| If this is what passes for koga ninjutsu, you have no worrry | by Soke, Sifu for everyone |
(koga ninja, isn't coming back any time soon)
http://www.youtube.com/watch?v=6vHvvyj7STE&feature=related good luck with the tai-jutsu because its not "koga"/koja arts..as i know them.. |
 | Look the Part all you want, but without the skill, what are you? | by Soke, Sifu for everyone |
http://www.youtube.com/watch?v=mJiG_3Rxapw&feature=related
to enjoy one thing is cool, but to endanger yourself for the art of show is another... and see some other examples.... http://www.facebook.com/groups/22457436999/ here.......... study to learn and be not, just try and live the image as your art... |
| With training like this, you will need a good lawyer | by Soke, Sifu for everyone |
http://www.youtube.com/watch?v=ytCYAS2U79U&feature=endscreen&NR=1
its true we have some rights, but the best form of defensive nature is to if, needed make it look like an accident, and go.... to subdue someone without the right to do it..lawfully, which there isn't one... (you can be the one behind bars not them) At my school of the "shadow" we don't leave anything in there control, but seeing is believing "correct"..... |
| The story behind the story of Wood over metal... (musashi's fight) | by Soke, Sifu for everyone |
not many know and even i didn't know this until my study of "dai-ken," and the "way of the sword"
the way i heard it was different, that they both engaged in swords each striking back and forth, and musashi was hit in the arm lightly, so as the one who was going to finish him off, he reaches for the oar and strikes Sasaki Kojiro in the back of the head with the oar and he die on the spot... realizing he can kill with just wood as well decides that metal and wood are the same weapon, but with the wood "heaven" helped him, and develops the idea of the use of "life" as wood.. as i know it.. and if i am correct it wasn't kojiro he fought, i think it was a badland paid bounty hunter, like a ringer swordsman to just dispatch musashi... only history will ever know... Heaven, Won when Metal was made, But wood is given, When Winds change... Wind, Metal, Fire, Water, Heaven, Wood, Void (emptyness) |
| There is an old saying: those who can and can't | by Soke, Sifu for everyone |
The saying goes: THOSE WHO CAN DO IT, THOSE WHO CAN'T TEACH IT....
Well here you will find at my school/dojo, that saying will not apply... All who teach here do and teach equally otherwise they don't teach....... A teacher in our book is one who doesn't fully sit in the background, while the more instructors they have teach for them, or even act as sparring or training dummies.... They are required to mix it up with the juniors and the advancing black belts... the only time the head teacher/instructor isn't teaching, is if the junior need to learn a lesson on their own... We are dedicated to following the dedicated student/pupil until they learn it correctly first hand, not by kata alone, or mock sparring, but life exercises.... Those who can't..... don't stay at schools like ours long.... (forgive me for noting this), but i am tired of those who are all about who is best or not, let the training, and the arena be the proving grounds, or just get into a real fight by accident of course, and see if your technics hold water..... but remember the art is for defense, so stop trying to make it an attack on your spirit to prove yourself... as the model goes "Do or do not, there is not Try alone" ... my teachers funny adaption actually his motto is : Why come to train to see yourself be nothing but the reason why not to? and fighting is easy, solving problems is hard and challenging to do in peace..... Master of Sho-Lung-Dojo |
| bullshido needs to get an Art | by Soke, Sifu for everyone |
Its
funny how those with little or no skill in the arts, love to talk smack
about other arts that they aren't in any position to question, let
alone join, as a teacher in the "secret arts" they tried to join,
debate, take actions on my information and being, but none...can they
find or touch... (is that ninja enough),...
I like to think that such persons wouldn't even be allowed to study at my school, because even if they think they are acting in good faith to "remove the leftovers", they are doing if without any reason for the worthy schools to find them worthy, they are the "jack-assperations" of the internet.... (get a life please) as for any who want to see what we do, they need only show up... the rest is as they say in the results... so before you believe any "less dedicated ones, i say look to yourself", do you really want to study with guys like those from the "being a tool" university, jack- students..... What ever happened to live and let live, i guess trying to get internet fame, has made others lose that quality... (do you even have teachers?) if you do you should be doing what 1,000 push ups for comments like your at those sites...... until you try it, you can't say... jack right? |
| Our new martial arts Tee, celebrate our school and your inner dragon.. | by Soke, Sifu for everyone |
| Martial Arts: Hard vs. Soft, External vs. Internal | by Soke, Sifu for everyone |
The concept of hard/soft and external/internal martial arts is not one easily described. In terms of styles which most people are familiar with, Karate would be an example of a hard style and Aikido or T'ai Chi examples of soft styles. A hard style is generally considered one where force is used against force; a block is used to deflect an incoming strike by meeting either head on, or at a 90 degree angle. A soft style does not use force against force, but rather deflects the incoming blow away from its target. There are uses for both hard and soft techniques. A practitioner may wish to break the attacker's striking arm with the block. On the other hand, a much smaller opponent would not be able to accomplish this, so instead may wish to deflect the incoming attack. An external style is one which relies primarily in strength and physical abilities to defeat an opponent. In contrast, an internal style is one that depends upon ch'i and timing rather than power. Aikido (at the master's level) would be an internal style, while most karate styles are external. However, the concepts of hard/soft internal/external are finding fewer proponents among senior martial artists. Both conceptual twins are impossible to separate in reality, and masters will generally acknowledge that any distinction is largely only a matter of subjective interpretation. Arguments about the reality of the concepts are often waged by novices and philosophical dilettantes, ignorant of the inseparable nature of duality. They see yin and yang as elements that can exist independently, while philosophical and physical reasoning demonstrate that they cannot. Without their union (=Tao), neither can exist. Ergo, a "hard" technique such as a straight fist is guided by the soft power of mind and the internal component of ch'i. Equally, the softest projection of Aikido requires the "hard" element of physical contact and movement, coupled with actively redirecting the opponent. In short, preoccupation with distinguishing soft from hard is a distraction from learning martial arts and moving towards a unifying technique and mastery. Kung Fu Styles Kung Fu styles may generally be divided into three classes: Shaolin Temple styles, temple-derived non-temple styles, and family styles, or Pai. Within the Temple styles are those arts generally and consistently taught in the temples, with many having their origins in pre-Shaolin history. There are two major divisions in Shaolin kung fu. The southern temples are predominantly hand technique oriented, while northern temples put more emphasis on kicks and foot techniques. The northern Shaolin styles primarily consist of Northern Praying Mantis, Black Crane, and Black Tiger. The southern Shaolin styles primarily consist of White Crane, Tiger, Dragon, Leopard, Snake, and Southern Praying Mantis. There were also styles that had their roots in the Shaolin temples, such as Wing Chun and Hung Gar. Many of the movements were representations of the behavior of animals. A system sometimes comprised the maneuvers of one specific animal and no other. All the blocks, attacks and stances were done in imitation of the bird or beast. Each system had certain aspects peculiar to it since each of the animals was designed differently by nature. However, most styles were not so rigid and limited; northern praying mantis, for example, uses mantis and tiger hand techniques, and monkey and generic northern style footwork. Differences Between the Styles In general terms, the styles followed specific training objectives (but there are always exceptions). The dragon movements were devised to develop alertness and concentration. These movements were executed without the application of strength, but with emphasis on breathing in the lower abdomen along with the coordination of mind, body and spirit. Movements are long, flowing and continuous, and provided Shaolin practitioners with the equivalent of t'ai chi or pakua. The tiger movements were formed to develop the bones, tendons and muscles. The execution of these movements was the opposite of that of the dragon, since emphasis was placed on strength and dynamic tension. Movements are short, snappy and forceful. The snake movements were used to develop temperament and endurance. Breathing was done slowly, deeply, softly and harmoniously. Movements are flowing and rippling with emphasis on the fingers. The crane movements were used to develop control, character and spirit. Emphasis is placed on light, rapid footwork and evasive attacking techniques. Movements in the one-legged stance are performed with a considerable amount of meditation. The Shaolin systems were developed from animal actions and were divided into low systems and high systems. The list used below is from the temple from the Honan province during the Ch'ing dynasty. The low systems of the Shaolin were choy li fut, crane, cobra, and tiger. The high systems of the order were snake, dragon, Wing Chun, and praying mantis. The primary features that separate high from low are the fantastic economy of movement and the differences in application of ch'i in the high systems. The low systems were so called because they had their basis both in physical maneuvers and in earthly creatures. Choy li fut was based on a posture called a riding horse stance, so called because when adopted, one appeared to be straddling a horse. The movements are very stiff and hard, depending primarily on muscular power to perform adequately. There are only three kicks in the original system, although recently the style has adopted many techniques of the Northern Shaolin system. According to legend, it was designed for use on the house boats of the south where a stable stance and powerful hand techniques were necessary. The certain portion of its history is that the system was named for two Chinese boxing masters, Choy and Li. Fut means Buddha, serving in this instance to refer to the Shaolin temple's Buddhist influence. The next system is crane, one of the traditional Shaolin systems. A legend is also attached to its birth. One day a monk stumbled on a battle between an ape and a crane. It seemed as if the ape would rend the bird in two. However, the bird continually stymied the ape, flapping its wings and darting in and out with its beak; at last the animal was driven away. The graceful movements of the bird were copied as well as its one leg stance. The principle weapons of the system are its long range kicks and a hand formation, the crane's beak. The cobra system is a strange, nearly dead system. Its basis is a stance that resembles a cobra risen from the grass with spread hood. The maneuvers are strictly defensive in nature, devastatingly effective and swift. Cobra is designed for speed and tenacity for once the reptile strikes, it hangs on and makes certain that its opponent will die. Most of its techniques are hand maneuvers aimed at the eyes and throat. It is primarily a dim mak style. Tiger is another natural system, this the opposite of crane. It is a vicious method of fighting utilizing powerful kicks and grim clawing motions. Like the tiger, its practitioner fights fiercely, rending, tearing and breaking any open space of skin or limb that is left unguarded. It is highly defensive in nature, waiting until being backed into a corner, then unleashing an unstoppable assault. Its principle hand weapon is the tiger claw, also useful for unarmed defense against weapons. By clasping the weapon between the hands or enmeshing it in the crushing grip of the hand, the enemy's advantage is lost. Snake is an interface between the high systems and low systems. It is one of the easiest systems to learn and also one of the most deadly. The reason that it is a transition system is because it has the movements of a spiritual system and the physical applications of a low system. The spiritual movements are all flowing and continuous, akin to the movements of a cloud. Physical applications of such movements are seen by the stabbing hand motions to the face, throat and genitals. Ch'i is present in the practitioner as his body mimics a snake in its coiling, undulating motions; for only through ch'i can the proper flow be achieved to allow the technique to work. It is an earthly animal by nature, yet still somewhat spiritual due to its mysterious character. The snake has thus been appointed as the guardian of the dragons. The basis of the dragon systems is ch'i, the inner power of Taoism. The movements and applications of the dragon systems are dependent on the use of ch'i. The special flow that distinguishes it from the flow of the crane system is due to ch'i. Also, the ch'i is substituted for muscular strength. For example, a tiger stylist would break a rock by sheer force and physical technique, while a dragon stylist would shatter it by ch'i projection. The praying mantis has as its watchwords silence and determination. Although it is a physical system in terms of its origin, it nonetheless is classified as a high system. Praying mantis warrants its prominence because of its extreme efficiency. Despite the fact that it is hand oriented and lacks the fancy leg maneuvers of dragon, it is versatile and overpowering. Characteristic of mantis, as well as dragon and snake, is the virtual lack of blocks. Since blocks are inefficient, the high systems follow the advice of the ancient sages and yield in order to conquer. Also, it combines ch'i and extreme awareness to be virtually invincible. The systems of the Shaolin can be arranged on the pyramid illustrated below. The best method for this is to take the tiger family as a representative of the low systems and the dragon family as a representative of the high systems. The remaining Shaolin systems will be placed in the appropriate tiers singly. The lowest level of the pyramid is composed entirely of basic techniques. These are common to all martial arts and can be claimed exclusively by no one system. The maneuvers are comprised of kicks, punches, stances and blocks. Since they are universal to most martial arts, it is very difficult to distinguish a student from a karate style as opposed to a choy li fut pupil. All of this class of basics belongs to the low systems and so are dependent on hard, muscular movements in order to carry them through properly. Next we progress to the low systems. As stated earlier, this level has its basis in earthly rather than ethereal beings. The subsystems of tiger are numerous at this level. Tiger, eagle, leopard, hung gar, the drunken system and the crab system all belong at this level. Tiger, leopard and hung gar are very oriented toward physical body strength and the destruction of an opponent by breaking his body's structural system. Eagle is a vicious ripping system with the bulk of its work directed against the eyes and throat. The drunken system is a lurching, seemingly unstable system that strikes with little power and thus tries to exhaust an opponent with an arrhythmic, oddly placed series of blows to tender, exposed areas. The crab system concentrated on closing off blood vessels and pinching nerves, thereby immobilizing part or all of an attacker's body. In the category of the higher low systems are found four different tiger subsystems: hong tiger, s'hu tiger, imperial tiger and white tiger. They are placed above the previous systems because ch'i and some concepts of spiritual motion have been incorporated into them. Hong tiger was a system which evolved from a mixture of tiger and white dragon. It was used by palace guards especially against weapons. S'hu tiger was the weapons training that went with the unarmed system of hong tiger. Imperial tiger is a modern adaptation of hong tiger. The techniques are sophisticated at this level. Also contained in the band of high low systems is monkey, placed there because of its liberal use of parries and advanced striking techniques, taking it out of the realm of brute strength. White tiger is a highly sophisticated, forbidden style similar to snow tiger. The main systems of the Shaolin that are left are placed thus: choy li fut, white crane, and tiger all low systems. Snake is a lower high system and may be classified as a low or a high system. Dragon, praying mantis, and Wing Chun are all classified as full high systems due to their efficiency of movement and the use of ch'i to both supplement and in some cases replace physical technique. These systems were taught to some extent to all monks as part of their training. The complete systems were reserved for the few, the priests that would remain in the temple after being granted their priesthood. |
| What is a martial arts style? | by Soke, Sifu for everyone |
The concept of a style is a rather complicated one, and Chinese martial arts claim as many as 1500 different styles. By "style" we mean a particular school of martial practice, with its own training methods, favored techniques, and emphasis on attack and defense. While it is impossible to quantify differences between most styles, it is easy to see the distinctions between such disparate approaches to combat as practiced by Tiger, Crane, and Monkey stylists. In choosing a style (a contemporary privilege; traditionally, styles were assigned by the teachers), try to find one that suits your physical attributes, interests, and sense of utility. It does no good to study the graceful single-leg and flying techniques of White Crane if you have the flexibility and grace of a turtle! On the other hand, and kung fu practice will enhance your physical skills, dexterity, and alertness, and it is not uncommon for a beginner in one style to change to a more "appropriate" style later. Whatever else may be said of styles, the first year basics are almost universal--punches, kicks, and stances show little variation at the beginner's level. What is Kung Fu? In dealing with the recently popularized concept of kung fu, one must begin the discussion by explaining that kung fu is not a martial art unto itself, yet it encompasses the most effective and devastating methods of self-preservation known to man. The identity of kung fu is diverse; over 1,000 styles are known or recognized. From kung fu came Karate, Escrima, and most important, a way of thinking that became a code of life. Kung Fu requires of the practitioner a strict code of physical and mental discipline, unparalleled in Western pursuits. It is only as a whole concept that kung fu can be discussed, and this entails more than fighting. To be adept, one must follow the Tao, the way, the essence of the philosophy and life of the originators of the arts. One cannot pay to learn this art; it is only acquired by the desire to learn, the will to discipline one's self, and devotion to practice. The standards to be met to attain proficiency are so high that the Chinese refer to the master as a disciple of the way of the tiger, the sign of the dragon. The Martial Aspects The power of the kung fu practitioner lay in his ability to defend himself against impossible odds and situations. After years of the most diligent practice, these monks became more than merely adept at the ways of survival. But the initial acceptance to be one of the chosen few was difficult. As children, applicants for priesthood were made to do the most menial and difficult work related to the upkeep of the temple. Their sincerity and ability to keep the secrets of the order were severely tested for years before the finer aspects of the order were revealed to them. But, upon being accepted by the elders of the temple, his or her entry into kung fu was to open a whole new world. The student would work long hours training mind and body to work together in a coordinated effort. He would learn the principles of combat, the way of the Tao, and together they would ensure his way to peace. One would be taught initially the first basic fist sets, the prearranged forms which simulated multiple attacks. These in turn became more complex as the student advanced, while he would simultaneously be learning the way of Taoism. Upon completion of the student stage, one became a disciple who would be taught the higher secrets of the arts and philosophies. Weapons of all descriptions would become familiar to him as weapons of attack and defense. One would perfect his movements to coincide with his breathing. One's mind would meld into the realm of meditation known as mindlessness. And one would learn to harness ch'i. Ch'i is a concept of such magnitude that we shall deal with it throughout this site in many different lights. For now, suffice it to say that ch'i is the power governing the universal power, so to speak. Only by harnessing such energy can a person of mild stature learn to break bricks with his bare hand, or learn to sense the movements of an opponent in the darkness. The list of feats goes on and on; we shall discuss some of these in other sections of this site. Essential to movements in kung fu are ch'i-controlled actions. Compare the movements of a Karateka and a kung fu practitioner, and the differences are at once obvious. The Karateka moves deliberately, forcefully, each move unique and distinct from each other move. He punches linearly, kicks in a straight line, and keeps his body as rigid as iron. The Chinese boxer, on the other hand, is smooth and fluid in motion, allowing several moves to meld imperceptibly into one long, graceful action. In short, kung fu is fluid. Ch'i properly coordinated allows for fluidity. Consider a single drop of water. Alone, it is harmless, gentle, and powerless. But what on earth can withstand the force of a tsunami? The concept of ch'i is the same. By tapping into the universal energies, one increases one's abilities many times. How can one damage a kung fu practitioner, when one is unable to strike and injure a body of water? Artistic Aspects There can be little doubt, after examining first hand the structure of kung fu, that mastery of it is indeed mastery of a fine art form. It requires a tremendous amount of background, information and disciplines, which would shame our liberal-arts students. The priests of old were adept in all of the following: medicine, music, art, weapons-making, religions, animal husbandry, cartography, languages, history, and of course, kung fu. The artist had to be more than a fighting machine, he had to know how, where and why to enter a fight, and even of greater importance, how to avoid conflict. Only with "unbeatable" ability of the priest was he secure enough not to need to fight. There was a ranking system of sorts used, beginner, disciple, and master. The beginner (novice or student level), was the menial servant. Only very crude rudiments of kung fu were in his domain. Disciples were in effect almost priests, still having to master themselves, but of the right mettle to carry the traditions and secrets of the Shaolin. The pinnacle of master was reached by very few; it was truly the achievement of a lifetime. The primary obstacle that a disciple had to pass to attain the priesthood was the test for master rank. Actually a series of oral and practical exams, they culminated in the test of the tunnel. The candidate was lead to a corridor linked with the outside world. In the corridor were booby-traps, all lethal, all unpredictable. The disciple had to pass all of these, for there was no going back, no way out but to succeed. Most never even began the journey; few finished it. The adept who passed the traps faced one last obstacle; a several hundred pound urn filled with burning iron filings. On each side of the urn was an emblem, different for each temple, usually of a dragon and a tiger. The urn had to be moved with the bare forearms to unblock the exit. In so doing, the now priest was forever branded as a Sil Lum monk. Many priests just out of the temple would wander about the country acting as doctors, roving law givers, and guardians of the poor. Some would return to the temple then it was their job to prepare the next generation of priests. Entry was between ages five and seven. Graduation was at the age of at least twenty-two. And every bit was part of a long, hard life. The stylistic variations within the Chinese martial arts are due to various factors. First, some priests were not content with one "truth", and engineered improvements or variations on the old standards. Some arts had their origin from Indian exercises, while others were influenced by Greek wrestling, and equally unexpected pursuits. Secondly, the priests were not all content as priests. Some went civilian and taught parts of the temple boxing, mixed with moves of their own. A man who preferred the use of one style of attack, i.e. claws, would build a whole discipline around gouging, claw-like attacks (Eagle Claw system). Thirdly, the civilians taught by priests would adapt what they needed in their real lives. For this reason, Southern Chinese preferred hand techniques with stable stances, adaptable to boats, while the Northern Chinese adapted almost bizarre foot techniques, flying kicks and wild sweeps. |
| Taekwondo ( Te-geuk-chongi-maki ) | by Soke, Sifu for everyone |
Taekwondo
( Te-geuk-chongi-maki ) I personally teach a style of Reeju tegeuk maki it is an developed form of Taekwondo with 3 weapon arts 1. What is the difference between Kung Fu, Japanese Karate, and Tae Kwon Do? Kung Fu is the Chinese form of Karate. The techniques emphasize punching and heavy contact - thus the nickname "Chinese Boxing." Japanese Karate originated in Japan. The techniques of this form of Karate emphasize the use of aooroximately 50% punching and 50% kicking techniques. Tae Kwon Do, Korean Karate, is perhaps the oldest form of Karate, and it emphasizes the use of the legs as primary weapons. Since the legs are automatically stronger than the arms and almost twise as long, Tae Kwon Do is a very effective method of self-defense for men, women, and children. # 1. What can children gain by learning Tae Kwon Do? 2. Learning Tae Kwon Do is a very good way for children to develop the following qualities: 3. Teaches to prioritize objectives and to become organized * Maturity, self-control and self-defense * The ability to make rational decisions quickly * Loyality and respect for oneself and others * Self-confidence / HIgh self-esteem * Perseverance / Diligence * Poise, positive attitude * Etiquette, responsibility * Mental and physical discipline * etc. # 1. Why learn the Martial Art? 2. Many physical, mental, and spiritual benefits may be realized: 3. Develop balance and coordination * Increase awareness * The ability to make rational decisions quickly * Control weight, tone muscles, increase flexibility * Teach limitations and discipline * Increase endurance and stamina * Develop a more positive attitude * Become a more productive and well-rounded person 1. How long does it take to become proficient? A student acquires important skills after only a few lessons. It takes many years to master the art, but it takes only a short time to gain a lot of valuable knowledge. 2. What will I learn in a beginning Tae Kwon Do class? A beginner is first taught mental and physical techniques, as well as basic self-defense maneuvers. After mastering these basics, he is ready to move on to more advanced aspects of the Martial Art. 3. Would I be placed in a class with advanced students? No. You will be placed in a class with other students at your own level and in most cases your age. You will progress within this group at your own speed and proficiency. 4. Will I get hurt? Under the staff's direct supervision the student is taught how to control the amounts of bodily contact while sparring. This allows room for errors and for conditioning of good techniques. At no time is a student allowed to use destructive force. This policy provides for safe training and maximum learning for each student. 5. Is every black belt an instructor? No, in Tae Kwon Do, unlike many other forms of Karate taught in America, a person must complete special training and apprenticeship before he/she can be certified as an instructor. The required time to elevate from apprentice to associate instructor is approximately 4 years. if you wish to be an instructor... # 1. Who is eligible for classes? 2. Students can begin training in Tae Kwon Do as young as 5 years of age and continue their training well into their eighties. Perhaps the most attractive aspect of the Martial Art is that each person conditions him/herself at his/her own pace. This idea of self-pace rests on the fact that people study the Martial Art for many different reasons: 3. Exercise * Discipline * Self-defense, or competition; 1. therefore, each person must determine for him/herself how much he/she wants to learn, improve and progress. just an overview of te-geuk forms...or instruction. |
| Ninjutsu/Ninja | by Soke, Sifu for everyone |
Ninjutsu/Ninja
Nin-ja Ninjutsu or Ninjitsu, both pronunciations of the same Japanese character, literally means art of disguise and stealth. Ninjutsu and its practitioners is still severely misunderstood in the modern world. In the last decades a Ninja craze was created by the mass media. The art of the Shadow Warriors was thought of as being very violent and deadly. Interestingly enough, many people were intrigued by those aspects and so they were dragged to Ninjutsu. After they discovered the genuine art only a few found the strength and interest to continue on that path. Most people know little, if anything, about it. The image martial arts movies and thrillers give is that Ninjutsu is a cruel, life-denying art of maiming and silent killing. In fact it is just the opposite. In its higher order, Ninpo, there is indeed much more to it than just a martial art. It is a way toward spiritual enlightenment, part of it being a highly evolved system of self-defense. As a way of life, it is not an end though, it is a means to an end: leading a happy life. There are many theories as to the beginnings of what we know as the art of Ninjutsu today. There is also an official and an unofficial version of the story; the official one being readily available at a local bookstore. This version intends to fix the common stereotype. Most historians agree that it all started about more than 900 years ago in Japan. In this distant era Samurai families that became political outcasts for multiple reasons (for example their Shogun or master got killed) had to flee deep into the mountains to escape enemy forces. Concentrated in the Iga and Koga regions in the mountains of central Japan, these families settled down and committed their lives to achieving spiritual enlightenment. They learned from wise Chinese sages and monks, as well as from Yamabushi, ascetic Japanese warrior-monks. When they lived close to villages the Ninja families and the village citizens mutually helped and protected each other in times of need. The rulers back in the capitol did not like seeing others achieving such complete enlightenment, out of religious and personal reasons. Frankly they felt inferior and threatened by them. In Carl Jung's words they projected their own shadows onto the Shadow Warriors (Ninja). They saw the Ninja reaching higher planes of awareness and this showed them the ineffectiveness of their own system of beliefs. Hoping they could extinguish the Ninja for good, they sent warriors into the mountains with the mission to kill whole Ninja families. Then, of course, the Ninja had to defend themselves and so the famous system of self-defense and stealth and many other arts was developed. Ninjutsu evolved as a very complex art of self-defense, stealth, disguise, intelligence gathering, espionage, assassination, psychology, acting, horseback riding, geography and meteorology. Ninpo, the spiritually higher form of Ninjutsu, was a way toward enlightenment - its practitioners followed "The Path of the Warrior". Apart from these basic aspects, each of the various families had its own fields of expertise, for example sword, medicine, fire applications and so on. After centuries of struggle for survival in the warring states period of Japan the Ninja, totally outnumbered from the beginning, finally lost to the Samurai and Samurai reformers in the 1700's. They were not particularly well portrayed historically. In fact, they were on the villainous side in the 1800's, being described as evil murderers, even as demons and such. Some people still cling on these stereotypes today. The Ninja history is somewhat the same as the Cowboys and Indians or the Witch hunt in the Middle Ages. It was not until later that it turned out that it was the other way around in many cases, that not the Samurai but the Ninja were the good guys. Surprisingly, even many Japanese today grab onto the stereotype of the Ninja as creepy, heartless and cold-blooded assassins and killers. Unlike the Samurai the Ninja had no code of honor. They were not restricted in their thinking and acting. Ninja did not have to commit suicide when their master died. Surviving was the most important thing. Because of that, they were not considered highly by their enemies, the Samurai. In many ways they were the exact opposite: they were regarded as cowardly and sneaky. Though they had to be that, everything that helped was needed in this crusade for sheer survival. The contradiction gets obvious if one takes a look at the typical combat situations. The Samurai fought huge battles on open fields, with thousands dead and injured. On the opposite, the Ninja preferred not to be seen and finished his mission as fast and silent as possible with as little effort as possible. A night raid is a good example for that kind of guerilla warfare. The Ninja were masters of virtually all weapons of their own time, but not masters of all weapons as it is commonly assumed. After firearms were introduced, there was obviously no real need to continue fighting with bow and arrow so they would not be masters of both weapons at the same time. There are no big Ninja families left. Virtually the Ninja died out. Still the core of the art itself survived relatively intact and is being taught today by the current Grandmaster, Dr. Masaaki Hatsumi, in the Bujinkan system. Having the rank of Grandmaster, he is the last real Ninja. The Bujinkan consists out of nine different schools; three of them being actual Ninja training and strategy tactics schools and the other six being just martial arts with a particular emphasis. From its beginning on Ninjutsu has been very secretive, and it continues to be. Even advanced masters do not know everything about it and still have to learn much. There is a big emphasis on creativity in the fighting style. It is often said that one should not think, just act. Some martial arts stress the instinct as to lead one through difficult situations, few are based on thinking. But both ways are deceptive: in a situation of immediate danger the thinking process is much too slow and instincts can mislead one. What is used in Ninjutsu is the power of intuition. For that, extensive mind training is necessary. In the process of this training intuition is sharpened in a way that extra sensory perception seems to be a possibility. Generally speaking, it is a very individualistic art since it is different for everyone. The experiences that trainee's have are very subjective and hard to grasp objectively. The atmosphere when studying Ninjutsu is usually relaxed and friendly and quite different from other martial arts with their rigid way of thinking and moving. Ninjutsu is a highly evolved system of self-defense based on relaxation rather than tension and pure muscle strength. With it, weak, little and old people are able to prevail against bigger and stronger aggressors. Violence is only used when there is no other way out. It is not considered weak behavior if you get out of the way of a possible hazard and flee. It is considered rather smart: there is no need to get hurt and to hurt others as long as there is no reason to protect someone else from danger. There is also nothing supernatural about the Ninja and their highly praised physical and psychological abilities. They are human beings with their natural restrictions. Still they apparently have sources of power overlooked or discarded as bad that gives them tremendous powers. With them, they could withstand the overwhelming armies of the Samurai for a long time. One of those sources is their own Shadow, a term that Carl Jung defined. It is a part of the unconscious that keeps all supposedly bad habits and aspects of our minds that have been repressed. The Ninja freed those and integrated them with his "good" side. It turns out that the Shadow contains many qualities that are of great help in many ways, but common morals preached them to be evil. Still if the Ninja wanted to prevail against the Samurai, they had to gather everything that might help them. Looking beyond the negative image of the Shadow and integrating it they experienced Wholeness or Oneness, a term often used in connection with spiritual enlightenment. That is why they are also commonly called Shadow Warriors. In comparison to other popular martial arts, Ninjutsu has a deeper and older body of knowledge. One could go as far as to say that most martial arts should better be called martial sports, since they are there merely for fitness and discipline reasons rather than providing an effective self-defense system. "I would say that most martial arts are invented products, like for instance karate was invented, created at a certain point of time like judo was, for a certain purpose by a certain person." (Hodel) Since the actual purpose of Ninjutsu was surviving under hostile conditions, it is much more integrated and whole. Only the techniques that worked survived. The others died with their users on the battle ground. By now the concentrated forms of only the most effective combat techniques have survived and make up the core of Ninjutsu. The art involves body, mind and spirit, the latter one is hard to find in most other martial arts and sports. Much is based on the 5 elements - Earth, Water, Fire, Wind and Void / Antimatter. Each element represents a system of certain moods, stances, general ways of thinking and such, fire, for example, is an aggressive element, so the movement is forward and backward, the mode of thinking are strong emotions and the being connected with it is an animal with its instincts. The Void stands for creativity, and for the ability to change between the elements. It also represents the religious aspect for everyone of us. Originally the religion connected with Ninjutsu/Ninpo is a mixture of a mystical sect of Buddhism, Taoism, Shinto and other local religions. Enlightenment and Wholeness/Oneness of the universe was stressed. Still the art does not interfere with someone's religion and beliefs. Many of today's practitioners are Christians for example. "It teaches you to be careful. However, it's not a life style like a religion would be. In other words it doesn't answer every question there is to answer in life. People having a desireful religion they can still have that and have it not attached or influenced by this training." (Hodel) The training itself helps developing an increased awareness of danger, much like a sixth sense. It also makes you more aware to the world in general; martial arts people behave differently. But it is necessary to do the movement in order to understand the mental aspects. The Grandmaster says that like the human body, one fifth of the training is "head". The rest is the actual "body", movement. "And it helps you having a happy life by making you healthy, by making you have friends that can protect you, by having you become a person that protects others; in other words, you're being the good guy. And it's a lot nicer going through life as the good guy than it is going through life as someone that has a reputation as being tough or being the bad guy." (Hodel) Unfortunately as with many other popular things there are many fakes out there. There are many fake masters who are for example karate masters and just put on a black suit. Then they pretend being a Ninja masters to get some money out of the Ninja craze. Though with the right sources at hand it should not be a problem to avoid them. As we see here there is much more to Ninjutsu than just some green cartoon turtles or dastardly murderers. In spite of the media, the Bujinkan network spreading worldwide means the first steps into full recognition and appreciation have been taken. After a civil war that lasted several centuries the Ninja lost to the Samurai, but their advanced methods of training and thinking have survived. The new millenium is now approaching, and with it the impersonal world of computers. Ninjutsu provides us with an alternative. It is an exciting and refreshing concept in general eastern thinking as well as a highly effective self-defense system. That given, it seems that it will live on for much longer. |
| Samurai/Kobudo/Daikenjutsu | by Soke, Sifu for everyone |
samurai , knights of feudal Japan, retainers of the daimyo . This aristocratic [sä"mOOrI'] Pronunciation Key samurai , knights of feudal Japan, retainers of the daimyo. This aristocratic warrior class arose during the 12th-century wars between the Taira and Minamoto clans and was consolidated in the Tokugawa period. Samurai were privileged to wear two swords, and at one time had the right to cut down any commoner who offended them. They cultivated the martial virtues, indifference to pain or death, and unfailing loyalty to their overlords (see bushido). Samurai were the dominant group in Japan, and the masterless samurai, the ronin, were a serious social problem. Under the Tokugawa shogunate (1603–1867), the samurai were removed from direct control of the villages, moved into the domain castle towns, and given government stipends. They were encouraged to take up bureaucratic posts. As a result, they lost a measure of their earlier martial skill. Dissatisfied samurai from the Choshu and Satsuma domains of W Japan were largely responsible for overthrowing the shogun in 1867. When feudalism was abolished after the Meiji restoration, some former samurai also took part in the Satsuma revolt under Takamori Saigo in 1877. As statesmen, soldiers, and businessmen, former samurai took the lead in building modern Japan. Book of the five Rings Hagakure |
| Aikido/aikijutsu | by Soke, Sifu for everyone |
ai•ki•do Pronunciation: (I-kE'dO; Japn. I'kE-dô"), [key] —n. a Japanese form of self-defense utilizing wrist, joint, and elbow grips to immobilize or throw one's opponent Aikido's founder, Morihei Ueshiba, was born in Japan on December 14, 1883. As a boy, he often saw local thugs beat up his father for political reasons. He set out to make himself strong so that he could take revenge. He devoted himself to hard physical conditioning and eventually to the practice of martial arts, receiving certificates of mastery in several styles of jujitsu, fencing, and spear fighting. In spite of his impressive physical and martial capabilities, however, he felt very dissatisfied. He began delving into religions in hopes of finding a deeper significance to life, all the while continuing to pursue his studies of budo, or the martial arts. By combining his martial training with his religious and political ideologies, he created the modern martial art of aikido. Ueshiba decided on the name "aikido" in 1942 (before that he called his martial art "aikibudo" and "aikinomichi"). On the technical side, aikido is rooted in several styles of jujitsu (from which modern judo is also derived), in particular daitoryu-(aiki)jujitsu, as well as sword and spear fighting arts. Oversimplifying somewhat, we may say that aikido takes the joint locks and throws from jujitsu and combines them with the body movements of sword and spear fighting. However, we must also realize that many aikido techniques are the result of Master Ueshiba's own innovation. On the religious side, Ueshiba was a devotee of one of Japan's so-called "new religions," Omotokyo. Omotokyo was (and is) part neo-shintoism, and part socio-political idealism. One goal of omotokyo has been the unification of all humanity in a single "heavenly kingdom on earth" where all religions would be united under the banner of omotokyo. It is impossible sufficiently to understand many of O Sensei's writings and sayings without keeping the influence of Omotokyo firmly in mind. Despite what many people think or claim, there is no unified philosophy of aikido. What there is, instead, is a disorganized and only partially coherent collection of religious, ethical, and metaphysical beliefs which are only more or less shared by aikidoists, and which are either transmitted by word of mouth or found in scattered publications about aikido. Some examples: "Aikido is not a way to fight with or defeat enemies; it is a way to reconcile the world and make all human beings one family." "The essence of aikido is the cultivation of ki [a vital force, internal power, mental/spiritual energy]." "The secret of aikido is to become one with the universe." "Aikido is primarily a way to achieve physical and psychological self- mastery." "The body is the concrete unification of the physical and spiritual created by the universe." And so forth. At the core of almost all philosophical interpretations of aikido, however, we may identify at least two fundamental threads: (1) A commitment to peaceful resolution of conflict whenever possible. (2) A commitment to self-improvement through aikido training. |
| Gungfu/Kung-fu | by Soke, Sifu for everyone |
The Shaolin order dates to about 540 A.D., when an Indian Buddhist priest named Bodhidharma (Tamo in Chinese), traveled to China to see the Emperor. At that time, the Emperor had started local Buddhist monks translating Buddhist texts from Sanskrit to Chinese. The intent was to allow the general populace the ability to practice this religion. This was a noble project, but when the Emperor believed this to be his path to Nirvana, Tamo disagreed. Tamo's view on Buddhism was that you could not achieve your goal just through good actions performed by others in your name. At this point the Emperor and Tamo parted ways and Tamo traveled to the nearby Buddhist temple to meet with the monks who were translating these Buddhist texts. The temple had been built years before in the remains of a forest that had been cleared or burned down. At the time of the building of the temple, the emperor's gardeners had also planted new trees. Thus the temple was named "young (or new) forest", (Shaolin in Mandarin, Sil Lum in Cantonese). When Tamo arrived at the temple, he was refused admittance, probably being thought of as an upstart or foreign meddler by the head abbot (Fang Chang). Rejected by the monks, Tamo went to a nearby cave and meditated until the monks recognized his religious prowess and admitted him. Legend has it that he bored a hole through one side of the cave with his constant gaze; in fact, the accomplishment that earned his recognition is lost to history.When Tamo joined the monks, he observed that they were not in good physical condition. Most of their routine paralleled that of the Irish monks of the Middle Ages, who spent hours each day hunched over tables where they transcribed handwritten texts. Consequently, the Shaolin monks lacked the physical and mental stamina needed to perform even the most basic of Buddhist meditation practices. Tamo countered this weakness by teaching them moving exercises, designed to both enhance ch'i flow and build strength. These sets, modified from Indian yogas (mainly hatha, and raja) were based on the movements of the 18 main animals in Indo-Chinese iconography (e.g., tiger, deer, leopard, cobra, snake, dragon, etc.), were the beginnings of Shaolin Kung Fu. It is hard to say just when the exercises became "martial arts". The Shaolin temple was in a secluded area where bandits would have traveled and wild animals were an occasional problem, so the martial side of the temple probably started out to fulfill self-defense needs. After a while, these movements were codified into a system of self-defense. As time went on, this Buddhist sect became more and more distinct because of the martial arts being studied. This is not to say that Tamo "invented" martial arts. Martial arts had existed in China for centuries. But within confines of the temple, it was possible to develop and codify these martial arts into the new and different styles that would become distinctly Shaolin. One of the problems faced by many western historians is the supposed contraindication of Buddhist principles of non-violence coupled with Shaolin's legendary martial skills. In fact, the Shaolin practitioner is never an attacker, nor does he or she dispatch the most devastating defenses in any situation. Rather, the study of kung fu leads to better understanding of violence, and consequently how to avoid conflict. Failing that, a Buddhist who refuses to accept an offering of violence (i.e., and attack) merely returns it to the sender. Initially, the kung fu expert may choose to parry an attack, but if an assailant is both skilled and determined to cause harm, a more definitive and concluding solution may be required, from a joint-lock hold to a knockout, to death. The more sophisticated and violent an assault, the more devastating the return of the attack to the attacker. Buddhists are not, therefore, hurting anyone; they merely refuse delivery of intended harm. The Shaolin philosophy is one that started from Buddhism and later adopted many Taoist principles to become a new sect. Thus even though a temple may have been Taoist or Buddhist at first, once it became Shaolin, it was a member of a new order, an amalgamation of the prevailing Chinese philosophies of the time. Other temples sprung from Henan. This happened because the original temple would suffer repeated attacks and periods of inactivity as the reigning Imperial and regional leaders feared the martial powers of the not-always unaligned monks. Refugee Shaolin practitioners would leave the temple to teach privately (in Pai) or at other Buddhist or Taoist temples. In rare cases, a new Shaolin Temple would be erected (Fukien, Kwangtung) or converted from a pre-existing temple (Wu-Tang, O Mei Shan). Politically and militarily involved monks (such as the legendary White Eyebrow and Hung Tze Kwan) would be perpetual sources of trouble for the generally temporally aloof monks. The Boxer rebellion in 1901 was the beginning of the end of the Shaolin temples. Prior to that, China had been occupied by Western and Japanese governments and business interests. The British had turned the Imperial family into an impotent puppet regime largely through the import and sales of opium and the general drug-devastation inflicted upon the poor population. This lead to the incursion of other European powers, including Russia, France and Holland, and later the Japanese and Americans. By the late 1800s, China was effectively divided into national zones, each controlled by one of the outside powers (similar to post World War II Berlin, on a hugely larger scale). The long standing animosities between China and Japan worsened, and extended to include all other "foreign devils" as well. Coupled with the now almost universal disdain by the Chinese for their Empress, a Nationalist movement with nation-wide grass-roots support was born. Among the front line soldiers of the new "order" were the legendary and near-legendary martial artists--many Shaolin--known as Boxers (remember how Bruce Lee, in his films depicting these times, refers to himself as a Chinese boxer...). Though their initial assaults on the military powers of the occupation governments were not entirely successful (many believed in Taoist magical spells that would make them impervious to gunfire), their temporary defeat would lead to a more modern reformation that included adopting modern military weapons and tactics. The withdrawal of western forces was prolonged over many years, and by the end of World War I saw China in an almost feudal state of civil war. Not only were national troops fighting loyalists, but both sides had to fight the Japanese (who still held much of the northern Manchurian region of China) as well as many powerful, regional warlords. Many parts of China were virtually anarchies, but by 1931 almost all non-Asian occupants had been successfully driven out (with the interesting exception, in the late 1930s, of the volunteer American airmen known as The Flying Tigers, who helped repel Japanese forces prior to World War II), and the major combatants within China were the Nationalists and the Communists. Both sides displayed the typical jingoistic attitudes of forces in mindless warfare--if you aren't with us, you are against us. Neutrality meant nothing except the possibility of a later enemy. Consequently, Shaolin and other monks were routinely murdered by soldiers from both sides. One result of this program of murder was the exodus of many monks into the hills, or abroad, with the hope that Shaolin knowledge might survive even if the temples themselves did not. The temples were unfortunate victims of war in a land that had abandoned its historical practice of respecting posterity and ancestors. All were ransacked and looted by various armed groups. O Mei Shan Temple ("Great White Mountain"), in Szechuan Province, was situated on a mountain top and deemed by Chinese officers to be a fitting target for artillery practice. It was shelled in turn by Nationalist and Communist armies. In a fitting twist of fate, this one-time site of medical and natural history knowledge was rebuilt by the Communists in the mid 1970s, and now stands as the National Park and Research Headquarters for the panda preserve. There are various stories coming out of China today referring to the history of Shaolin, particularly over the past 300 years. However, many of these stories are suspect (compare Chinese accounts of Tiananmen Square with CNN news coverage), with the more commonly "authenticated" versions coming from government records. The fact that Chinese authorities outlawed Shaolin and martial arts practices makes any story about their history from such sources suspect. The prevalent wu-shu styles originated as a result of a compromise between the post-World War II governments and the national need and history of having a martial arts tradition. Wu-Shu, however, was not designed as a martial art (strictly illegal), and claims to the contrary date back only a decade or so, following on the popularity of Kung Fu. |
| Ken-po/Kempo | by Soke, Sifu for everyone |
Ken-po-shi , kem-shi : The multi movent based striking of chinese based forms of speed and power, evolved into the american, movement The earliest and, therefore, most speculative sources of our current American Kenpo Karate System are numerous: 1) Shang Dynasty through Han Dynasty (1600 B.C.-220 A.D.) Most Chinese martial arts styles can be traced back about 3,500 years to the practice of Shuai Chiao. Shuai Chiao developed from such influences as the grappling maneuvers of Mongolian wrestling; the footwork of horn butting (Chiao Ti); and the simple empty hands boxing being practiced by the feudal nobility. It took approximately 1800 years of development for Shuai Chiao to develop into some type of standard techniques (with variations from different regions of China). Shuai Chiao became a national pastime that was widely practiced by the nobility and the military. By the onset of the Han Dynasty, Taoism had developed as the main belief structure in China. The philosophy of yin and yang, force and counter-force, balance and counter-balance, and the philosophy of the Five Elements were incorporated into the people's Shuai Chiao. Taoist priests continued to work and develop internal power (qi or chi), breathing methods (nei gong), as well as moving and standing meditation [Canzonieri, Feb. 1996]. One such Taoist contributor was Hua T'o, a surgeon who proposed a series of health exercises involving animal postures (bear's neck, fowl's twist, etc.). He is the source of the southern long-hand forms. Hua T'o also introduced our animal attitudes as physical and mental models, as well as the Taoist breathing techniques. 2) Liang Dynasty through Sung Dynasty (500-1260 A.D.) Bodhidharma (Daruma Daishi, Tamo) was the 28th East Indian prince and the successor to Buddha. Bodhidharma traveled to China to preach Buddhism, i.e., that one must coexist with nature and the surrounding environment. After being rejected by the warring Chinese populace, he retired at the Shaolin Monastery. While attempting to teach the Shaolin monks, Bodhidharma found that many fell asleep during meditation. Bodhidharma introduced a series of hand and foot movements to strengthen the physical and spiritual natures of the Buddhist monks. The Shaolin monks used Bodhidharma's exercises as well as the fighting skills of body guards, temple guards, military generals, ex-soldiers visiting Shaolin and fellow monks (who came from poor backgrounds) to create the 18 Lohan Boxing style [Canzonieri, Feb. 1996]. From this beginning, the Shaolin monks continued to develop their martial techniques to aid in the protection and defense of the monastery from bandits. Bodhidharma's influence is preserved by us in his most famous quote, which is restated by Mitose: "...to fall down seven times, to rise eight times, life starts from now." 3) Yuan Dynasty (1260-1368 A.D.) During this Era, martial arts also became an integral part of the Chinese lifestyle. The martial arts were taught by only a select number of clans, who in turn passed on the deadly secrets to select clan members. The selected clan members were made, by their mentors, to swear never to disclose the secrets they received [Tindall, May 1996]. Around 1200 A.D., Genghis Khan began his conquest of China and in the process attacked a region containing one of the Shaolin temples. A high priest of the temple escaped to Japan where he met a Shinto priest whose name was Kosho. Kosho had already mastered a variety of fighting arts including: Kendo (Swordsmanship), Naginatado (Lance fighting), Kyudo (archery), fighting on horses and swim fighting. The high priest taught the Ch'uan Fa (Fist Law) system to Kosho. After becoming a master of all these systems combined, he changed his name to Mitose and began teaching his martial arts (Kosho-Ryu Kempo). Nearly 80 years later, a Buddhist descendant of Mitose (Kosho) founded the Kosho-Shorei (Old Pine Tree) temple in order to teach his philosophy of true self-defense (self-defense without body contact). Koshu-Shorei contained a complete system of wartime self-defense (Kosho Ryu) as well as s system of teaching religion, the arts, and humanities (Kosho-Shorii). The wartime art of Kosho-Ryu Kempo, was taught only to family members (insiders). Kosho-Ryu was passed on from generation to generation in order for the family members to be familiar with it and to be able to defend against it [Golub, Reference]. Through these Japanese generations, the ancient Chinese art was extensively modified from its original circular movements to the more strict linear format preferred by the Japanese. The linear movements and takedowns incorporated into the modern American Kenpo can be trace directly to Kosho-Ryu. 4) Ming Dynasty (1368-1644 A.D.) By the start of this period, the Shaolin monk Ch'ueh Yuan had increased the original techniques of the 18 Lohan style to 72 movements. Ch'ueh Yuan eventually obtained permission to leave the monastery and traveled extensively throughout China in search of other Martial Arts masters to confer with. Ch'ueh Yuan obtained many techniques and ideas from his travels before teaming with two contemporaries; Li Sou (great Lohan martial arts master) and Pai Yu-Feng (Hit Tai Tau internal boxing master). The three masters returned to the Shaolin Monastery to combine what was known from the internal and external styles. Ch'ueh Yuan's 72 movements were expanded into 170. The new movements were then categorized into five distinct animal styles:Tiger, Crane, Leopard, Dragon, and Serpent. The five animal styles are the basis of the Shaolin Ch'uan Fa ("Fist Law") known as "Five Forms Fist" [Canzonieri, March, 1996]. Also during this era a dispersion of Ch'uan Fa or "Fist Law" occurred outside of China. In 1372, an official Chinese tributary relationship was established between China and Okinawa's King Sho-ha-shi. The Chinese martial arts began to mingle with Okinawan fist fighting (Tode). The intermingling of fighting styles occurred because of the establishment of a permanent Okinawan settlement in the Chinese capitol of Ch'uan Chou and the migration of 36 families from the Chinese province of Fukien to Kume-mura, Okinawa. In this way Chinese boxing was passed on to many Okinawans. In 1609, Japan, lead by Shinazu, conquered Okinawa. However, the Okinawa Te Style (Ch'uan Fa) was already established within the populace. By 1629, various Okinawan Ch'uan Fa groups and tode (fist fighting) societies had banded together to from a new fighting style called "Te". During this period, many Okinawans were secretly sent to China to learn its fighting systems [Corcoran, 1984]. 5) Ch'ing Dynasty (1644-1912) After the Mongol takeover of China, the Ming Dynasty officials, which consisted mostly of the Imperial Guards, took refuge in the Shaolin Monastery to plot their revenge. With the influence of the Ming Dynasty Imperial Guards the shaolin Monasteries began to codify and strengthen their particular martial art styles. Legend has it, and we emphasize the legend has never been empirically verified, that in order to graduate from the Shaolin monastery, monks would have to exhibit phenomenal skills and pass through 18 testing chambers in the temple. If they survived the first 17 chambers, they would have to grip an iron cauldron with their bare forearms and have the raised relief of a tiger and dragon burnt into their skin. These marks were the signs of a true Shaolin Master. During this tumultuous period, the monasteries were periodically burned down and the ever resilient Shaolin Monastery had to be relocated in Honan, Fukien, Kwangtung and elsewhere. This was beneficial to the development of the martial arts, because as battles between the Ch'ing Dynasties and the Shaolin monks continued the different fighting styles intermingled and spread to the common populace. Two such styles born from the turmoil were Wing Chun Kung Fu and Hung Gar Kung Fu. Not only were these styles important to the spread of Ch'uan Fa to the common people of China, Japan, and Okinawa but they have significant influence on the evolution of American Kenpo Karate [See Thomas Connor, below]. A quick summary on the origins of Wing Chun and Hung Gar are given below: Wing Chun Kung Fu During the reign of Emperor K'angshi of the Ching Dynasty (1662-1722) Ch'uan Fa became very strong in the Shaolin Monastery of Mt. Sung, in Honan Province. This aroused the fear of the Manchu government, which sent troops to attack the Monastery. Although they were unsuccessful, a man named Chan Man Wai, a recently appointed civil servant seeking favor with the government, devised a plan. He plotted with Shaolin monk Ma Ning Yee, and others, who were persuaded to betray their companions by setting fire to the monastery while soldiers attacked it from the outside. The monastery was burned down, and the monks and disciples scattered. Buddhist Abbess Ng Mui, Abbot Chi Shin, Abbot Bak Mei, Master Fung Doe Duk and Master Mew Hing escaped and went their separate ways. Ng Mui took refuge in the White Crane Temple on Mt. Chai Har. It was there she met Yim Yee and his daughter Wing Chun from whom she often bought bean curd on her way home from the market. Wing Chun's beauty attracted the attention of a local bully, who tried to force Wing Chun to marry him. Ng Mui learned of this and took pity on Wing Chun. She agreed to teach Wing Chun fighting techniques so she could protect herself. Wing Chun followed Ng Mui into the mountains, and began to learn Ch'uan Fa. She trained night and day, until she mastered the techniques. The she challenged the bully to a fight and beat him. Ng Mui later traveled around the country, but before she left she told Wing Chun to strictly honor the Ch'uan Fa traditions, to develop her skills after her marriage, and to help the people working to overthrow the Manchu government and restore the Ming Dynasty [Yip Man, Reference]. Hung Gar Kung Fu Historically, Southern China has been dominated by five Kung Fu styles: Hung, Lau, Choy, Lay and Mok. Hung Gar is the most widespread and popular of these. Gar means clan or family in Cantonese, whereas Hung refers to the family name of the man who invented the system, Hung Hei Goon. According to legend, Master Gee See, a monk of the Fukien Shaolin Temple, taught Hung Hei Goon, a Fukien tea merchant, the Shaolin Tiger Style. Hung, being a curious man, always sought to improve his skills. He added to his Tiger Style many of the elements from his wife's White Crane system. He also incorporated movements from the Dragon, Snake, and Leopard forms, as well as techniques from the Five Elements Fist. He modified and expanded his "Tiger-Crane" Style to develop a system better balanced in long and short-range application, a system which better reflected his own character and skills-Hung Gar. Hung Hei Goon developed a reputation for being a fighter of great skill and was known as "The Southern Fist". The essence of Hung Gar can be found in its name "Hung", meaning to "stand tall with integrity." Hung Gar philosophy stresses honesty, directness, iron will-power and righteousness. To show the diversity of fighting styles available throughout China, the following list names the various monasteries that existed at one point in time. A brief summary of the styles attributed to have been developed by the different monasteries is: Honan - Northern Fist, Ground Dragon, Monkey Praying Mantis, Cotton Fist, eight Drunken Immortals, 10,000 Lotuses Blooming, Golden Snake, Staff, Spear, Jointed Sticks, Single Broadswords, Double Broadswords, Tiger Hook Swords, Double Edged Sword, Three Sectional Staff, Chain Whip, Double daggers, Double Hand Axes, Single and Double Butterfly Knives. Fukien - Southern Fist, Golden Centipede, Sparrow, White Monkey, Wild Horse, Iron Bone Training, Iron Palm Training, Iron Shirt Training, Short Fist. Kwangtung - Tiger-Crane System, Fist of Ch'a, Crab, Golden Roaches, 10,000 Bees Attacking. Shantung - Shantung Black Tiger, Tan Family Leg Techniques. Omei Shan - White Crane, Eagle Claw, Golden Cock, white Swan, Ostrich. Wutang Mountain - T'ai Chi Ch'uan, Pa Kua Chang, Hsing I Ch'uan, Liu Hsing Ch'uan, T'ai Chi Broadsword, Spear, Ta Mo Sword and Double Sword and Spear, Seven Star Sword. Hua Mountain - Classical Fist of Hua, Modern Fist of Hua, Chang Ch'uan. As stated earlier, the influence of these unique styles are still highly present in modern American Kenpo styles. 6) Karate Expansion (1915-1944) After the occupation of the Okinawan and Ryukyu Islands by the Japanese,the secret study of the Okinawan Te was publicly allowed and a great popularization of Karate followed. Gichin Funakoshi and Knewa Mabuni (Okinawan Te Stylists) exported a form of sport karate to Japan in 1916. This was the Show Era in Japan. A great proliferation of martial arts and introduction of styles to the public occurred. By 1936 the term "Kara-Te" was utilized by the principal martial arts leaders of Okinawa. 7) Choki Motobu (1871-1944) Motobu was an eccentric Okinawan Karate master. He is responsible for secretly translating the Ch'uan Fa elements of Okinawan Shorin-Ryu ("Shaolin Way") into the current basic structure now known as Shorei-Ryu Karate. Choki Motobu is associated with the rise of Kempo in Hawaii because of a publicized visit in 1933 as well as a mysterious link with James Mitose and the development of modern Kosho-Ryu Kempo [Corcoran, 1984]. 8) Dr. James Mitose (1915-1981) Mitose is a great grand master of Hawaiian/U.S. Kempo, and we can trace part of our lineage to him. At the age of 5, Mitose was sent to Japan to study the Mitose family tradition of Ch'uan Fa (or "Kempo" in Japanese) at the Mt. Akenkai Kosho-Shorei temple. As stated previously, the Ch'uan Fa tradition had already been modified by successive Mitose masters until it became known as Kosho-Shorei Kempo (Old Pine Tree Style). |
| Judo/Jujutsu | by Soke, Sifu for everyone |
judo , sport of Japanese origin that makes use of the principles of jujitsu, [jOO'dO] Pronunciation Key judo , sport of Japanese origin that makes use of the principles of jujitsu, a weaponless system of self-defense. Buddhist monks in China, Japan, and Tibet developed jujitsu over a period of 2,000 years as a system of defense that could be used against armed marauders and yet would not be in conflict with their religion. Jigoro Kano, a Japanese jujitsu expert, created judo (1882) by modifying or dropping many holds that were too dangerous to be used in competition. It depends for success upon the skill of using an opponent's own weight and strength against him, thus enabling a weak or light individual to overcome a physically superior opponent. A judo match begins with a ceremonial bow, after which each player grasps the other by the collar and sleeve of the jacket, or gi. Points are scored when a fighter successfully executes a variety of throws or immobilizes the opponent for varying lengths of time. Penalties can result in the deduction of points and are called, among other reasons, for throwing an opponent by entwining legs; applying joint locks other than to the elbow; using the arm or hand on an opponent's face; or grabbing the opponent's trousers. Judo has been an Olympic sport for men since 1964 and for women since 1984. Both fight in eight weight classes. Proficiency in judo is indicated by the color of a player's belt; white indicates a beginner, black a master. There is a wide range of color in between. Jujitsu, the unmodified form of judo, has been taught to military and police forces. In 1953 the Amateur Athletic Union recognized judo as a sport and sanctioned annual championships. Numerous schools throughout the world now teach judo |
| Kara-te | by Soke, Sifu for everyone |
a method developed in Japan of defending oneself without the use of weapons by striking sensitive areas on an attacker's body with the hands, elbows, knees, or feet. Karate Beginnings As most karate students know, when the Japanese conquered Okinawa in the 1600s, they disarmed the populace and forbade the practice of self-defense by commoners. Prior to that time, the Okinawan peasants had an indigenous form of fighting called te, or "hand," which probably originated some 400 years earlier. But te was a fairly crude pugilistic system. Certainly it was not formally organized the way karate is today. Te contained no pre-arranged kata, nor did it boast anything like them (see "The Truth About Kata," by William Durbin in the October 1990 Karate/Kung Fu Illustrated). It was pure fighting practice, not a martial art (see "Shorin-Ryu's Awesome Open-Hand Techniques," by Sid Campbell in the August 1992 KKI). According to the writings of Black Belt columnist Dave Lowry, after the Japanese banned self-defense training, te was practiced secretly, usually at night and often in secluded sacred groves called maia (or miya). For further security, it was taught only to family members and trusted friends, or to their children. The secrecy of te was maintained by controlling where, when and with whom it was practiced-not by disguising its techniques as dance forms, as is commonly believed. (Lowry wrote extensively about this in his Karate Way column in the January 1993 and January 1994 Black Belt.) Modern karate students often perform their art's kata under the assumption that they are carrying on a martial tradition that stretches back to the days when Okinawan peasants fought samurai warriors. But history proves otherwise, the author claims. Commoners sought to learn to defend themselves, even though self-defense practice was illegal. Modern martial arts practitioners can take inspiration from the way ordinary Okinawan farmers and fishermen defied their conquerors by secretly learning to fight. This is the important grain of truth in the story of kata that is commonly told and believed, but the kata themselves had not yet been invented. In 1868 the "Decree Banning the Wearing of Swords" did away with the samurai class and legalized martial arts training for commoners. First Forms The next important step in the development of karate occurred around 1800, when a man named Kusanku journeyed from China to Okinawa on a trading mission (see Glenn Tibbet's letter, "Names Are Fabricated, Not Arts," in the October 1993 KKI). He brought with him the training discipline of Shaolin-style kung fu. In Okinawa, it was taken up by people who had trained in the native te, and the resultant union was called kara-te, or "China hands." This included training in stances and punching and kicking techniques, but not kata. The first kata, called kusanku, was developed by the next generation as a tribute to the Chinese envoy. Credit for this sometimes goes to Tode Sakugawa; other times it goes to Sokon Matsumura. The form is usually called kanu-dai, and it is still widely practiced today. Sometime after 1800-the approximate date of the creation of kanku-daibut before 1900, two other kata were developed. One was called channan, but today nothing is known about it except its name (see "A Compendium of Traditional Karate Kata," by Andy Pruim in the June 1992 Black Belt). Even less is known about the other kata; even its name has been lost to history. Of all the kata practiced today in the myriad of martial arts, only kanku-clai is definitely more than 100 years old. (One other kata, sanchin, may have been derived from an old Okinawan court dance, since it is definitively known that at one time it was practiced with open hands, rather than closed fists.) All the other kata, without exception, were invented in the 20th century. End of Prohibition A major development occurred in 1868, when the often-mentioned "Decree Banning the Wearing of Swords" was promulgated. This law abolished the samurai class and all its privileges. Simultaneously it became legal for common people to practice fighting. Kata were, therefore, practiced secretly only between approximately 1800 and 1868. Before 1800 there were no pre-arranged kata; after 1868 karate training was legal. This has contemporary relevance. Some people show techniques that they say were hidden within the kata, claiming they were secrets to be kept from the Japanese overlords. Obviously, this is nonsense. The only kata practiced today which could conceivably contain such hidden techniques is kanku-dai. This is not to say that all the bunkai (applications) within kata are obvious, for they are not-as anyone who has studied karate knows. But saying something is not obvious is not the same as saying it is hidden. For example, a poem may contain subtleties which take years of study to understand, but that doesn't mean the poet was trying to hide things from readers. Chojun Miyagi (above) created the goju-ryu style of karate after training under Kanryo Higashionna for 15 years. The next important development occurred in 1905, during the Russo-Japanese war. A military draft was instituted in Japan. When Okinawan recruits were examined by doctors, it was noticed that some were in extraordinary physical condition. Authorities launched an official investigation into the phenomenon. When martial arts practice was determined to be responsible for this, Yasutsune Itosu was ordered to develop a karate curriculum to be instituted in the Okinawan public school system (Durbin, October 1990 KKI). At that time, Okinawan elementary schools contained five grades. Itosu, having decided that the existing kata were too difficult for beginners, devel- oped the five pinan kata, one for each grade (Pruim, June 1992 Black Belt). Today the pinan kata are the foundation of most traditional styles. (Presumably they contain some elements of the lost channan kata and the unknown third kata, although there is no way to be sure.) Itosu had several concerns. First, he had to develop an organized curriculum that would satisfy the rigorous demands of the Japanese educational system. Second, he was worried that the techniques of karate could be learned by hooligans-to the detriment of society. Anyone who persevered through the lengthy process of learning five kata, he believed, would be sufficiently disciplined to exhibit self-control and good judgment, and would not engage in combat needlessly. Around 1923 one of Itosu's students, Gichin Funakoshi, brought karate from Okinawa to the Japanese mainland. He found that even the pinan kata were too difficult for beginners who lived in a somewhat different culture (see Karatedo Kyohan, Funakoshi's masterwork), so he instituted the taikyoku kata as an introduction to the subject matter of karate. These forms, or some variant of them, are now practiced in many different styles, sometimes under different names. Funakoshi also changed the meaning of the word "karate." Even though it was still pronounced the same way, it was now written with the characters for 11 empty hands," rather than the characters for "China hands." (Saying something came from China was not a good thing in Japan at that time.) "Empty hands" has two meanings: first, that the student should come to karate free of any preconceptions; second, that even with empty hands-i.e., without a weapon-one is still armed. Modern Styles The traditional styles of karate that are practiced today fall into one of three groups. The shotokan-de rived styles begin with the taikyoku kata for beginners and continue with the pinan kata for intermediate students. The shorinryu-derived styles begin directly with the pinan kata. These are the creations of, respectively, Funakoshi and ltosu. Each modern style then generally adds a couple of kata unique to itself, at which point the student has usually reached the level of shodan, or junior instructor. (it should be kept in mind that Gichin Funakoshi himself said that 15 kata represented a lifetime's study.) When Gichin Funakoshi (right), a student of Yasutsune ltosu, spread karate to the Japanese mainland, he created the taikyoku kata to introduce students there to the Okinawan self-defense art. The third group of currently practiced styles is derived from goju-ryu karate. Goju-ryu was developed by Chojun Miyagi, following the example Itosu set when he created shorin-ryu. Goju-ryu contains the sanchin kata, which Miyagi developed from exercises transmitted by Kanryo Higashionna. (As noted earlier, these may have been derived from Okinawan royal-court dances.) Goju-ryu styles also contain the gekisai kata, which Miyagi introduced in the 1930s, as a "first taste" of his style; this parallels Funakoshi's use of the taikyoku kata as an appetizer, so to speak, before beginning the core kata of his system. (see "The Meaning of Okinawan Goju Karate," by Paul Myers in the October 1992 KKI). All traditional styles of karate, then, fall into one of these three groups: shotokan derived, shorin-ryu derived or goju-ryu derived. Since there are dozens of styles currently practiced, and each contains at least a couple of kata that are peculiar to it, we can see that most currently practiced kata were actually introduced in the years after World War II. (A few styles of karate have completely abandoned the traditional kata in favor of their own unique exercises.) Summary We have seen that kanku-dai is not quite 200 years old, that the pinan kata are not quite 100 years old, and that all the other kata are even younger than that. The only possible exceptions are sanchin and gojushiho, which may derive from an older dance. That is the true history of kata; all claims about them must account for the fact that they are, basically, creations of the 2 01h century (see "The Imaginary History of the Okinawan Martial Arts," by William Durbin in the April 1993 KKI.) It is true that the roots of karate itself are much older than those of kata. Te is possibly 700 years old, and Shaolin kung fu is probably 1,500 years old. Since the Shaolin style was derived, at least in part, from chuan fa, we know that these roots may be 2,000 years deep-and possibly much more. The martial arts have a very ancient ancestry, but we cannot make the same claim about the kata. This does not mean that kata are not worth practicing. That is a very controversial question but not the subject of this article. But whether you believe kata represent the very heart of karate or a complete waste of time, you should at least get the facts straight: Ancient Okinawan peasants had never even heard of them. |
No comments:
Post a Comment