Japanese and Okinawan fighting arts. Origin: Okinawa History: Karate is a term that either means "Chinese hand" or "Empty hand" depending on which Japanese or Chinese characters you use to write it. The Okinawan Karates could be said to have started in the 1600s when Chinese practitioners of various Gongfu styles mixed and trained with local adherents of an art called "te" (meaning "hand") which was a very rough, very simple fighting style similar to Western boxing. These arts generally developed into close- range, hard, external styles. In the late 19th century Gichin Funakoshi trained under several of the great Okinawan Karate masters (Itosu, Azato) as well as working with Jigoro Kano (see Judo) and Japanese Kendo masters (see Kendo). Influenced by these elements, he created a new style of Karate. This he introduced into Japan in the first decade of the 20th century and thus to the world. The Japanese Karates (or what most people refer to when they say "karate") are of this branch. Description: Okinawan Karate styles tend to be hard and external. In defense they tend to be circular, and in offense linear. Okinawan karate styles tend to place more emphasis on rigorous physical conditioning than the Japanese styles. Japanese styles tend to have longer, more stylistic movements and to be higher commitment. They also tend to be linear in movement, offense, and defense. Both tend to be high commitment, and tend to emphasize kicks and punches, and a strong offense as a good defense. Training: This differs widely but most of the Karate styles emphasize a fairly equal measure of basic technique training (repitition of a particular technique), sparring, and forms. Forms, or kata, as they are called, are stylized patterns of attacks and defenses done in sequence for training purposes. Sub-Styles: (Okinawan): Uechi-Ryu, Goju-Ryu, Shorin-Ryu, Isshin-Ryu (Japanese): Shotokan, Shito-Ryu, Wado-Ryu Here is a more complete list (complements of Howard High) in which Okinawan and Japanese styles are mixed: Ashihara, Chinto-Ryu, Chito-Ryu, Doshinkan, Gohaku-Kai, Goju-Ryu (Kanzen), Goju-Ryu (Okinawan), Goju-Ryu (Meibukan), Gosoku-Ryu, Isshin-Ryu, Kenseido, Koei-Kan, Kosho-Ryu Kenpo, Kyokushinkai, Kyu Shin Ryu, Motobu-Ryu, Okinawan Kempo, Okinawa Te, Ryokukai, Ryuken, Ryukyu Kempo, Sanzyu-Ryu , Seido, Seidokan, Seishin-Ryu, Shindo Jinen-Ryu, Shinjimasu, Shinko-Ryu, Shito-Ryu (Itosu-Kai), Shito-Ryu (Seishinkai), Shito-Ryu (Kofukan), Shito-Ryu (Kuniba Ha) , Shito-Ryu (Motobu Ha), Shorin-Ryu (Kobayashi), Shorin-Ryu (Matsubayashi), Shorin-Ryu (Shobayashi), Shorin-Ryu (Matsumura), Shorinji Kempo, Shorinji-Ryu, Shoshin-Ryu, Shotokai, Shotokan, Shotoshinkai, Shudokai, Shuri-Ryu, Shuri-Te, Uechi-Ryu , Wado-Kai, Wado-Ryu, Washin-Ryu, Yoseikan, Yoshukai, Yuishinkan. Sub-Style Descriptions: Wado-Ryu was founded by Hironori Ohtsuka around the 1920s. Ohtsuka studied Jujutsu for many years before becoming a student of Gichin Funakoshi. Considered by some to be Funakoshi's most brilliant student, Ohtsuka combined the movements of Jujutsu with the striking techniques of Okinawan Karate. After the death of Ohtsuka in the early 1980s, the style split into two factions: Wado Kai, headed by Ohtsuka's senior students; and Wado Ryu, headed by Ohtsuka's son, Jiro. Both factions continue to preserve most of the basic elements of the style. Uechi-ryu Karate, although it has become one of the main Okinawan martial arts and absorbed many of the traditional Okinawan karate training methods and approaches, is historically, and to some extent technically quite separate. The "Uechi" of Uechi-ryu commemorates Uechi Kanbun, an Okinawan who went to Fuzhou, the capital city of Fujian province in China in 1897 to avoid being drafted into the Japanese army. There he studied under master Zhou Zihe for ten years, finally opening his own school, one of the few non-Chinese who ventured to do so at the time. The man responisble for bringing Uechi-ryu to the US is George Mattson. Uechi-ryu, unlike the other forms of Okinawan and Japanese karate mentioned in the FAQ, is only a few decades removed from its Chinese origins. Although it has absorbed quite a bit of Okinawan influence and evolved closer to such styles as Okinawan Goju-ryu over those decades, it still retains its original Chinese flavor, both in its technique and in the culture of the dojo. It is a "half-hard, half-soft" style very similar to such southern Chinese styles as Fukienese Crane (as still practiced in the Chinese communities of Malaysia), Taiwanese Golden Eagle, and even Wing Chun. Conditioning the body for both attack and defense is a common characteristic of both Okinawan karate and southern Shaolin "street" styles, and as such is an important part of Uechi training. There is a strong internal component to the practice, including focused breathing and tensioning exercises similar to Chinese Qigong. Uechi, following its Chinese Crane heritage, emphasizes circular blocks, low snap kicks, infighting (coordinating footwork with grabs, locks, throws, and sweeps), and short, rapid hand traps and attacks (not unlike Wing Chun).
16.20) Kenpo (American) (Contributor: Stephen Kurtzman - email@example.com) Note: In the Japanese language, the consonants "n" and "m" have the same symbol, thus the English spelling can be rendered either "Kempo" or "Kenpo". There are several arts in this family, but the spelling of "Ken/mpo" is not of significance in distinguishing between them. This art is also called Kenpo Karate. American Kenpo is an eclectic art developed by Hawaiian Ed Parker in the 60s. The art combines the Kara-Ho Kenpo which Parker learned from William Chow with influences from Chinese, Japanese, Hawaiian, and Western Martial sources. American Kenpo blends circular motions and evasive movements with linear kicks and punches. The art is oriented toward street-wise self defense. A big emphasis on basics, sparring, and kata. It is similar to most Karate styles in its training mechanisms. The Tracy schools of Kenpo teach Parker's style, but are a "politically" separate organization.
16.21) Kempo (Kosho Ryu) Contributor: Mark Edward Bober (firstname.lastname@example.org) Introduction: Kosho Ryu Ken/mpo is a philosophical art much like Jeet Kune Do but with a Zen influences...lots of mind science material and healing arts. It is not a style of compiled kata or specific techniques..it is a study of all motion and therefore cannot be stylised to look like a specific teacher or animal movement. Thus, this writeup will discuss only the history of the art. Origin: Japan History: Kosho Shorei Kempo was created by several happenings, spanning a period of centuries. According to Mitose Sensei, during the invasion of Genghis Khan, the Head Monk of the Shaolin Temple fled China and found refuge with the Mitose family. In appreciation for the kindness of the Mitose's, he taught them Shaolin Chuan Fa (Shorinji Kempo in Japanese). From James Mitose's book: "Fifteen hundred years ago, the ancestor (of the Author) was a Shinto priest. He studied and taught many different martial arts including sword fighting, lance fighting, fighting with the bow and arrow, fighting on horseback, and swim fighting. Some arts looked like Kempo, Karate, Gongfu, and Ju-jitsu- but they were different in many ways. He mastered all of these arts and became Grand Master. Then Grand Master Mitose founded a martial arts school and called his style Mitose's Martial Art School." In 1235 a Shinto priest whom James Mitose called his first ancestor became enlightened to what we call Kempo. According to Mitose, this man was a martial arts master and a Buddhist monk studying at Shaka-In who found it difficult to be both. His religion taught him pacifism; his martial art taught him destruction. He pondered this dilemma under an old pine tree meaning Kosho in Japanese. He became enlightened and was from then on known as, Kosho Bosatsu, the Old Pine Tree Enlightened One. He discovered the relationship between man and Nature and also the secret of the Escaping Arts which is what makes Kempo a True and Pure Kempo or study of all Natural Law through a Martial Arts medium. Then "the Grand Master founded the Kosho Shorei Temple of Peace, True Self Defense and Kosho Shorei Yoga School. At that time, he made up the Coat of Arms and the Motto for his Temple. In his Temple, he taught how to escape from being harmed by using the escaping patterns, with God's help." Only 2 people in the world learned the Escaping Arts from Mitose Sensei and one of these two learned all the facets of Kosho, namely its 22 Generation Grandmaster Bruce Juchnik. The highest goal is to defend oneself without body contact unlike Okinawan/Japanese Karate systems or many other Ken/mpo systems. Kosho Ryu influences can be seen in Ed Parker and his creation American Kenpo. He added many labels to concepts inherent in Kosho that had Japanese names or no labels at all. References: "What Is Self Defense" 1953 James M. Mitose "What Is True Self Defense" 1981 James M. Mitose
16.22) Kempo (Ryukyu) (Contributor: Al Wilson - email@example.com) Intro: Ryukyu Kempo (which roughly translates into Okinawan kung-fu, or Chinese boxing science) is the original style of martial arts learned and taught by Gichin Funakoshi on the island of Okinawa (1). It stresses the existence of body points within your opponent that can be struck or grappled for more effective fighting. Origin: Okinawa Islands (Ryukyu island chain). History: Practioners of Ryukyu Kempo believe that karate-do is a popular subform of Kempo, established within this century by Gichin Funakoshi. People with original copies of Funakoshi's first edition book _Ryukyu Kempo_ state that he is clearly is grappling and touching an opponent. Later editions and current karate books only show a practioner with a retracted punch, where the original shows actively grappling an enemy. It is felt that Funakoshi was the last of the purists, wanting all to learn the art. In subseqent years, the Okinawans, who have a culture and history of their own, became disenchanted with the Japanese, and were less inclined to teach them the "secret techniques" of self defence. When American military men occupied Japan after WWII, they became enamored of the martial-arts. It is theorized that the Japanese and Okinawans were reluctant to teach the secrets of their national art to the occupiers, and so taught a "watered down" version of karate-do usually reserved for children. Contemporary Kempo practioners practice "pressure point fighting" or Kyushu-jitsu and grappling, called Tuite. It is an exact art of striking small targets on the body, such as nerve centers, and grappling body points in manners similar to Jujitsu or Aikido(2). Modern teachers of this are George Dillman of Reading, PA, Taiku Oyata of Independence, Missouri, Rick Clark of Terre Haute, Indiana, and others. Training: The practioners of kempo believe that kata do not represent origin or direction of attacks but positional techniques for the defender. Concentration is made on physical perfection of kata and the Bunkai, or explanation of the movements. Tournaments of kata and kumite (sparriing) are encouraged as learning experiences, but not overly stressed. Also taught is Kobudo, which is defined as weapons fighting using ordinary hand tools. Five principles to be observed in Oyata's school: 1. Proper distance. 2. Eye contact. 3. Minimum pain inflication on your opponent. 4. Legally safe. 5. Morally defensible.(3) There are a couple of physical differences in Kempo and many other styles. One is a three-quarter punch, rather than a full twist. Second is a fist whereby the thumb stops at the first finger, rather than the first two fingers. Third is the sword hand, which has the little finger placed as parallel as possible to the third finger and the thumb straight and on the inside rather than bent.(2) References: (1) _Karate-Do: My Way of Life_ by Gichin Funakoshi (2) _Kyusho Jitsu: The Dillman Method of Pressure Point Fighting_ by George A. Dillman with Chris Thomas. (3) _Ryukyu Kempo: History and Basics_ by J. D. Logue (Oyata student). Sub-Styles:
16.23) Kobudo (Contributors: Steve Gombosi - firstname.lastname@example.org, John Simutis - email@example.com) Intro: "Kobudo" literally means "ancient martial ways". In the karate world, it generally refers to those traditional Okinawan weapons whose history and practice has been linked to that of karate. Origin: Okinawa Description: Most Okinawan styles have at least some kobudo/kobujutsu curriculum. In addition, there are at least two major Okinawan organizations whose primary focus is these weapons arts: the Ryukyu Kobudo Hozon Shinko-kai and the Okinawa Kobudo Renmei. In the US there is 'Okinawa Kobudo Association, USA'; the shihan in the US is in Citrus Heights, CA. There may be other US Kobudo organizations. The most common kobudo weapons (and the ones most often taught by Okinawan karate systems) are: bo - staff, usually a rokushakubo or "six foot staff", although 4, 9, and 12 foot staffs are also used. sai - three-tined iron clubs, usually carried as a set of 3. nunchaku - two short tapered wooden clubs, connected at the narrow ends by a short rope or chain (a flail, as well as other uses). kama - a sickle, used singly or in pairs; tuifa/tonfa - a club with a hand-length perpendicular handle, the ancestor to the police PR-24; usually used in pairs. Less common weapons are: koa - a hoe. eku - a boat oar. tekko - essentially brass knuckles. shuchu - a small kubotan-like thing about 5" long. san-setsu-kon - the 3-section staff. surujin/suruchen - a weighted chain with a spike or blade on one end - similar to the Chinese chain whip or the Japanese manrikigusari; tinbe - actually, this is two weapons...the tinbe itself, which is a small shield traditionally made of the shell of a sea tortoise, and the rochin, which is a short spear with a cutting blade - the weapon actually resembles a Zulu spear more than anything else. kusarikama - a kama on the end of a rope or chain. nunti - a short spear. and a few other oddball implements of mayhem including spears and the occasional pilfered Japanese sword ;-).
16.24) Krav Maga (Contributor: Peter Muldoon - firstname.lastname@example.org) Intro: The Israeli official Martial Art Origin: Israel History: The Krav Maga was developed in Israel in the early forties when the underground liberation organizations were fighting for the independence of the State of Israel. At that time, it was illegal to possess weapons. The inventor and developer of the Krav Maga was a champion heavy weight boxer, a judo champion, and an expert in jiu-jutsu. In addition, he was as a trapeze acrobat and a well known dancer. The knowledge he thus obtained, contributed to the development of the Israeli martial art of self defense. There is no hidden meaning behind the name Krav Maga, and literarily means "contact fight / battle". The Krav Maga was put into practice originally by the fighters of the liberation organizations that often went to battle armed with knives or sticks and with the knowledge of Krav Maga, and they were very successful. After the establishment of the State of Israel, Krav Maga was adopted as the official martial art taught in the defense forces, and especially in the elite police and army units. Krav Maga was integrated into army training by Imi Lichenfield, a career IDF officer and chief instructor at the armys physical training facility at the Wingate Institute. Imi is still active involved in the Krav Maga Association and maintains the role of president. Over the years, the Krav Maga has turned into an integrated part of training in many disciplines such as educational institutes. Krav Maga is taught in many public schools in Isreal. Description: The Krav Maga is not an ecletic martial art system, rather, it was developed with the perception that the classic martial arts were lacking various elements. The defense needs in the eras that the classic martial arts were developed were different than those of today. New unique techniques for defense against pistols, guns and hand grenades were considered needed, and therefore developed. Krav Maga has no katas or specific sequences that must be followed. Students use the basic moves in conjunction with any one of a number of other moves to fend off an attack, the key idea being adaptability to new situations through improvisation. Emphasis is put on speed, endurance, strength, accuracy and co-ordination especially for intensive Krav Maga training. Training: Since the Krav Maga by definition is for self defense, it does not have any constitution and judicial rules and therefore there are no contests and exhibitions. The training is for practical usage in the every day reality. There is a colored belt system with a Black Belt typically granted after 8 to 10 years of practice. Spiritual and philosophical aspects are studied only at the Black Belt level. Get information from this website: http://www.bway.net/~muldoon/km.html and/or write to: Krav Maga Academy 57 West 84 st. New york, NY 10024 (212) 580-5335 Another website: Brazilian Association of Krav Maga: http://www.kravmaga.com.br Sub-Styles: None.
16.27) Muay Thai (Contributors: Peter Hahn - email@example.com, Glen Downton - firstname.lastname@example.org) Intro: Muay Thai is usually regarded as a very hard, external style. However, especially because of its roots in heavily Buddhist Thailand, some consider it to have a spiritual aspect as well. Thai boxers typically perform some Buddhist rituals before beginning a match. Practicing Muay Thai is a vigorous workout and produces tremendous cardiovascular endurance. Origin: Thailand History: Modern Thai Boxing (Muay Thai) originated from Krabi Krabong (a Thai weapons art roughly meaning "stick and sword"). When the Thais lost their weapons or fought close quarters with weapons they used knees, elbows, feet, fists and headbutting. They became famous for their toughness on the battle field with constant wars with their Burmese rivals. King Ramkamheng (1275 - 1317) wrote the "Tamrab-Pichei-Songkram" - the Book of War Learning, about the Thai war art, the basis of which was weaponless fighting. The biggest Thaiboxing hero of Thailand is the 'Black Prince' Nai Khanom Dtom, who was captured by the Burmese and had to fight against 12 of the best Burmese fighters before he was released (in 1560). The Thais are still having annual Muay Thai tournaments in order to salute him. In the old days the fights lasted until one of the fighters was dead or seriously injured. There were no rounds and the fights could have lasted for several hours. No protective gear was used and sometimes they wore rope over their knuckles and glued some broken glass on top of it... Before the 1940's, Thai fighters fought bare-knuckled. After World War II, the Thai government became concerned due to the high number of fatalities in the ring and and forced some rules to be used: they gave up groin shots, eye pokes, started using weight classes and boxing gloves, and rounds. The Thais felt that this watered down their sport. As a result, Thais place more emphasis on kicks, particularly to the legs; knee strikes; and grappling. These skills score higher points than hand strikes in Thai matches. Description: Muay Thai involves boxing techniques, hard kicking, and knee and elbow strikes. Low kicks to the thighs are a very distinguishing technique used frequently in Muay Thai. Stand up grappling is also used and allowed in the ring. Muay Thai practitioners develop a very high level of physical conditioning developed by its practitioners. Training: The training involves rigorous physical training, similar to that practiced by Western boxers. It includes running, shadow-boxing, and heavy bag work. Much emphasis is also placed on various drills with the so-called "Thai pads". These pads weigh five to ten pounds, and cover the wearers forearms. In use, the trainer wears the pads, and may hold them to receive kicks, punchs, and knee and elbow strikes, and may also use them to punch at the trainee. This training is vaguely similar to the way boxing trainers use focus mitts. The characteristic Muay Thai round kick is delivered with the shin, therefore, the shins become conditioned by this type of kicking. Full contact, full-power sparring is usually not done in training, due to the devastating nature of the techniques employed. Thai boxers may box, hands only, with ordinary boxing gloves. Another training drill is for two fighters to clinch, and practice a form of stand-up grappling, the goal of which is to try to land a knee strike. However, full-power kicks, knees, and elbows are typically not used in training. Promising children will enter dedicated Muay Thai training camps as young as six or seven. There, the fighter will be put on a plan aimed at making him a national champion while still in his teens. The Thais fight frequently, and a 20 year old fighter may have had 150 fights. Typically, half the purse from each fight goes to the training camp, with the remainder being split between the fighter and his family.
16.28) Ninjutsu (Contributor: Joachim Hoss - email@example.com, Adam James McColl - firstname.lastname@example.org) Intro: Lit. Translation: "Nin" Perseverance/Endurance "jutsu" Techniques (of). Surrounded by much controversy, today's "ninjutsu" is derived from the traditional fighting arts associated with the Iga/Koga region of Japan. These arts include both "bujutsu" ryuha (martial technique systems) and "ninjutsu" ryuha, which involve a broad base of training designed to prepare the practitioner for all possible situations. History: The history of ninjutsu is clouded by the very nature of the art itself. There is little documented history, much of what is known was handed down as part of an oral tradition (much like the native american indian) and documented by later generations. This has led to a lot of debate regarding the authenticity of the lineages claimed by the arts instructors. Historical records state that certain individuals/families from the Iga/Koga (modern Mie/Omi) region were noted for possessing specific skills and were employed (by samurai) to apply those and other skills. These records, which were kept by people both within the region and outside of the region, refer to the individuals/families as "Iga/Koga no Mono" (Men of Iga/Koga) and "Iga/Koga no Bushi" (Warriors of Iga/Koga). Due to this regions terrain, it was largely unexplored and the people living within lived a relatively isolated existence. This enabled them to develop perspectives which differed from the "mainstream" society of the time, which was under the direct influence of the upper ruling classes. When necessary, they successfully used the superstitions of the masses as a tool/weapon and became feared and slightly mythologized because of this. In the mid/late 1500's their difference in perspective led to conflict with the upper ruling classes and the eventual invasion/destruction of the villages and communities within the Iga/Koga region. The term "ninja" was not in use at this time, but was later introduced in the dramatic literature of the Tokugawa period (1605-1867). During this period, ancestral fears became contempt and the stereotypical image ("clans of assassins and mercenaries who used stealth, assassination, disguises, and other tricks to do their work") was formed which, to this day, is still very much the majority opinion. Over 70 different "ninjutsu ryu" have been catalogued/identified, however, the majority of them have died out. Most were developed around a series of specific skills and techniques and when the skills of a particular ryu were no longer in demand, the ryu would (usually) fade from existence. The three remaining ninjutsu ryu (Togakure ryu, Gyokushin ryu, and Kumogakure ryu) are encompassed in Dr. Masaaki Hatsumi's Bujinkan Budo Taijutsu system. These ryu, along with six other "bujutsu ryu" (Gyokko Ryu, Koto Ryu, Takagi Yoshin Ryu, Shinden Fudo Ryu, Gikan Ryu and Kukishinden Ryu), are taught as a collective body of knowledge (see Sub-Styles for other info). During the "Ninja-boom" of the 80's, instructors of "Ninjutsu" were popping out of the woodwork - it was fashionable to wear black. Now that the boom is over there are not as many people trying cash in on the popularity of this art. However, as with all martial arts, it would be wise to be very careful about people claiming to be "masters personally taught by the Grandmaster in Japan". How do you verify the authenticity of an instructor? In the case of a Bujinkan Budo Taijutsu instructor there a few points which one can use. First: all recognized "instructors" of the Bujinkan Dojo will, in addition to their Dan grade (black belt), have either a Shidoshi-ho (assistant teacher - first to fourth Dan) or Shidoshi (teacher - fifth to ninth Dan) certificate/ licence from Dr Hatsumi. Only people with these certificates are considered to be qualified to teach his system (a Dan grade alone DOES NOT make one a teacher). Second: in addition to these certificates/licences, all recognized "instructors" of the Bujinkan Dojo will possess a valid Bujinkan Hombu Dojo Shidoshi-kai (Bujinkan Headquarters Dojo Teachers Association) for the current year. These cards are issued each year from Dr Hatsumi to those recognized as "instructors". These points will help you if you are looking at training with someone from the Bujinkan Dojo. Beyond that, it's a case of "buyer beware". Description: Terms like "soft/hard", "internal/external", linear/circular" have been used to describe ninjutsu by many people. Depending upon the perspective of the person, it could appear to be any one, all or even none of the above. It is important to remember that the term "ninjutsu" does not refer to a specific style, but more to a group of arts, each with a different point of view expressed by the different ryu. The physical dynamics from one ryu to another varies - one ryu may focus on redirection and avoidance while another may charge in and overwhelm. To provide some kind of brief description, ninjutsu includes the study of both unarmed and armed combative techniques, strategy, philosophy, and history. In many Dojos the area of study is quite comprehensive. The idea being to become adept at many things, rather than specializing in only one. The main principles in combat are posture, distance, rythm and flow. The practitioner responds to attacks in such a way that they place themselves in an advantageous position from which an effective response can be employed. They are taught to use the entire body for every movement/technique, to provide the most power and leverage. They will use the openings created by the opponents movement to implement techniques, often causing the opponent to "run in/on to" body weapons. Training: As was noted above, the areas of study in ninjutsu are diverse. However, the new student is not taught everything at once. Training progresses through skills in Taihenjutsu (Body changing skills), which include falling, rolling, leaping, posture, and avoidance; Dakentaijutsu (Striking weapons body techniques) using the entire body as a striking tool/ weapon - how to apply and how to receive; and Jutaijutsu (Supple body techniques) locks, throws, chokes, holds - how to apply and how to escape. In the early stages, weapons training is usually limited to practicing how to avoid attacks - overcoming any fear of the object and understanding the dynamics of its use from the perspective of "defending against" (while unarmed). In the mid and later stages, once a grounding in Taijutsu body dynamics is in place, practitioners begin studying from the perspective of "defending with" the various tools/weapons. In the early stages of training, kata are provided as examples of "what can be done here" and "how to move the body to achieve this result". However, as the practitioner progresses they are encouraged to explore the openings which naturally appear in peoples movements and apply spontaneous techniques based upon the principles contained within the kata. This free flowing style is one of the most important aspects of ninjutsu training. Adaptability is one of the main lessons of all of these ryu. Due to the combative nature of the techniques studied, there are no tournaments or competitions in Ninjutsu. As tournament fighting has set rules which compel the competitor to study the techniques allowed within that framework, this limits not only the kinds of techniques that they study, but also the way in which they will apply those techniques. The way that you train is the way that you fight. Ninjutsu requires that its practitioners be open to any situation and to be able to adapt their technique to ensure survival. Sub-Styles: There are a number of people claiming to teach "ninjutsu". Dr. Masaaki Hatsumi has been the recpient of numerous cultural awards in recognition of his extra-ordinary knowledge of Japanese martial culture. He is considered by many to be the only source for authentic "ninjutsu". However, as was noted above, the teachings of the three ninjutsu ryu which are part of his Bujinkan system, are not taught individually. Rather, they are taught as part of the collective body of knowledge which forms the foundation of his Bujinkan Budo Taijutsu system. Shoto Tanemura, formerly of the Bujinkan Dojo, formed his own organization (Genbukan Dojo) and claimed to be the Grandmaster of/teaching both Iga and Koga Ryu Ninjutsu. He has since formed a number of other organizations and is becoming more widely known for his "Samurai Jujutsu" tapes (Panther Productions). The list of names of people claiming to teach "Koga Ryu Nijutsu" is quite long. The last person to be recognized as part of the Koga Ryu lineage in Japan was Seiko Fujita. His knowledge of "ninjutsu" died with him - he left no successor.
16.29) Praying Mantis (Tanglangquan/Tanglangpai) (Contributor: Fernando Blanco - email@example.com) Intro: Imitative boxing of the Praying Mantis. The Praying Mantis is an insect with killer instinct and blinding speed. The Tanglangpai is a combat system composed of several sub-styles, that due to the richness and complexity of their techniques are considered styles by themselves. Some of these styles were created combining the praying mantis boxing with other wu-shu systems. Some writers count more than 40 Praying Mantis styles. This section will only mention below the more ancient and traditional ones. Origin: Shandong Province (Northern China) History: Wang Lang (the style creator) was born in the Jimo district, in Shandong Province. He lived during the Ming Dynasty fall and as he was a patriot (some Masters say he was uncle of the last Ming Emperor), he decided to excel in the martial arts to fight against the Qing Dynasty (Manchurian rulers). He entered to the Shaolin monastery in Songshang, but being prosecuted by the Manchurians he travelled all over China, training in places places where he could find Gongfu Masters. In this way he learned 17 Chinese Boxing styles. After this travel, Wang Lang entered to the Laoshan monastery. Once there, he was always defeated by the abbot of the temple in spite of his deep knowledge of the fighting arts. One day, while he was meditating in a forest he saw a combat between a praying mantis and a cicada. He was impressed by the aggressive attitude of the mantis and he started studying its movements. After a long learning time he combined the praying mantis hand movements with the monkey steps (to enhance the coordination between hand and feet). With this new style Wang Lang could defeat the monastery abbot. Wang Lang went on modifying his system and when he felt satisfied with his creation he accepted some disciples. Description: Even though Praying Mantis sub-styles are quite different, they all contain the basic structure created by Wang Lang: * 8 stances * 12 key words * 8 rigid and 12 flexible methods * 5 external and 5 internal elements * 8 non- attacking and 8 attacking points. Northern praying mantis is a style characterized by fast hand movements. The hook hands are the "trade mark" of the style and they are found in all the northern sub-styles. Northern Tanglangquan's main weapon is the blinding speed of the hand trying to control and punch the opponent. It has a balanced combination of circular and straight movements. Other important elements are the simultaneous block and punch, and strong chopping punches. These are practical movements for full contact street fighting. Some Chinese martial artists say that Seven Star Praying Mantis Boxing (one of the praying mantis sub-styles) is the most aggressive style created in China. Grappling, kicking, nerve-attack and weapons complete the northern branch. Southern praying mantis is very different. It is an infighting system that resembles Wing Chun. Qigong is very important in the Southern Praying Mantis. Movements are continuous and circular, soft and hard, except in attack, where the middle knuckle (phoenix eye) of the index finger is used like a needle to pierce the internal organs. A punch with the fist produces an external muscular bruise, striking with the phoenix eye produces an internal bruise. Training: 1) Physical exercises 2) Body conditioning Tieshazhang (Iron Palm) Baidagong (body strengthening) Jhiu Sa So (Poison Palm) 3) Fighting Theory Tui (legs actions) Da (hand actions) 4) School training (basic movements known as combinations) 5) Shuai (Throwing Techniques) 6) Na (also known as Qinna, grappling techniques) 7) Forms training (The core of the system. Solo training and forms for two or more people) 8) Sanshou (free fighting) 9) Jei Jai (weapons training) 10) Dim Mak (also known as mur mon, the death touch) 8 attacking points 8 non attacking points Deadly points 11) History and tradition (honor the ancestors in the style and keep the folklore tradition -for example Lion Dance-) Sub-Styles: Northern Sub-Styles: Seven Stars Praying Mantis (Qixing Tanglang) Eight Steps Praying Mantis (Babu Tanglang) Six Armonies Praying Mantis (Liuhe Tanglang) Secret Door Praying Mantis (Bimen Tanglan) Mysterious Track Praying Mantis (Mizong Tanglang) Throwing Hands Praying Mantis (Shuaishou Tanglang) Plumb Flower Praying Mantis (Meihua Tanglang) Flying legs Praying Mantis from the Wah Lum Temple (Wah Lum Tam Tui Tang Lang) Jade Ring Praying Mantis (Yuhuan Tanglang) Long Boxing Praying Mantis (Changquan Tanglang) Great Ultimate Praying Mantis (Taiji Tanglang) Eight Ultimates Praying Mantis (Baji Tanglang) Southern Sub-Styles (Hakka shadow boxing): Bamboo Forest Praying Mantis (Kwong Sai Jook Lum Tang Lang) Chou Clan Praying Mantis (Chou Gar Tang Lang) Chu Clan Praying Mantis (Chu Gar Tang Lang) Familiar or non spread Sub-Styles: Han Kun Family Praying Mantis (Han Gong Jia Tanglang) Drunken Praying Mantis (Zui Tanglang) Shiny Board Praying Mantis (Guangban Tanglang) Connected Arms Praying Mantis (Tongbei Tanglang) Mandarin Duck Praying Mantis (Yuanyang Tanglang)
16.36) Silat (Contributors: Jeffrey Chapman - firstname.lastname@example.org Russ Rader - email@example.com Tim Rivera - firstname.lastname@example.org) Intro: Pencak Silat is the Indonesian and Malaysian set of Martial Arts, all with different styles and schools (over 400 of them). Some of them use different spellings, depending upon their lineage - Dutch-Indonesian Silat is typically "Pentjak Silat" and "pure" Indonesian styles "Pencak Silat." The Indonesian spelling is used here, not to exclude some Silat styles, but for uniformity. Origin: Indonesia and Malaysia History: Since Silat is an umbrella term covering many styles, it is not possible to give a single history. Some of the arts are very old (1000 years?), and some were developed less than 50 years ago. Also, as with other arts, the history of Silat is somewhat unclear. There is a mixture of indigenous techniques along with techniques borrowed from Chinese arts and Indian arts such as Kalaripayit. Description: Pencak Silat depends heavily on an indigenous weapons and animal-styles heritage. In the (distant) past, it was predominately a weapons system; empty hand techniques are derived from the weapons forms. It is still often said that there is no silat without the knife. Techniques are quite varied, although kicks are not emphasized much. Foot work is sophisticated and the development of stability is of major importance. The foot and and hand techniques are so subtle and intricate that they are often taught separately, then integrated after the student has mastered them individually. There is a good balance between offensive and defensive techniques. Different styles of Silat use different terminology to describe a practicioner's ability - "guru" is frequently used to refer to a proficient instructor, "kang" for senior students, and "pendekar" someone who has developed a high level of skill and possibly spiritual development. However, the usage varies from style to style, and possibly even from school to school. Training: As an example, Pencak Silat Mande Muda has a complex and rather rigorous system of training, which includes classical empty hand and weapons forms, practical empty hand, weapons, and improvised weapons techniques, stretches, physical conditioning, and breath control. Although the forms are often performed with musical accompaniment, much like a dance, they are nevertheless extremely valuable both as conditioning methods and as encyclopedias of technique. Sub-Styles: Mande Muda, Serak (also spelled Sera and Serah), Cimande (Tjimande), Cikalong (Tjikalong), Harimau, Mustika Kwitang, Gerakan Suci, Perisai Diri, many others.
16.37) Tae-Kwon-Do (Contributors: Dakin Burdick - email@example.com, Ray Terry - firstname.lastname@example.org) Intro: One of the most popular sports and martial arts in the world. Origin: Korea History: The five original Korean Kwans ("schools") were: Chung Do Kwan, Moo Duk Kwan (the art of Tang Soo Do), Yun Moo Kwan, Chang Moo Kwan, and Chi Do Kwan. These were founded in 1945 and 1946. Three more Kwans were founded in the early 1950's - Ji Do Kwan, Song Moo Kwan, and Oh Do Kwan. After fifty years of occupation by Japan (which ended in 1945) and after the division of the nation and the Korean War, Korean nationalism spurred the creation of a national art in 1955, combining the styles of the numerous kwans active within the country (with the exception of Moo Duk Kwan, which remained separate - therefore Tang Soo Do is still a separate art from TKD today). Gen. Hong Hi Choi was primarily responsible for the creation of this new national art, which was named Tae Kwon Do to link it with Tae-Kyon (a native art). Earlier unification efforts had been called Kong Soo Do, Tae Soo Do, etc. Many masters had learned Japanese arts during the occupation, or had learned Chinese arts in Manchuria. Only a few had been lucky enough to be trained by the few native martial artists who remained active when the Japanese banned all martial arts in Korea. Choi himself had taken Tae-Kyon (a Korean art) as a child, but had earned his 2nd dan in Shotokan Karate while a student in Japan. Description: Primarily a kicking art. There is often a greater emphasis on the sport aspect of the Art. Tae-Kwon-Do stylists tend to fight at an extended range, and keep opponents away with their feet. It is a hard/soft, external, fairly linear style. It is known for being very powerful. Training: Training tends to emphasize sparring, but has forms, and basics are important as well. There is a lot of competition work in many dojongs. The World Taekwondo Federation is the governing body recognized by the International Olympic Committee, and as a result WTF schools usually emphasize Olympic-style full contact sparring. The WTF is represented in the U.S. by the U.S. Taekwondo Union (USTU). The International Taekwondo Federation is an older organization founded by Hong Hi Choi and based out of Canada. It tends to emphasize a combination of self-defense and sparring, and uses forms slightly older than those used by the WTF. The American Taekwondo Association is a smaller organization similar in some ways to the ITF. It is somewhat more insular than the ITF and WTF, and is somewhat unique in that it has copyrighted the forms of its organization so that they cannot be used in competition by non-members. There are numerous other federations and organizations, many claiming to be national (AAU TKD has perhaps the best claim here) or international (although few are), but these three have the most members. All of these federations, however, use similar techniques (kicks, strikes, blocks, movement, etc.), as indeed does Tang Soo Do (another Korean art, founded by the Moo Duk Kwan, that remained independent during the unification/foundation of Tae Kwon Do). Sub-Styles: None(?)
16.38) Taijiquan (T'ai Chi Ch'u"an) (Contributors: William Breazeal - email@example.com, Michael Robinson - firstname.lastname@example.org, Simon Ryan/Peter Wakeham - email@example.com) INTRO: One of the three orthodox "internal" styles of Chinese martial art (the other two being Xingyiquan and Baguazhang). The term "Taiji" refers to the ancient Chinese cosmological concept of the interplay between two opposite yet complementary forces (Yin and Yang) as being the foundation of creation. "Quan" literaly means "fist" and denotes an unarmed method of combat. Taijiquan as a martial art is based on the principle of the soft overcoming the hard. ORIGIN: Chenjiagou, Wen County, Henan Province, China. HISTORY: The origins of Taijiquan are often attributed to one Zhang Sanfeng (a Taoist of either the 12th or 15th century depending on the source) who created the art after witnessing a fight between a snake and a crane. These stories were popularized in the early part of this century and were the result of misinformation and the desire to connect the art with a more famous and ancient personage. All of the various styles of Taijiquan which are in existence today can be traced back to a single man, Chen Wangding, a general of the latter years of the Ming Dynasty. After the fall of the Ming and the establishment of the Qing Dynasty (1644), Chen Wangding returned to the Chen village and created his forms of boxing. Originally containing up to seven forms, only two forms of Chen Style Taijiquan have survived into the present. The Art was only taught to members of the Chen clan until a promising young outsider named Yang Luzhan was accepted as a student in the early part of the 19th century. Yang Luzhan (nicknamed "Yang without enemy" as he was reportedly a peerless fighter) modified the original Chen style and created the Yang style of Taijiquan, the most popular form practiced in the world today. Wu Yuxiang learned the Art from Yang Luzhan and a variation of the original Chen form from Chen Jingbing (who taught the "small frame" version of Chen Taijiquan) and created the Wu style. A man named Hao Weizhen learned the Wu style from Wu Yuxiang's nephew and taught the style to Sun Ludang, who in turn created the Sun style (Sun was already an established master of Xingyiquan and Baguazhang when he learned Taijiquan. He combined his knowledge of the other arts when creating his style). Yang Luzhan had another student, a Manchu named Chuan You (or Quan You), who in turned taught the Art to his son, Wu Jianchuan (or Jianquan). Wu Jianchuan popularized his variation of the Yang style, which is commonly refered to as the Wu Jianchuan (or Jianquan) style. In recent times (this century) there have been many other variations and modificationsof the Art, but all may be traced back through the above masters to the original Chen family form. Description: Complete Taijiquan arts include basic exercises, stance keeping (Zhanzhuang), repetitive single movement training, linked form training, power training (exercises which train the ability to issue energy in a ballistic pulse), weapons training (which includes straight sword, broadsword, staff and spear), and various two-person exercises and drills (including "push-hands" sensitivity drills). A hallmark of most styles of Taijiquan is that the movements in the forms are done quite slowly, with one posture flowing into the next without interruption. Some forms (the old Chen forms for example) alternate between slow motion and explosive movements. Other styles divide the training into forms which are done slowly at an even tempo and separate forms which are performed at a more vigorous pace. The goal of moving slowly is to insure correct attention is paid to proper body mechanics and the maintenance of the prerequisite relaxation. Training: Training exercises can be divided into two broad categories: solo exercises, and drills which require a partner. A beginner will usually begin training with very basic exercises designed to teach proper structural alignment and correct methods of moving the body, shifting the weight, stepping, etc. All of the Taijiquan arts have at their very foundation the necessity of complete physical relaxation and the idea that the intent leads and controls the motion of the body. The student will also be taught various stance keeping postures which serve as basic exercises in alignment and relaxation as well as a kind of mind calming standing meditation. A basic tenet of all "internal" martial arts is that correct motion is born of absolute stillness. Once the basics are understood, the student will progress to learning the formal patterns of movement ("forms") which contain the specific movement patterns and techniques inherent in the style. Traditionally, single patterns of movement were learned and repeated over and over until mastered, only then was the next pattern taught. Once the student had mastered an entire sequence of movements individually, the movements were taught in a linked sequence (a "form"). The goal of training is to cultivate a kind of "whole body" power. This refers to the ability to generate power with the entire body, making full use of one's whole body mass in every movement. Power is always generated from "the bottom up," meaning the powerful muscles of the legs and hips serve as the seat of power. Using the strength of the relatively weaker arms and upper body is not emphasized. The entire body is held in a state of dynamic relaxation which allows the power of the whole body to flow out of the hands and into the opponent without obstruction. The Taijiquan arts have a variety of two person drills and exercises designed to cultivate a high degree of sensitivity in the practitioner. Using brute force or opposing anothers power with power directly is strictly discouraged. The goal of two person training is to develop sensitivty to the point that one may avoid the opponent's power and apply one's own whole body power wher the opponent is most vulnerable. One must cultivate the ability to "stick" to the opponent, smothering the others' power and destroying their balance. Finally, the formal combat techniques must be trained until they become a reflexive reaction. Modified forms of Taijiquan for health have become popular worldwide in recent times because the benefits of training have been found to be very conducive to calming the mind, relaxing the body, relieving stress, and improving one's health in general. Modern vs. Traditional training methods Traditionally, a beginning student of Taijiquan was first required to practice stance keeping in a few basic postures. After the basic body alignments had settled in, the student would progress to performing single movements from the form. These were performed repetitively on a line. After a sufficient degree of mastery had been obtained in the single movements, the student was taught to link the movements together in the familiar long form. Now, it is not uncommon for a student to be taught the long form immediately, with no time being spent on stance keeping or on basic movement exercises. Since the Long Form trains all of the qualities developed in the basic exercises, this does not really produce a dilution of resulting martial art. It does however make it more difficult for beginner to learn. The duration of the basic training depends on the student and the instructor; however, it would not be unusual for a relatively talented student, with good instruction, to be able to defend themselves effectively with Taiji after as little as a year of training. Sub-Styles: Chen Wangding's original form of Chen style Taijiquan is often refered to as the "Old Frame" (Laojia) and its second form as "Cannon Fist" (Paochui). In the latter part of the 18th century, a fifth generation decendant of Chen Wangding, Chen Youben simplified the original forms into sets which have come to be known as the "New Style" (Xinjia). Chen Youben's nephew, Chen Jingbing, created a variation of the New Style which is known as the "Small Frame" (Xiaojia) or "Zhaobao" form. All of these styles have survived to the present. The Yang style of Taijiquan is a variation of the original Chen style. The forms which were passed down from the Yang style founder, Yang Luzhan have undergone many modifications since his time. Yang Luzhan's sons were very proficient martial artists and each, in turn, modified their father's art. The most commonly seen variation of the form found today comes from the version taught by Yang Luzhan's grandson, Yang Zhengfu. It was Yang Zhengfu who first popularized his family's Art and taught it openly. Yang Zhengfu's form is characterizes by open and extended postures. Most of the modern variations of the Yang style, as well as the standardized Mainland Chinese versions of Taijiquan are based on his variation of the Yang form. Yang Luzhan's student, Wu Yuxiang combined Yang's form with the Zhaobao form which he learned from Chen Jingping to create the Wu style. This style features higher stances and compact, circular movements. His nephew's student, Hao Weizhen was a famous practitioner of the style, so the style is sometimes refered to as the Hao Style. Hao Weizhen taught his style to Sun Ludang, who combined his knowledge of Xingyiquan and Baguazhang to create his own Yang Luzhan had another student named Zhuan You (or Juan You), who in turn taught the style to his son Wu Jianchuan (or Jianquan). This modification of the Yang style is usually refered to as the Wu Jianchuan (or Jianquan) style. This form's movements are smaller and the stance is higher than the popular Yang style. In summary, the major styles of traditional Taijiquan are the Chen, Yang, Wu, Wu Jianchuan (or Jianquan) and Sun. All other "styles" are variations of the above. Non-martial Taiji variants. There are modified forms of Taiji which are devoted mostly to health enhancement and relaxation. The movements retain the flavor of Taijiquan, but are often simplified.
16.39) Wing Chun (Contributor: Marty Goldberg - firstname.lastname@example.org) Intro: One of the most popular forms of Gongfu. Origin: China History: Wing Chun was an obscure and little known art until the mid twentieth century. While multiple histories of the art do exist (some with only minor discrepancies), the generally accepted version is thus: he style traces its roots back over 250 years ago to the Southern Shaolin Temple. At that time, the temple a was sanctuary to the Chinese revolution that was trying to overthrow the ruling Manchu. A classical martial arts system was taught in the temple which took 15-20 years to produce an efficient fighter. Realizing they needed to produce efficent fighters at a faster pace, five of China's grandmasters met to discuss the merits of each of the various forms of gongfu. They chose the most efficient techniques, theories and principles from the various styles and proceeded to develop a training program that produced an efficent fighter in 5-7 years. Before the program was put into practice, the Southern temple was raided and destroyed. A lone nun, Ng Mui, was the only survivor who knew the full system. She wandered the countryside, finally taking in a young orphan girl and training her in the system. She named the girl Yim Wing Chun (which has been translated to mean Beautiful Springtime, or Hope for the Future), and the two women set out refining the system. The system was passed down through the years, and eventually became known as Wing Chun, in honor of the founder. The veil of secrecy around the art was finally broken in the early 1950's when Grandmaster Yip Man began teaching publicly in Hong Kong, and his students began gaining noteriety for besting many systems and experienced opponents in streetfights and "friendly" competitions. The art enjoyed even more popularity when one of its students, Bruce Lee, began to enjoy world wide fame. Description: Most important is the concept of not using force against force, which allows a weak fighter to overcome stronger opponents. Generally, a Wing Chun practitioner will seek to use his opponent's own force against him. A great deal of training is put in to this area, and is done with the cultivation of a concept called Contact Reflexes (see "Training"). Also of importance are the use of several targeting ideas in Wing Chun. The Mother Line is an imaginary pole running vertically through the center of your body. From the Mother Line emanates the Center Line, which is a vertical 3D grid that divides the body in to a right half and a left half. Most of the vital points of the body are along the Center Line, and it is this area that the Wing Chun student learns to protect as well as work off of in his own offensive techniques. Also emanating from the Mother Line is the Central Line. The Central Line is seen as the shortest path between you and your opponent, which is generally where most of the exchange is going to take place. Because of this linear concept, most of the techniques seek to occupy one of the two lines and take on a linear nature. This leads to the expression of another very important concept in Wing Chun: "Economy of Motion". The analogy of a mobile tank with a turret (that of course shoots straight out of the cannon) is often used to describe the linear concept. Only two weapons are taught in the system, the Dragon Pole and the Butterfly swords. These are generally taught only once the student has a firm foundation in the system. Training: The way the art produces efficent and adaptble fighters in a relatively short time is by sticking to several core principles and constantly drilling them in to the student, as well as taking a very generic approach to techniques. Instead of training a response to a specific technique, the student practices guarding various zones about the body and dealing genericly with whatever happens to be in that zone. This allows for a minimum of technique for a maximum of application, and for the use of automatic or "subconcious" responses. Much training time is spent cultivating "Contact Reflexes". The idea is that at the moment you contact or "touch" your opponent, your body automaticaly reads the direction, force, and often intent of the part of the opponent's body you are contacting with and automatically (subconciously) deals with it accordingly. This again lends itself to the generic concept of zoning. Contact Reflexes and the concept of not using force against force are taught and cultivated through unique two man sensitivity drills called Chi Sao. The concepts of guarding and working off of these lines and zones are learned throught the practice of the three forms Wing Chun students learn, and which contain the techniques of the system: Shil Lum Tao, Chum Kil, and Bil Jee. Another unique aspect of the system is the use of the Mook Jong, or wooden dummy, a wood log on a frame that has three "arms" and a "leg" to simulate various possible positions of an opponent's limbs. A wooden dummy form is taught to the student, that consists of 108 movements and is meant to introduce the student to various applications of the system. It also serves to help the student perfect his own skills. Weapons training drills off the same generic ideas and concepts as the open hand system (including the use of Contact Reflexes). Many of the weapon movements are built off of or mimic the open hand moves (which is the reverse process of Kali/Escrima/Arnis, where weapon movements come first and open hand movements mimic these). Sub-Styles: Currently, there exist several known substyles of Wing Chun. Separate from Yip Man are the various other lineages that descended from one of Yip Man's teachers, Chan Wah Shun. These stem from the 11 or so other disciples that Chan Wah Shun had before Yip Man. Pan Nam Wing Chun (currently discussed here and in the martial arts magazines) is currently up for debate, with some saying a totally separate lineage, and others saying he's from Chan Wah Shun's lineage. Red Boat Wing Chun is a form dating back from when the art resided on the infamous Red Boat Opera Troup boat. Little is known about the history of this art or its validity. At the time of Yip Man's death in 1972, his lineage splintered in to many sub-styles and lineages. Politics played into this splintering a great deal, and provided much news in the martial arts community throughout the 70's and 80's. By the time the late 80's/early 90's rolled around, there were several main families in Yip Man's lineage. To differentiate each lineage's unique style of the art, various spellings or wordings of the art were copyrighted and trademarked (phonetically, Wing Chun can be spelled either as Wing Chun, Wing Tsun, Ving Tsun, or Ving Chun). These main families and spellings are: Wing Tsun -- Copyrighted and Trademarked by Grandmaster Leung Ting. Used to describe the system he learned as Grandmaster Yip Man's last direct student before his death. Governing body is the International Wing Tsun Association, and the North American Section in the U.S. (IWTA-NAS). Traditional Wing Chun -- Copyrighted and Trademarked by Grandmaster William Cheung. Used to describe a very different version of Wing Chun he learned while living with Yip Man in the 1950's. Includes different history of lineage as well. Governing body is the World Wing Chun Kung Fu Association. Ving Tsun - Used by other students of Yip Man, such as Moy Yat. This spelling was considered the main one used by Grandmaster Yip Man as well. It is also used by many of the other students, and was adopted for use in one of the main Wing Chun associations in Hong Kong -- The Ving Tsun Athletic Organization. Wing Chun - General spelling used by just about all practitioners of the art. A World Wide listing of Wing Chun Kwoons (schools) is maintained by Marty Goldberg (email@example.com) and posted periodically to rec.martial-arts. A mailing list (open to all students of Wing Chun) is also maintained by Marty and Rob Gillespe at firstname.lastname@example.org
16.41) Xingyiquan (Hsing Yi Ch'uan) (Contributor: William Breazeal - email@example.com) INTRODUCTION: Xingyiquan is one of the three orthodox "internal" styles of Chinese martial art (the other two being Taijiquan and Baguazhang). "Xing" refers to form and "Yi" to the mind or intent. "Quan" literally means fist and denotes a method of unarmed combat. Xingyiquan is commonly refered to as "Form and Mind" or "Form and Will" boxing. The name illustrates the strong emphasis placed on motion being subordinate to mental control. ORIGIN: Shanxi Province, China. HISTORY: The exact origins of Xingyiquan are unknown. The creation of the Art is traditionally attributed to the famous general and patriot Yue Fei (1103- 1141) of the Song Dynasty. There is, however, no historical data to support this claim. The style was originally called "Xin Yi Liu He Quan"(Heart Mind Six Harmonies Boxing). The Six Harmonies refer to the Three Internal Harmonies (the heart or desire coordinates with the intent; the intent coordinates with the qi or vital energy; the qi coordinates with the strength), and the Three External Harmonies (the shoulders coordinate with the hips; the elbows coordinate with the knees and the hands coordinate with the feet). The earliest reliable information we have makes reference to Ji Longfeng (also known as Ji Jige) of Shanxi Province as being the first to teach the art of Xin Yi Liu He Quan. Ji Longfeng was active near the end of the Ming Dynasty (early 1600's) and was a master of spear fighting (he had the reputation of possessing "divine" skill with the spear). He is recorded as stating "I have protected myself in violent times with my spear. Now that we are in a time of "peace" and our weapons have all been destroyed, if I am unarmed and meet the unexpected, how shall I defend myself?" In answer to his own question, Ji Longfeng reportedly created a style of weaponless combat based on his expertise with the spear. He refered to his art as "Liu He," the Six Harmonies. Ji Longfeng had two very famous students. One was from from Hebei province and was named Cao Jiwu. The other was from Henan Province and was named Ma Xueli. It was at this point in history that the Xin Yi Liu He Quan (now also refered to as Xingyiquan) divided into three related yet separate styles, the Shanxi, Henan and Hebei schools. After spending 12 years studying Xingyiquan with Ji Longfeng, Cao Jiwu entered the Imperial Martial Examinations and placed first (this was the most prestigious honor one could possibly win as a martial artist in old China, and assured the victor a high government position). Cao passsed on his art to two brothers, Dai Longbang and Dai Linbang. Dai Longbang passed his Art on to Li Luoneng (also known as Li Nengran). Li holds the distinction of being the greatest Xingyi Boxer in the styles' history and one of the top Chinese boxers of all time. Li Luoneng taught his art in his native Shanxi Province and also taught a great number of students in Hebei Province (his duties as a bodyguard involved escorting various members of wealthy families to and from Hebei). Two of Li's most famous Shanxi students were Song Shirong and Zhe Yizhai. His most famous Hebei student was the formidable Guo Yunshen (who reportedly defeated all comers with his "Beng Quan," a straight punch to the body). Guo Yunshen passed on his art to Wang Fuyuan, Liu Qilan and Sun Ludang among others; Liu Qilan passed on the Art to the most famous practitioners of this century, including Li Cunyi and Zhang Zhangui (also known as Zhang Zhaodong). There are many practitioners of all three sub-systems active today, and Xingyiquan is still a popular and well respected style of martial art in China. DESCRIPTION: The art is divided into two main systems, the Ten Animal and Five Element respectively. The Five Element system is further divided into two major branches, the Hebei and Shanxi styles. The Ten animal style is closest to the original Xin Yi Liu He Quan in form and practice. The movements in the forms are patterned after the spirit of various animals in combat, including the Dragon, Tiger, Monkey, Horse, Chicken, Hawk, Snake, Bear, Eagle and Swallow. The Five Element based systems have five basic forms (including Splitting, Drilling, Crushing, Pounding, and Crossing) as the foundation of the art. These basic energies are later expanded into Twelve Animal forms which include variations of the animal forms found in the Ten Animal styles as well as two additional animals, the Tai (a mythical bird) and the Tuo (a type of water lizard, akin to the aligator). Training in all systems centers on repetitive practice of single movements which are later combined into more complicated linked forms. The direction of movement in Xingyiquan forms is predominately linear. Practitioners "walk" through the forms coordinating the motions of their entire bodies into one focused flow. The hands, feet and torso all "arrive" together and the nose, front hand and front foot are along one verticle line when viewed from the front (san jian xiang jiao). The arms are held in front of the body and the practitioner lines up his or her centerline with opponent's centerline. A familiar adage of Xingyiquan is that "the hands do not leave the (area of the) heart and the elbows do not leave the ribs." There are few kicks in the style and the techniques are of a predominately percussive nature. Great emphasis is placed upon the ability to generate power with the whole body and focus it into one pulse which is released in a sudden burst. Xingyi is characteristically aggressive in nature and prefers to move into the opponent with a decisive blow at the earliest opportunity. The style prizes economy of motion and the concept of simultaneous attack and defense. As the name of the style implies, the form or "shape" of the movements is the outward, physical manifestation of the "shape" of one's intent. A fundamental principle underlying all styles of Xingyiquan is that the mind controls and leads the movement of the body. TRAINING: Training in Henan (Ten Animal) Xin Yi Liu He Quan includes basic movements designed to condition and develop the striking ability of the "Seven Stars" (the head, shoulders, elbows, hands, hips, knees and feet). From there the student will progress to learning the basic animal forms. Form practice consists of repeating single movements while walking foward in various straight line patterns. Later, the single movements are combined into linked forms. The techniques are relatively simple and straightforeward and rely on the ability to generate force with almost any part of the body (the Seven Stars). Also included at more advanced levels are weapons forms (including the straight sword, staff and spear). The Five Element based styles of Xingyiquan (Shanxi and Hebei) traditionally begin training with stance keeping (Zhan Zhuang). The fundamental posture is called "San Ti" (Three Bodies) or "San Cai" (Three Powers, refering to heaven, earth and man). It is from this posture that all of the movements in the style are created and most teachers place great emphasis upon it. After stance keeping the student begins to learn the Five Elements (Wu Xing). These are the basic movements of the art and express all the possible combinations of motion which produce percussive power. After a certain level of proficiency is acquired in the practice of the Five Elements, the student goes on to learn the Twelve Animal and linked forms. The Twelve Animal forms are variations of the Five Elements expressed through the format of the spirit of animals in combat. There are several two-person combat forms which teach the student the correct methods of attack and defense and the applications of the techniques practiced in the solo forms. Five Element based styles also include weapons training (the same weapons as the Henan styles). SUBSTYLES: As mentioned above, Xingyiquan is divided into three related yet distinct styles: Henan Xin Yi Liu He Quan and Shanxi/Hebei Xingyiquan. Henan Xin Yi Liu He Quan is characterized by powerful swinging movements of the arms and the ability to strike effectively with every part of the body. This system is very powerful and aggressive in nature and the movements are simple and straightforeward. Hebei style Five Element Xingyiquan emphasizes larger and more extended postures, strict and precise movements and powerful palm and fist strikes. Shanxi style Five Element Xingyiquan is characterized by smaller postures with the arms held closer to the body, light and agile footwork and a relatively "softer" approach to applying technique (Shanxi Xingyi places a greater emphasis on evasiveness than the other styles).