Different styles have a wide variety of different ways of promoting individuals. Rank belts are a relatively recent development in the world of martial arts, the first systems appear to have developed in the late 1800's. As more styles sought recognition from national based organizations, they adapted to the system then in place.
Originally most people trained with their teacher(Sensei) until they had learned as much as they could, then they either sought additional instruction or they continued to refine their skills with their current instructor. If a practitioner was particularly skilled, his instructor might provide him with a document that had a certification that he had learned all that he had to teach. And in some styles the teacher would pass on his certificate to the senior practitioner in his style, passing the torch to the next generation.
Others would allow their senior students to copy the documents that they had been handed, passing on the knowledge that they had recorded, often using difficult to understand notation of limited value without detailed instruction to go with it. In many styles, particularly outside of the Asian area, promotion requirements are carefully layed out. Many include a list of skills and a time frame, either actual calendar weeks/months or perhaps a specific number of classes.
Testing can be a very formal affair. A date is set, you are expected to be there at the designated time with the appropriate uniform and gear. A board of examiners will be in place and carefully watch each and every technique as the testees perform them one at a time.Testing at the lower ranks tends to be a little less strenuous. It could be a simple as a senior student coming out with a clip board and checking off each technique as you do it in front of him. I have had a number of people tell me that they would be surprised by their teacher approaching them after class and telling them to get a new belt of ? color, they are promoted.
The testing for Shodan, that first level of Black Belt, is often a very strenuous one. Some styles will take a full day to do the testing, including miles of running and sparring with every other black belt present. In many cases they are expected to perform every single technique they have learned over the previous years, but only after they are so tired they can hardly move.Many styles include a written knowledge test about the style, the terms and definitions and its history and origins. Others require an essay about some aspect of the martial arts in order to be promoted to Black Belt.
There are others that have a very specific testing pattern. While you are expected to perform a certain number of kata, step drills and bunkai, what is just as important, if not more important, is the classes leading up to the test. Here the instructors watch and evaluate the student, observing and helping them to grow, helping them improve their techniques and smoothing out the rough spots.When you select a style or dojo in which to learn a martial art, it would be worth while to understand how they accomplish testing. This may be better asked of another student, rather than the instructor.
The instuctor may think it a bit forward if you ask what is on the Black Belt test before you have even signed up!But testing is a milestone to reach.
This a special time not only for the students,but also for the instructors.For all involved have invested time in teaching and mentoring these students.Promotions are a time for a student and instructor to reflect on the committment to one and another.This involves focusing one's own energy and moving forward to that goal, knowing that there are further challenges beyond. It can serve as an opportunity to show off what you have learned. And it is an opportunity to be the center of attention in a way that seldom happens.
Tuesday, April 1, 2008
Wednesday, March 12, 2008
Masahiko Kimura
Masahiko Kimura (木村 政彦, Kimura Masahiko), September 10, 1917 – April 18, 1993) was a Japanese judoka (Judo practitioner) who is widely considered one of the greatest judoka of all time. Kimura (5ft 7in 170cm; 85kg, 187lb) was born on September 10, 1917 in Kumamoto, Japan.
Biography
Kimura at age 24 with the Emperor's tantō gift after winning the Ten-Ran Shiai tournament
At age 16, after six years of judo, Kimura was promoted to 4th dan. He had defeated six opponents (who were all 3rd and 4th dan) in a row. In 1935 at age 18 he became the youngest ever godan (5th degree black belt) when he defeated eight consecutive opponents at Kodokan (headquarters for the main governing body of Judo). Kimura's remarkable success can in part be attributed to his fanatical training regimen. He reportedly lost only four judo matches in his lifetime, all occurring in 1935. He considered quitting judo after those losses, but through the encouragement of friends he began training again. All through the nights, he practiced osoto gari, a basic leg throw, against a tree. After six months, his technique was such that daily randori or sparring sessions at various dojos resulted in 10 people with concussions. Fellow students frequently asked him not to use his unorthodox osoto gari. At the height of his career, Kimura's training involved a thousand push-ups and nine-hours practice every day. He was promoted to 7th dan at age 30, a rank that was frozen after disputes with Kodokan over becoming a professional wrestler, refusing to return the All Japan Judo Championship flag, and issuing dan ranks while in Brazil.
Kimura vs. Hélio Gracie
Kimura vs Gracie –his winning "Kimura lock."In 1955, Kimura, at 38 years old, participated in a match in which he defeated Hélio Gracie of the famous Gracie Jiu Jitsu family in a submission judo match held in Brazil. During the fight, Kimura threw Gracie repeatedly with ippon seoinage (one arm shoulder throw), osoto gari (major outer sweep), and harai goshi (sweeping hip throw). Kimura reportedly threw Gracie repeatedly in an effort to knock him unconscious. However, the floor of the fighting area was apparently too soft to allow this to happen. Kimura also inflicted painful, suffocating grappling techniques on Gracie such as kuzure-kamishiho-gatame (modified upper four corner hold), kesa-gatame (scarf hold), and sankaku-jime (triangle choke). Finally, thirteen minutes into the bout, Kimura positioned himself to apply a reverse ude-garami (arm entanglement, a shoulderlock). Gracie refused to submit, even after his arm broke, forcing Kimura to continue the lock on Gracie's broken arm. At this point, Carlos Gracie, Helio's older brother, threw in the towel to end the match to protect his brother's health. In 1994, Helio admitted in an interview that he had in fact been choked unconscious earlier in the match, but had revived when Kimura released the choke.
As a tribute to Kimura's victory, the reverse ude-garami technique has since been commonly referred to as the Kimura lock, or simply the Kimura, in Brazilian Jiu-Jitsu and, more recently, mixed martial arts circles.
Kimura in Professional Wrestling
In the early 1950s, Kimura was invited by Rikidozan to compete as a professional wrestler. They performed both as tag team partners and as opponents, but Kimura was not marketed or publicized as much as Rikidozan, primarily due to Rikidozan's own opposition (Rikidozan was actually Zainichi Korean, and thus he reportedly felt conflicted or insecure about having a real Japanese in competition with him for publicity[citations needed]). The Rikidozan vs. Kimura match for the Japanese Professional Wrestling Heavyweight title was the first high-profile match between two native professional wrestlers. The match, according to Kimura, was supposed to go to a draw and set up a series of rematches. But Rikidozan, whether it was premeditated or in the heat of the moment, shot (began fighting for real) on Kimura and battered him unconscious with a series of open hand strikes, punches, and kicks (some of which were to the groin), and won the match by knockout. Kimura never received a rematch with Rikidozan.
Kimura formed International Pro Wrestling Force (IPWF), a promotion based in his hometown of Kumamoto, as a local affiliate of The Japan Wrestling Association (JWA). Although JWA later took over operations, IPWF is remembered for being the first Japanese promotion to introduce Mexican Lucha Libre wrestlers.
Some biographers note that his professional wrestling career began shortly after his wife was diagnosed with tuberculosis, and it is speculated by some that he began professional wrestling to pay for her medication. Indeed, the predicament was likely beyond the financial means of a police instructor, which was his paying job prior to professional wrestling.
Kimura vs. Valdemar Santana
Kimura went to Brazil again in 1959 to conduct his last Professional Judo/Wrestling tour. He was challenged by Valdemar Santana to a "real" (not choreographed) submission match. Santana was a champion in Gracie Jiujitsu and Capoiera. He was 27 years old, 6 feet tall, and weighed 205lb. Santana had twice fought Hélio Gracie and won, both fights lasting more than three hours. Kimura threw Santana with seoinage, hanegoshi, and osotogari. He then applied his famous reverse ude-garami (entangled armlock), winning the match.
Santana requested a rematch under vale tudo rules—the first fight was apparently grappling only—and this time, the result was a draw after 40 minutes in a bout in which both competitors reportedly drew blood. Kimura fought this match despite having an injured knee, and was pressured by the promoter and police to fight against his doctors orders.
Death
Kimura died on April 18, 1993 from lung cancer.
View short documentary
http://www.youtube.com/watch?v=lkDBflFtPIw
Biography
Kimura at age 24 with the Emperor's tantō gift after winning the Ten-Ran Shiai tournament
At age 16, after six years of judo, Kimura was promoted to 4th dan. He had defeated six opponents (who were all 3rd and 4th dan) in a row. In 1935 at age 18 he became the youngest ever godan (5th degree black belt) when he defeated eight consecutive opponents at Kodokan (headquarters for the main governing body of Judo). Kimura's remarkable success can in part be attributed to his fanatical training regimen. He reportedly lost only four judo matches in his lifetime, all occurring in 1935. He considered quitting judo after those losses, but through the encouragement of friends he began training again. All through the nights, he practiced osoto gari, a basic leg throw, against a tree. After six months, his technique was such that daily randori or sparring sessions at various dojos resulted in 10 people with concussions. Fellow students frequently asked him not to use his unorthodox osoto gari. At the height of his career, Kimura's training involved a thousand push-ups and nine-hours practice every day. He was promoted to 7th dan at age 30, a rank that was frozen after disputes with Kodokan over becoming a professional wrestler, refusing to return the All Japan Judo Championship flag, and issuing dan ranks while in Brazil.
Kimura vs. Hélio Gracie
Kimura vs Gracie –his winning "Kimura lock."In 1955, Kimura, at 38 years old, participated in a match in which he defeated Hélio Gracie of the famous Gracie Jiu Jitsu family in a submission judo match held in Brazil. During the fight, Kimura threw Gracie repeatedly with ippon seoinage (one arm shoulder throw), osoto gari (major outer sweep), and harai goshi (sweeping hip throw). Kimura reportedly threw Gracie repeatedly in an effort to knock him unconscious. However, the floor of the fighting area was apparently too soft to allow this to happen. Kimura also inflicted painful, suffocating grappling techniques on Gracie such as kuzure-kamishiho-gatame (modified upper four corner hold), kesa-gatame (scarf hold), and sankaku-jime (triangle choke). Finally, thirteen minutes into the bout, Kimura positioned himself to apply a reverse ude-garami (arm entanglement, a shoulderlock). Gracie refused to submit, even after his arm broke, forcing Kimura to continue the lock on Gracie's broken arm. At this point, Carlos Gracie, Helio's older brother, threw in the towel to end the match to protect his brother's health. In 1994, Helio admitted in an interview that he had in fact been choked unconscious earlier in the match, but had revived when Kimura released the choke.
As a tribute to Kimura's victory, the reverse ude-garami technique has since been commonly referred to as the Kimura lock, or simply the Kimura, in Brazilian Jiu-Jitsu and, more recently, mixed martial arts circles.
Kimura in Professional Wrestling
In the early 1950s, Kimura was invited by Rikidozan to compete as a professional wrestler. They performed both as tag team partners and as opponents, but Kimura was not marketed or publicized as much as Rikidozan, primarily due to Rikidozan's own opposition (Rikidozan was actually Zainichi Korean, and thus he reportedly felt conflicted or insecure about having a real Japanese in competition with him for publicity[citations needed]). The Rikidozan vs. Kimura match for the Japanese Professional Wrestling Heavyweight title was the first high-profile match between two native professional wrestlers. The match, according to Kimura, was supposed to go to a draw and set up a series of rematches. But Rikidozan, whether it was premeditated or in the heat of the moment, shot (began fighting for real) on Kimura and battered him unconscious with a series of open hand strikes, punches, and kicks (some of which were to the groin), and won the match by knockout. Kimura never received a rematch with Rikidozan.
Kimura formed International Pro Wrestling Force (IPWF), a promotion based in his hometown of Kumamoto, as a local affiliate of The Japan Wrestling Association (JWA). Although JWA later took over operations, IPWF is remembered for being the first Japanese promotion to introduce Mexican Lucha Libre wrestlers.
Some biographers note that his professional wrestling career began shortly after his wife was diagnosed with tuberculosis, and it is speculated by some that he began professional wrestling to pay for her medication. Indeed, the predicament was likely beyond the financial means of a police instructor, which was his paying job prior to professional wrestling.
Kimura vs. Valdemar Santana
Kimura went to Brazil again in 1959 to conduct his last Professional Judo/Wrestling tour. He was challenged by Valdemar Santana to a "real" (not choreographed) submission match. Santana was a champion in Gracie Jiujitsu and Capoiera. He was 27 years old, 6 feet tall, and weighed 205lb. Santana had twice fought Hélio Gracie and won, both fights lasting more than three hours. Kimura threw Santana with seoinage, hanegoshi, and osotogari. He then applied his famous reverse ude-garami (entangled armlock), winning the match.
Santana requested a rematch under vale tudo rules—the first fight was apparently grappling only—and this time, the result was a draw after 40 minutes in a bout in which both competitors reportedly drew blood. Kimura fought this match despite having an injured knee, and was pressured by the promoter and police to fight against his doctors orders.
Death
Kimura died on April 18, 1993 from lung cancer.
View short documentary
http://www.youtube.com/watch?v=lkDBflFtPIw
Breaking Boards - the physics of a karate chop
Scientists say it's not a trick--it just takes blinding speed and a couple thousand newtons.
ADVANCED DEGREES IN PHYSICS come in different varieties. At the Massachusetts Institute of Technology; students earn them by writing a dissertation. At the Karate Institute in midtown Manhattan, they earn them by breaking one-inch-thick pine boards. Lots of them.
Ben Paris, a fourth-degree black belt in tae kwon do, is happy to demonstrate his grasp of the scientific principles. First, he adjusts his belt. Then he lets out a short, sharp yell, snaps his left leg forward, and smashes his foot through three boards, showering the mat with splinters. "Five boards is about the most I can break," Paris says. "But I'm not really limited by strength; I'm more or less limited by the size of the hands holding the boards."
Few things offer more visceral proof of the power of physics than a karate chop. Punch a brick with your bare hand, untutored in the martial arts, and you may break a finger. Punch it with the proper force, momentum, and positioning and you'll break the brick instead. "Amazingly, there are no tricks involved at all," says Michael Feld, a physicist at MIT. "What you have here is one of the most efficient human movements ever conceived. We've found nothing in our studies to improve upon the art."
In the late 1970s, when Feld was earning a brown belt in karate, his instructor, Ronald McNair, also happened to be his physics student. (McNair later died tragically while working as a scientist-astronaut aboard Space Shuttle Challenger.) The secret to karate, both men agreed, lies in the speed and exceptional focus of the strike. But just how fast does a karate punch move?
To find out, they joined with undergraduate Stephen Wilk and set up a strobe light that flashed either 60 or 120 times per second. Then they photographed McNair and others throwing various kicks and punches. Once the film was developed, they could calculate the speed of a punch by counting how many times the strobe flashed until the fist hit its target.
Feld and McNair found that beginning students can throw a karate chop at about 20 feet per second--just enough to break a one-inch board. But a black belt like McNair could chop at 46 feet per second. At that speed, a 1 1/2-pound hand can deliver a wallop of up to 2,800 newtons (one newton is roughly equal to the force exerted by the weight of an apple). Splitting a typical concrete slab 1 1/2 inches thick takes on average only 1,900 newtons.
Of course, the best boxers can punch as quickly and powerfully as any black belt. Why can't they break concrete blocks too? The answer lies in the nature of their punches. When a boxer throws his fist, he usually ends the movement with follow-through. This gives the punch maximum momentum (golf and tennis players follow through for the same reason), and it can help knock an opponent down. But the impact itself is diffuse: It's meant to jar an opponent's brain, not crack his skull.
A karate chop, on the other hand, has no follow-through at all: It lashes out like a cobra and then withdraws instantly When a black belt hits a slab of concrete, for instance, his fist touches the block for fewer than five milliseconds, and yet the block breaks with a resounding crack.
To understand how this works, Jearl Walker, a former tae kwon do student who now teaches physics at Cleveland State University, set up a study much like Feld's and McNair's. A well-thrown fist, he found, reaches its maximum velocity when the arm is about 80 percent extended. "That's exactly what my tae kwon do master had taught me," Walker says. "You learn to focus your punch in your imagination so that it terminates inside your opponent's body, rather than on the surface. To deliver the maximum power, you want to make contact before the slowdown begins."
The purpose of all that focused power is brutally obvious: to break bones and rupture tissue. But success also depends on more subtle forces. Solid as they seem, all materials are at least slightly elastic. Whack them in the right spot and they will start to oscillate. A punch with a follow-through would dampen such oscillations, but a karate chop, by pulling away at the last moment, lets them move freely "If you tweak a rubber band it goes up and down, and the same is true if you tweak a board or a brick with a much greater force," Feld says. "When they reach their elastic limits, they start to yield. In other words, they break."
Fortunately for most of us, reaching that limit in bones is no easy matter. Feld says bone can withstand 40 times more force than concrete, and a cylinder of bone less than an inch in diameter and 2 1/3 inches long can withstand a force of more than 25,000 newtons. Hands and feet can withstand even more than that, because their skin, muscles, ligaments, tendons, and cartilage absorb a great deal of impact. As a result, a well-kicked foot can absorb about 2,000 times as much force as concrete before breaking.
Feld himself has never broken a finger in karate, even though he once broke eight one-inch-thick boards at a time. Still, good bones and a Ph.D. in physics alone couldn't earn him a black belt. "Tiger Woods didn't just wake up one morning and start hitting a ball 320 yards, and we don't just walk in and shatter a cinderblock," says Sihak Henry Cho, grand master at the Karate Institute. "Everybody has to work at it."
Published by Curtis Rist, May 2000
ADVANCED DEGREES IN PHYSICS come in different varieties. At the Massachusetts Institute of Technology; students earn them by writing a dissertation. At the Karate Institute in midtown Manhattan, they earn them by breaking one-inch-thick pine boards. Lots of them.
Ben Paris, a fourth-degree black belt in tae kwon do, is happy to demonstrate his grasp of the scientific principles. First, he adjusts his belt. Then he lets out a short, sharp yell, snaps his left leg forward, and smashes his foot through three boards, showering the mat with splinters. "Five boards is about the most I can break," Paris says. "But I'm not really limited by strength; I'm more or less limited by the size of the hands holding the boards."
Few things offer more visceral proof of the power of physics than a karate chop. Punch a brick with your bare hand, untutored in the martial arts, and you may break a finger. Punch it with the proper force, momentum, and positioning and you'll break the brick instead. "Amazingly, there are no tricks involved at all," says Michael Feld, a physicist at MIT. "What you have here is one of the most efficient human movements ever conceived. We've found nothing in our studies to improve upon the art."
In the late 1970s, when Feld was earning a brown belt in karate, his instructor, Ronald McNair, also happened to be his physics student. (McNair later died tragically while working as a scientist-astronaut aboard Space Shuttle Challenger.) The secret to karate, both men agreed, lies in the speed and exceptional focus of the strike. But just how fast does a karate punch move?
To find out, they joined with undergraduate Stephen Wilk and set up a strobe light that flashed either 60 or 120 times per second. Then they photographed McNair and others throwing various kicks and punches. Once the film was developed, they could calculate the speed of a punch by counting how many times the strobe flashed until the fist hit its target.
Feld and McNair found that beginning students can throw a karate chop at about 20 feet per second--just enough to break a one-inch board. But a black belt like McNair could chop at 46 feet per second. At that speed, a 1 1/2-pound hand can deliver a wallop of up to 2,800 newtons (one newton is roughly equal to the force exerted by the weight of an apple). Splitting a typical concrete slab 1 1/2 inches thick takes on average only 1,900 newtons.
Of course, the best boxers can punch as quickly and powerfully as any black belt. Why can't they break concrete blocks too? The answer lies in the nature of their punches. When a boxer throws his fist, he usually ends the movement with follow-through. This gives the punch maximum momentum (golf and tennis players follow through for the same reason), and it can help knock an opponent down. But the impact itself is diffuse: It's meant to jar an opponent's brain, not crack his skull.
A karate chop, on the other hand, has no follow-through at all: It lashes out like a cobra and then withdraws instantly When a black belt hits a slab of concrete, for instance, his fist touches the block for fewer than five milliseconds, and yet the block breaks with a resounding crack.
To understand how this works, Jearl Walker, a former tae kwon do student who now teaches physics at Cleveland State University, set up a study much like Feld's and McNair's. A well-thrown fist, he found, reaches its maximum velocity when the arm is about 80 percent extended. "That's exactly what my tae kwon do master had taught me," Walker says. "You learn to focus your punch in your imagination so that it terminates inside your opponent's body, rather than on the surface. To deliver the maximum power, you want to make contact before the slowdown begins."
The purpose of all that focused power is brutally obvious: to break bones and rupture tissue. But success also depends on more subtle forces. Solid as they seem, all materials are at least slightly elastic. Whack them in the right spot and they will start to oscillate. A punch with a follow-through would dampen such oscillations, but a karate chop, by pulling away at the last moment, lets them move freely "If you tweak a rubber band it goes up and down, and the same is true if you tweak a board or a brick with a much greater force," Feld says. "When they reach their elastic limits, they start to yield. In other words, they break."
Fortunately for most of us, reaching that limit in bones is no easy matter. Feld says bone can withstand 40 times more force than concrete, and a cylinder of bone less than an inch in diameter and 2 1/3 inches long can withstand a force of more than 25,000 newtons. Hands and feet can withstand even more than that, because their skin, muscles, ligaments, tendons, and cartilage absorb a great deal of impact. As a result, a well-kicked foot can absorb about 2,000 times as much force as concrete before breaking.
Feld himself has never broken a finger in karate, even though he once broke eight one-inch-thick boards at a time. Still, good bones and a Ph.D. in physics alone couldn't earn him a black belt. "Tiger Woods didn't just wake up one morning and start hitting a ball 320 yards, and we don't just walk in and shatter a cinderblock," says Sihak Henry Cho, grand master at the Karate Institute. "Everybody has to work at it."
Published by Curtis Rist, May 2000
Tuesday, February 26, 2008
Martial Arts Reality Shows
Over the recent years many reality shows have popped up covering many different topics and subjects. Most of which are nothing more than useless entertainment. But two very good martial arts shows have recently aired giving some good knowledge and understanding of various martial arts styles. They are the Discovery Channel's "Fight Quest" and the the History Channels "Human Weapon". Check them out. Knowledge is power!
The Discovery Channels "Fight Quest"
Some guys like to fight. The rest of us like to watch.
http://dsc.discovery.com/tv/fight-quest/fight-quest.html
Welcome to Fight Quest, airing Fridays at 10 p.m. ET/PT. A blend of cultural immersion and good old-fashioned smackdown, the series follows seasoned mixed martial arts fighter Jimmy Smith and 25-year-old rookie Doug Anderson as they travel the globe, adding fight styles from Kali to kickboxing to their repertoire.
In each episode, Jimmy and Doug will explore a new location identified with a style of fighting, such as kung fu in Dengfeng, China, and boxing in Mexico City, Mexico. There, after first immersing themselves in the sounds, smells and tastes of the local scene, the two guys will separate to train with local masters of that method -- sometimes an ancient art of combat, and other times a modern form of butt-kicking. After several days of intense instruction, Jimmy and Doug will each face off against a local in a no-holds-barred test of skill.
The fighting is real. The injuries are real. In the end, only the best will win.
Check out the neat quizies and games!
Itching for a quiz? Then take one of these and see if you stand a fighting chance in the martial arts.
http://dsc.discovery.com/tv/fight-quest/quizzes/quizzes.html
The History Channels "Human Weapon"
What they don't know could kill them.
http://www.history.com/minisite.do?content_type=mini_home&mini_id=54986
The Ultimate search of a Human Weapon, Each episode of HUMAN WEAPON charts an expedition through foreign continents, famous cities, exotic villages, back alleys and lush landscapes with hosts Jason Chambers – mixed-martial-artist and professional fighter – and Bill Duff – former professional football player and wrestler, who will learn how each individual location gave birth to its distinct form of combat and will study their form of martial art.
Jason Chambers and Bill Duff will put their bodies through extreme exercises and challenges to prepare for a battle against a professional fighting master in the arts of MAUY THAI, KARATE, JUDO, ESKRIMA Stick-fighting, SAVATE Street-fighting, KUNG FU and much more.
Checkout the "Human Weapon" videos.
http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=55060&display_order=6&mini_id=54986
Checkout the "Human Weapon" game.
http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=55288&display_order=7&mini_id=54986
The Discovery Channels "Fight Quest"
Some guys like to fight. The rest of us like to watch.
http://dsc.discovery.com/tv/fight-quest/fight-quest.html
Welcome to Fight Quest, airing Fridays at 10 p.m. ET/PT. A blend of cultural immersion and good old-fashioned smackdown, the series follows seasoned mixed martial arts fighter Jimmy Smith and 25-year-old rookie Doug Anderson as they travel the globe, adding fight styles from Kali to kickboxing to their repertoire.
In each episode, Jimmy and Doug will explore a new location identified with a style of fighting, such as kung fu in Dengfeng, China, and boxing in Mexico City, Mexico. There, after first immersing themselves in the sounds, smells and tastes of the local scene, the two guys will separate to train with local masters of that method -- sometimes an ancient art of combat, and other times a modern form of butt-kicking. After several days of intense instruction, Jimmy and Doug will each face off against a local in a no-holds-barred test of skill.
The fighting is real. The injuries are real. In the end, only the best will win.
Check out the neat quizies and games!
Itching for a quiz? Then take one of these and see if you stand a fighting chance in the martial arts.
http://dsc.discovery.com/tv/fight-quest/quizzes/quizzes.html
The History Channels "Human Weapon"
What they don't know could kill them.
http://www.history.com/minisite.do?content_type=mini_home&mini_id=54986
The Ultimate search of a Human Weapon, Each episode of HUMAN WEAPON charts an expedition through foreign continents, famous cities, exotic villages, back alleys and lush landscapes with hosts Jason Chambers – mixed-martial-artist and professional fighter – and Bill Duff – former professional football player and wrestler, who will learn how each individual location gave birth to its distinct form of combat and will study their form of martial art.
Jason Chambers and Bill Duff will put their bodies through extreme exercises and challenges to prepare for a battle against a professional fighting master in the arts of MAUY THAI, KARATE, JUDO, ESKRIMA Stick-fighting, SAVATE Street-fighting, KUNG FU and much more.
Checkout the "Human Weapon" videos.
http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=55060&display_order=6&mini_id=54986
Checkout the "Human Weapon" game.
http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=55288&display_order=7&mini_id=54986
Wednesday, February 6, 2008
Okinawan Kiko
Okinawan Kiko
According to legend, the theory behind the Kiko exercises taught in Okinawa traces back to around 520 AD. At this time the Buddhist monk Daruma (aka Bhodidharma - webmaster) traveled to the Shorin Ji temple in China. On arriving, he discovered that the monks at this temple were weak and unhealthy. Daruma taught the monks a set of exercises to develop their ki in order to restore their strength and health. Since the monks at the Shorin Ji temple could not own weapons they began to practice unarmed martial arts for self defense. It did not take the monks long to discover that the exercises Daruma had taught produced tremendous internal power for the martial arts. Daruma's method of Kiko, recorded in two books called Ekkin Kyo and Senzui Kyo, eventually reached Okinawa and merged with the Okinawan fighting arts.
Today most Okinawan masters still regard Daruma's teachings as the "most fundamental precepts of Karatedo."
The Okinawans base their Kiko, tuite and vital point striking on meridian theory. Meridian theory states that the body takes in energy, primarily through breathing, and circulates it through well defined pathways called meridians. A person will have excellent health and strength when ki is smoothly circulating through the meridians. Kiko exercises are methods by which a person can build up and circulate his own ki.
The first stage of Kiko in Okinawan Karate consists of building up energy in the tanden. The tanden is a point a couple of inches below the naval that stores the vital energy of the body. Acupuncturist call this point Kikai, which means sea of ki, because of this. These exercises consist primarily of specialized forms of abdominal breathing. After students build sufficient amounts of ki in their tanden, they learn how to circulate this energy through their two primary meridians. First the student will raise the energy up the meridian called the Governor Vessel. This meridian, called Tokumyaku-kei in Japanese, controls the positive (yo or yang) energy in the body. The Governor Vessel controls the 6 positive meridians of the body. These 6 meridians are the Large Intestine, Stomach, Small Intestine, Bladder, Triple Warmer and Gall Bladder. The Okinawans believe that when the ki rises through the Governor Vessel during Kiko exercises the positive meridians and their corresponding organs benefit. Once the ki completes its path through this meridian and reaches Governor 26 (Jinchu) the student must guide the ki down the Conception Vessel (ninmyaku-kei). In order to connect the Governor and Conception Vessels the students must touch their tongues to their pallets. The Conception Vessel, called Ninmyaku-kei in Japanese, controls the 6 negative (in or yin) meridians in the body. The 6 negative meridians are the Lung, the Spleen, the Heart, the Kidney, the Pericardium and the Liver. The Okinawans believe that once the ki has been lead through the Conception Vessel the 6 negative meridians and their corresponding organs benefit. Once the ki fills the entire
Conception Vessel it joins the Governor Vessel in a continuous cycle. At this point the student has completed the Small Cycle of the Sky or the Shoshyuten. At this point the student begins to use Mnun breathing. Mnun breathing is a type of abdominal breathing. It involves retaining the breath while performing special muscular "locks." This type of Kiko increases the circulation of blood and ki to the internal organs. Mnun breathing also flushes out accumulated toxins, improving the condition of the internal organs. Last, Mnun breathing improves the flexibility of the internal organs and their protective facial coverings.
Once a student has become proficient at Mnun breathing he will begin the Large Cycle of the Sky training. In the Large Cycle of the Sky or Daishyuten training the student learns how to circulate the ki through the entire body. During Daishyuten training the students charge specific vital points with their ki. Charging specific vital points with ki is like a form of self acupuncture. Large Cycle training is performed by meditating in a Karate stance for several minutes at a time. This type of training also increases tendon strength. This type of strength is very different from normal muscular strength. Karate masters maintain tendon power to a very old age.
During Large Cycle meditation the student practices merging his ki with the Earth. The Okinawans call this rooting. When a student has mastered basic Large Cycle training he will test his ability at rooting. He does this by having a partner strongly push him at both slow and fast speeds.
When a student can take both slow and fast pushes at full power he has developed a strong base for his defensive and offensive techniques. Rooting is not a matter of muscular development. Rooting relies on the ability to lead the ki to the soles of the feet and into the ground. It also relies on the ability to unite the entire body into a whole through ki exercises. After creating a solid root, the students practice connecting the ki in their lower body with their upper body. A student may test his ability at this by having a partner attempt to bend his outstretched arm. Another way to test this is to have a partner try to push the student back by strongly pressing on a student's arm. Often the martial arts community holds these two test up as being a very high level of ki development. In reality these two test only represent beginning exercises.
When a student develops a strong level of ki throughout his whole body he tests it through the exercises mentioned above. When he is good at these tests he begins practicing "energy transmission exercises." Energy transmission exercises do not involve projecting your ki beyond your body to affect your attacker without touching him. What an "energy transmission exercise" does is train the ability to lead the ki to the striking limb. This greatly increases the power of a blow. The one inch punch (sun zuki ) exercise mentioned above is one example of this type of training. The Okinawans call the type of power created by these types of exercises "bu no chikara." When a student's internal power is at a high level his instructor knows the student has a good level in Large Cycle training. The instructor may introduce Daruma undo training after Large Cycle training is complete. The Daruma undo exercise stimulates each of the 14 major meridians in turn. The practitioner uses a small bundle of thin rattan sticks to tap the entire length of each meridian. This exercise expands on the Large Cycle training. It increases the amount of ki flowing through each meridian. It also helps to unite the entire body into a whole using the meridian system. After tapping the meridians with the rattan sticks, the student traces each of the meridians with his hands. This is a type of acupressure massage to ensure that the ki flows smoothly through each meridian. The Daruma undo has many beneficial effects. The vibrations relax bodily tensions and stimulate blood circulation. These vibrations also shake out accumulated toxins. The Daruma undo strengthens the muscle meridians and skin. It also strengthens the blood, organs and bones. With daily practice, the entire body becomes robust and sturdy. Once again this training is to be a soft type of training not requiring physical strength or endurance. At 70 year old Yuchoku Higa uses the Daruma undo every morning, at midday and in the evening. Mr. Higa even at his advanced age is still able to take blows on any part of his body. He attributes this ability to his Kiko training.
The training we have outlined above is only beginning training in Okinawan Kiko. This basic training called ekkin kiko is the "tendon changing energy exercises" used in Okinawa. The more advanced exercises used in Okinawa, called senzui kiko, are the "bone marrow cleansing energy exercises." This advanced training strengthens the bones and creates more red blood cells. It also balances the endocrine system and energizes the cerebrospinal system. When mastered, the ekkin kiko and the senzui kiko give the practitioner tremendous internal power. The practitioner also experiences excellent health and abundant energy. These exercises play a large role in the amazing longevity of Okinawan Karate masters. Many Okinawan Karate masters have continued to teach their art well into their 90s. As you can see Kiko training is an invaluable asset to students of Okinawan martial arts.
According to legend, the theory behind the Kiko exercises taught in Okinawa traces back to around 520 AD. At this time the Buddhist monk Daruma (aka Bhodidharma - webmaster) traveled to the Shorin Ji temple in China. On arriving, he discovered that the monks at this temple were weak and unhealthy. Daruma taught the monks a set of exercises to develop their ki in order to restore their strength and health. Since the monks at the Shorin Ji temple could not own weapons they began to practice unarmed martial arts for self defense. It did not take the monks long to discover that the exercises Daruma had taught produced tremendous internal power for the martial arts. Daruma's method of Kiko, recorded in two books called Ekkin Kyo and Senzui Kyo, eventually reached Okinawa and merged with the Okinawan fighting arts.
Today most Okinawan masters still regard Daruma's teachings as the "most fundamental precepts of Karatedo."
The Okinawans base their Kiko, tuite and vital point striking on meridian theory. Meridian theory states that the body takes in energy, primarily through breathing, and circulates it through well defined pathways called meridians. A person will have excellent health and strength when ki is smoothly circulating through the meridians. Kiko exercises are methods by which a person can build up and circulate his own ki.
The first stage of Kiko in Okinawan Karate consists of building up energy in the tanden. The tanden is a point a couple of inches below the naval that stores the vital energy of the body. Acupuncturist call this point Kikai, which means sea of ki, because of this. These exercises consist primarily of specialized forms of abdominal breathing. After students build sufficient amounts of ki in their tanden, they learn how to circulate this energy through their two primary meridians. First the student will raise the energy up the meridian called the Governor Vessel. This meridian, called Tokumyaku-kei in Japanese, controls the positive (yo or yang) energy in the body. The Governor Vessel controls the 6 positive meridians of the body. These 6 meridians are the Large Intestine, Stomach, Small Intestine, Bladder, Triple Warmer and Gall Bladder. The Okinawans believe that when the ki rises through the Governor Vessel during Kiko exercises the positive meridians and their corresponding organs benefit. Once the ki completes its path through this meridian and reaches Governor 26 (Jinchu) the student must guide the ki down the Conception Vessel (ninmyaku-kei). In order to connect the Governor and Conception Vessels the students must touch their tongues to their pallets. The Conception Vessel, called Ninmyaku-kei in Japanese, controls the 6 negative (in or yin) meridians in the body. The 6 negative meridians are the Lung, the Spleen, the Heart, the Kidney, the Pericardium and the Liver. The Okinawans believe that once the ki has been lead through the Conception Vessel the 6 negative meridians and their corresponding organs benefit. Once the ki fills the entire
Conception Vessel it joins the Governor Vessel in a continuous cycle. At this point the student has completed the Small Cycle of the Sky or the Shoshyuten. At this point the student begins to use Mnun breathing. Mnun breathing is a type of abdominal breathing. It involves retaining the breath while performing special muscular "locks." This type of Kiko increases the circulation of blood and ki to the internal organs. Mnun breathing also flushes out accumulated toxins, improving the condition of the internal organs. Last, Mnun breathing improves the flexibility of the internal organs and their protective facial coverings.
Once a student has become proficient at Mnun breathing he will begin the Large Cycle of the Sky training. In the Large Cycle of the Sky or Daishyuten training the student learns how to circulate the ki through the entire body. During Daishyuten training the students charge specific vital points with their ki. Charging specific vital points with ki is like a form of self acupuncture. Large Cycle training is performed by meditating in a Karate stance for several minutes at a time. This type of training also increases tendon strength. This type of strength is very different from normal muscular strength. Karate masters maintain tendon power to a very old age.
During Large Cycle meditation the student practices merging his ki with the Earth. The Okinawans call this rooting. When a student has mastered basic Large Cycle training he will test his ability at rooting. He does this by having a partner strongly push him at both slow and fast speeds.
When a student can take both slow and fast pushes at full power he has developed a strong base for his defensive and offensive techniques. Rooting is not a matter of muscular development. Rooting relies on the ability to lead the ki to the soles of the feet and into the ground. It also relies on the ability to unite the entire body into a whole through ki exercises. After creating a solid root, the students practice connecting the ki in their lower body with their upper body. A student may test his ability at this by having a partner attempt to bend his outstretched arm. Another way to test this is to have a partner try to push the student back by strongly pressing on a student's arm. Often the martial arts community holds these two test up as being a very high level of ki development. In reality these two test only represent beginning exercises.
When a student develops a strong level of ki throughout his whole body he tests it through the exercises mentioned above. When he is good at these tests he begins practicing "energy transmission exercises." Energy transmission exercises do not involve projecting your ki beyond your body to affect your attacker without touching him. What an "energy transmission exercise" does is train the ability to lead the ki to the striking limb. This greatly increases the power of a blow. The one inch punch (sun zuki ) exercise mentioned above is one example of this type of training. The Okinawans call the type of power created by these types of exercises "bu no chikara." When a student's internal power is at a high level his instructor knows the student has a good level in Large Cycle training. The instructor may introduce Daruma undo training after Large Cycle training is complete. The Daruma undo exercise stimulates each of the 14 major meridians in turn. The practitioner uses a small bundle of thin rattan sticks to tap the entire length of each meridian. This exercise expands on the Large Cycle training. It increases the amount of ki flowing through each meridian. It also helps to unite the entire body into a whole using the meridian system. After tapping the meridians with the rattan sticks, the student traces each of the meridians with his hands. This is a type of acupressure massage to ensure that the ki flows smoothly through each meridian. The Daruma undo has many beneficial effects. The vibrations relax bodily tensions and stimulate blood circulation. These vibrations also shake out accumulated toxins. The Daruma undo strengthens the muscle meridians and skin. It also strengthens the blood, organs and bones. With daily practice, the entire body becomes robust and sturdy. Once again this training is to be a soft type of training not requiring physical strength or endurance. At 70 year old Yuchoku Higa uses the Daruma undo every morning, at midday and in the evening. Mr. Higa even at his advanced age is still able to take blows on any part of his body. He attributes this ability to his Kiko training.
The training we have outlined above is only beginning training in Okinawan Kiko. This basic training called ekkin kiko is the "tendon changing energy exercises" used in Okinawa. The more advanced exercises used in Okinawa, called senzui kiko, are the "bone marrow cleansing energy exercises." This advanced training strengthens the bones and creates more red blood cells. It also balances the endocrine system and energizes the cerebrospinal system. When mastered, the ekkin kiko and the senzui kiko give the practitioner tremendous internal power. The practitioner also experiences excellent health and abundant energy. These exercises play a large role in the amazing longevity of Okinawan Karate masters. Many Okinawan Karate masters have continued to teach their art well into their 90s. As you can see Kiko training is an invaluable asset to students of Okinawan martial arts.
Tuesday, January 29, 2008
What is JuJitsu
JuJitsuJujutsu meaning "gentle/yielding/compliant art") is a Japanese martial art whose central ethos is to yield to the force provided by an opponent's own attack in order to apply counter techniques from the resultant ensuing situation. There are many styles of the art which account for the diversity of approach. Jujutsu ryu may utilize all techniques to some degree (i.e. throwing, trapping, locking, holding down, grappling, gauging, biting, and striking with parts of the hand/knee/elbow/head and foot). Generally Jujutsu ryu make limited use of strikes. This is because most Jujutsu ryu were predominantly developed in feudal Japan under the auspices of the Samurai warrior class. Many techniques used by Jujutsu ryu were inspired by equivalent techniques imported from the parent art of Chinese Kung fu (Gung Fu). Jujutsu ryu systems developed their distinctive styles as they evolved to become effective against armed Samurai wearing bamboo body armour to protect vital parts of the face, throat, and body. As well as Jujutsu, many ryu taught Bujutsu (weaponry) concordantly. As a result, Jujutsu ryu developed many unarmed counters against armed attack.
Etymology
Jujutsu, the current standard spelling, is derived using the Hepburn romanization system. Before the first half of the 20th century, however, jiu-jitsu and then jujitsu were preferred, even though the romanization of the second kanji as jitsu is unfaithful to the standard Japanese pronunciation. Since Japanese martial arts first became widely known of in the West in that time period, these earlier spellings are still common in many places. Ju-Jitsu is still the standard spelling in France, Canada and the United States. The martial art is known as Jiu-Jitsu in Germany and Brazil.
Some define jujutsu and similar arts rather narrowly as "unarmed" close combat systems used to defeat or control an enemy who is similarly unarmed. Basic methods of attack include hitting or striking, thrusting or punching, kicking, throwing, pinning or immobilizing, strangling, and joint-locking. Great pains were also taken by the bushi (classic warriors) to develop effective methods of defense, including parrying or blocking strikes, thrusts and kicks, receiving throws or joint-locking techniques (i.e., falling safely and knowing how to "blend" to neutralize a technique's effect), releasing oneself from an enemy's grasp, and changing or shifting one's position to evade or neutralize an attack. As jujutsu is a collective term, some schools or ryu adopted the principle of ju more than others.
From a broader point of view, based on the curricula of many of the classical Japanese arts themselves, however, these arts may perhaps be more accurately defined as unarmed methods of dealing with an enemy who was armed, together with methods of using minor weapons such as the jutte (truncheon; also called jitte), tanto (knife), or kakushi buki (hidden weapons), such as the ryofundo kusari (weighted chain) or the bankokuchoki (a type of knuckle-duster), to defeat both armed or unarmed opponents.
Furthermore, the term jujutsu was also sometimes used to refer to tactics for infighting used with the warrior's major weapons: katana or tachi (sword), yari (spear), naginata (glaive), and jo (short staff), bo (quaterstaff). These close combat methods were an important part of the different martial systems that were developed for use on the battlefield. They can be generally characterized as either Sengoku Jidai (Sengoku Period, 1467- 1603) katchu bujutsu or yoroi kumiuchi (fighting with weapons or grappling while clad in armor), or Edo Jidai (Edo Period, 1603- 1867) suhada bujutsu (fighting while dressed in the normal street clothing of the period, kimono and hakama ).
History of Jujutsu
Origins
Fighting forms have existed in Japan for centuries. The first references to such unarmed combat arts or systems can be found in the earliest purported historical records of Japan, the Kojiki (Record of Ancient Matters) and the Nihon Shoki (Chronicles of Japan), which relate the mythological creation of the country and the establishment of the Imperial family. Other glimpses can be found in the older records and pictures depicting sumai (or sumo ) no sechie, a rite of the Imperial Court in Nara and Kyoto performed for purposes of divination and to help ensure a bountiful harvest.
There is a famous story of a warrior Nomi no Sekuni of Izumo who defeated and killed Tajima no Kehaya in Shimane prefecture while in the presence of Emperor Suinin . Descriptions of the techniques used during this encounter included striking, throwing, restraining and weaponry. These systems of unarmed combat began to be known as Nihon koryu jūjutsu (Japanese old-style jutsu), among other related terms, during the Muromachi period (1333 -1573 ), according to densho (transmission scrolls) of the various ryuha (martial traditions) and historical records.
Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. These fighting arts actually used many different names. Kogusoku, yawara, kumiuchi, and hakuda are just a few, but all of these systems fall under the general description of Sengoku jūjutsu. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.
Methods of combat (as just mentioned above) included striking (kicking and punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tanto (dagger), ryufundo kusari (weighted chain), jutte (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in Sengoku jujutsu.
Development
In later times, other koryu developed into systems more familiar to the practitioners of Nihon jujutsu commonly seen today. These are correctly classified as Edo jūjutsu (founded during the edo period ): systems generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, most systems of Edo jujutsu include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as tanto (daggers) or tessen (iron fans) were included in the curriculum of Edo jūjutsu.
Another seldom seen historical aside is a series of techniques originally included in both Sengoku and Edo jujutsu systems. Referred to as hojo waza (hojojutsu , nawa jutsu, hayanawa and others), it involves the use of a hojo cord, (sometimes the sageo or tasuke) to restrain or strangle an attacker. These techniques have for the most part faded from use in modern times, but Tokyo police units still train in their use and continue to carry a hojo cord in addition to handcuffs. The very old Takenouchi-ryu is one of the better-recognized systems that continue extensive training in hojo waza.
Many other legitimate Nihon jujutsu ryu exist but are not considered koryu (ancient traditions). These are called either Gendai jūjutsu or modern jujutsu. Modern jūjutsu traditions were founded after or towards the end of the Tokugawa period (1603 -1868 ). During this period more than 2000 schools (ryu) of jūjutsu existed. Various traditional ryu and ryuha that are commonly thought of as koryu jujutsu are actually gendai jūjutsu. Although modern in formation, gendai jujutsu systems have direct historical links to ancient traditions and are correctly referred to as traditional martial systems or ryu. Their curriculum reflects an obvious bias towards Edo jūjutsu systems as opposed to the Sengoku jūjutsu systems. The improbability of confronting an armor-clad attacker is the reason for this bias.
Over time, Gendai jujutsu has been embraced by law enforcement officials worldwide and continues to be the foundation for many specialized systems used by police. Perhaps the most famous of these specialized police systems is the Keisatsujutsu (police art) Taiho jutsu (arresting art) system formulated and employed by the Tokyo Police Department.
If a Japanese based martial system is formulated in modern times (post Tokugawa) but is only partially influenced by traditional Nihon jujutsu, it may be correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The popular Gracie jujutsu system, (heavily influenced by modern judo) and Brazilian jujutsu in general are excellent examples of Goshin Jujutsu.
Jujutsu techniques have been the basis for many military unarmed combat techniques (including British/US/Russian special forces and SO1 police units) for many years.
There are many forms of sport jujutsu. One of the most common is mixed style competitions where competitors apply a variety of strikes, throws, and holds to score points. There are also kata competitions were competitors of the same style perform techniques and are judged on their performance. There are also freestyle competitions where competitors will take turns being attacked by another competitor and the defender will be judged on performance.
Description
Japanese jujutsu systems often place more emphasis on throwing, immobilizing and pinning, joint-locking, and strangling techniques (as compared with the other divergent systems that were influenced by the Chinese empty-handed fighting arts). Atemiwaza (striking techniques) less studied in most older Japanese systems, as Samurai body armour protected against many striking techniques. The Chinese quanfa/ch'uan-fa (kenpo or kempo) emphasize punching, striking, and kicking more than jūjutsu.
It is generally felt that the Japanese systems of hakuda, kenpo, and shubaku display some degree of Chinese influence in their particular emphasis on atemiwaza. In comparison, systems that derive more directly from a Japanese source do not show any special preference for such techniques, but will use them as and when they fit into their systems. It is important to realise that schools developed their systems over time to incorporate other facets which may have been lacking in their system. This process is ongoing in all martial art systems.
Jujutsu is a learned skill or practice. It may take a student more than 20 years to mature as an expert of the art. Jujutsu practitioners use every conceivable technique to win in combat. In jujutsu, practitioners train in the use of many potentially fatal moves. However, because students mostly train in a non competitive environment, risk is minimised. Students are taught all necessary break falling skills to allow them to routinely practice otherwise dangerous throws.
Technical characteristics common to all schools
Although there is some diversity in the actual look and techniques of the various traditional jujutsu systems, there are significant technical similarities:
Students learn traditional jujutsu primarily by observation and imitation of the ryu's waza.
The unarmed waza of most schools emphasize joint-locking techniques, that is, threatening a joint's integrity by placing pressure on it in a direction contrary to its normal function, aligning it so that muscular strength cannot be brought to bear, take-down or throwing techniques, or a combination of take-downs and joint-locks.
Sometimes atemi (strikes) are targeted to some vulnerable area of the body; this is an aspect of kuzushi , the art of breaking balance as a set-up for a lock, take-down or throw.
Movements tend to capitalize on an attacker's momentum and openings in order to place a joint in a compromised position or to break their balance as preparation for a take-down or throw.
The defender's own body is positioned so as to take optimal advantage of the attacker's weaknesses while simultaneously presenting few openings or weaknesses of its own.
Weapons training was a primary goal of Samurai training. Koryu (old/classic) schools typically include the use of weapons. Weapons might include the roku shaku bo (six-foot staff), hanbo (three-foot staff), katana (long sword), wakizashi or kodachi (short sword), tanto (knife), or jitte (short one hook truncheon).
Derivatives and schools of jujutsu
Because jujutsu contains so many facets, it has become the foundation for a variety of styles and derivations today. As each instructor incorporated new techniques and tactics into what was taught to him originally, he could codify and create his own ryu or school. Some of these schools modified the source material so much that they no longer considered themselves a style of jujutsu.
Circa 1600 AD there were over 2000 ryu (schools) of jujutsu in Japan and there were common features that are characterised of most of them. The technical characteristics varied from school to school. Many of the generalizations noted above do not hold true for some schools of jujutsu.
Jujutsu was first introduced to Europe in 1899 by Edward William Barton-Wright , who had studied the Tenjin-Shinyo and Shinden-Fudu ryu-ha in Yokohama and Kobe , respectively. Barton-Wright had also trained briefly at the Kodokan in Tokyo . Upon returning to England he folded the basics of all of these styles, as well as boxing , savate and French stick fighting , into an eclectic self defence system called Bartitsu .
Some schools went on to diverge into present day Karate, and Aiki styles. The last Japanese divergence occurred in 1905 where a number of jujutsu schools joined the Kodokan . The syllabi of those schools was unified under Jigaro Kano to form judo .
Modern judo is the classic example of a 'sport' which was derived from jujutsu but is today distinct. Another layer removed, some popular arts had instructors who studied one of these jujutsu-derivatives and later made their own derivative succeed in competition. This created an extensive family of martial arts and sports which can trace their lineage to jujutsu in some part. Brazilian Jiu-Jitsu initially dominated the TV grappling competitions but it has lost much ground to Mixed Martial Arts , whereby practitioners cross-train in a variety of arts. An example of this is Gracie jiu-jitsu master Royce Gracie 's loss to MMA man Matt Hughes .
The way an opponent is dealt with is also dependent on the philosophy of the teacher with regard to combat. This translates also in different styles or schools of jujutsu. Because in jujutsu every conceivable technique, including biting, hairpulling, eyegouging etc. is allowed (unlike for instance judo , which does not place emphasis on punching or kicking tactics, or karate , which does not heavily emphasize grappling and throwing) practitioners have an unlimited choice of techniques (assuming they are proficient).
Some old schools of Japanese jujutsu:
Araki-ryu
Daito-ryu aiki-jujutsu
Hontai Yoshin-ryu
Sekiguchi Shinshin-ryu
Sosuishitsu-ryu
Takenouchi-ryu
Tatsumi-ryu
Tenjin Shinyo-ryu
Yagyu Shingan Ryu
Yoshin Ryu
Judo and JuJutsu
Jujutsu was always used in sporting contest, but the practical use in the samurai world ended circa 1890. Techniques like hair pulling and eye poking were and are not considered conventionally acceptable to use in sport, thus they are not included in judo competitions or randori . Judo did, however, preserve the more lethal, dangerous techniques in its kata . The kata were intended to be practiced by students of all grades, but now are mostly practiced formally as complete set-routines for performance, kata competition, and grading, rather than as individual self-defense techniques in class. However, judo retained the full set of choking and strangling techniques for its sporting form, and all manner of elbow locks. Even judo's pinning techniques have pain-generating, spine-and-rib-squeezing and smothering aspects. A submission induced by a legal pin is considered a fully legitimate way to win. It should also be noted that Kano viewed the safe sport-fighting aspect of Judo an important part of learning how to actually control an opponent's body in a real fight. Kano always considered judo to be a form of, and a development of, jujutsu.
A judo technique starts with gripping of your opponent followed by off-balancing an opponent, fitting into the space created, and then applying the technique. In contrast, kuzushi (the art of breaking balance) is attained in jujutsu by blocking, parrying or deflecting an opponent's attack in order to create the space required to apply a throwing technique. In both systems, kuzushi is essential in order to use as little energy as possible during a fight. Jujutsu differs from judo in a number of ways. In some circumstances, jujutsuka generate kuzushi by striking one's opponent along his weak line. Other methods of generating kuzushi include grabbing, twisting, or poking areas of the body known as atemi points or pressure points (areas of the body where nerves venture close to the surface of the skin).
Modern versions of jujutsu
A Japanese based martial system formulated in modern times (post Tokugawa) that is only partially influenced by traditional Nihon jujutsu, is correctly referred to as goshin (self defense) jujutsu. Goshin jujutsu is usually formulated outside Japan and may include influences from other martial traditions. The Brazilian Gracie jiu jitsu system, and all Brazilian Jiu-Jitsu in general, although derived originally from judo have evolved independently for many years, and could be considered examples of Goshin Jujutsu. After the transplantation of traditional Japanese jujutsu to the West, many of these more traditional styles underwent a process of adaptation at the hands of Western practitioners, molding the arts of jujutsu to suit western culture in its myriad varieties. There are today many distinctly westernized styles of jujutsu, that stick to their Japanese roots to varying degrees. There are a number of relatively new martial systems identifying themselves as jujutsu.
Monday, January 28, 2008
Kicking Techniques (Geri Waza)
Geri Waza (Kicking Techniques)Kicking techniques are an important part of a karate students offensive arsenal. Kicking differs from punching in number of ways. Kicks are typically slower to execute than punches, but because it is easier to get more mass behind them, they often have a much more substantial impact. For the flexible, kicks also have a larger number of available targets, all the way from the feet to the head and offer the ability to strike from further away from the opponent. But because of the slower execution and weaker support of only standing on one foot, one has a much weaker defense while kicking and they do not work as well when the target is very close. In karate there are only a few fundamental kicking techniques, with a few other derived kicks. A common way to separate kicks is by whether they use snapping power or thrusting power to deliver damage to a target. Another distinction is between linear and circular kicks.When doing any kind of kick, there are few common points that should be kept in mind. Generally, during practice, kicks are delivered as middle level attacks. All kicks have three motions: a preparation motion, a execution motion, and a recovery motion. It is important to not skip any of these movements. If you skip the preparatory motion, the you may suffer a loss of power, speed, and/or balance. If you shortcut the execution motion, you are not doing the correct kick. And if you skip the recovery motion, then you give up a certain level of defensive positioning. While doing any kick, it is important to not raise the height of the waist. If in a standing position, this is easy, but from, a deep stance, like front stance, you must keep the knee and ankle of the supporting leg bent.
Mae Geri Keage (Front Snapping Kick)
Actually, mae geri keage really translates to front lifting (or rising) kick. This is because of the motion of the foot during the execution movement. Mae geri keage is one of the more fundamental kicks in karate and is typically the first taught.To do a mae geri keage, start by transferring your weight to your support leg. Lift your kicking leg up, with the knee and ankle bent, like you were climbing a very tall stair. The higher you can lift your knee, the higher you can target your kick. You should lift your knee to at least waist height. With the knee still held up high and the toes of the kicking foot curled back, start to straighten the knee so that the foot follows an upward curved arc towards the target. Push the hips forward slightly with the extension to help you balance and to give a little more forward thrust to the kick. Strike the target with the ball of the foot, not with the sole of the foot, the heel, and especially not with the toes. Now, return the foot back to the chambered position with the knee still up. You should be able to hold this position, or execute a second kick from this position if desired. Then step the foot back down.
Mae Geri Kekomi (Front Thrusting Kick)
The mae geri kekomi is the alter ego technique to the mae geri keage. Instead of being a quick snapping technique, this is a slightly slower, powerful thrusting technique.The start of the thrust kick is just like the snap kick. Generally, a thrust kick loses power as it is targeted higher than your own waist, and can only be delivered with power as high as you lift your foot in the chamber position. Therefore, the ideal is to lift your knee such that your foot comes close to the height of your waist. To execute the kick from the chamber position, all at the same time, drive the hips forward and use the thigh muscles to drive the ball of the foot straight forward into the target. There should be no lifting motion once the forward drive starts or it will detract from the power of the kick. After the extension, pull the foot back to the chamber position and snap the hips back to their original position. It is important to not leave the hips pushed forward because if you do, you cannot effectively deliver a second kick or step backwards if necessary.
Yoko Geri Keage (Side Snapping Kick)
The yoko geri keage is similar to the mae geri keage in that it uses snapping power for delivery. To chamber the kick, lift your leg like you would for a mae geri, but to the side, like you were stepping on a large step next to you. The knee should point slightly towards the side you are kicking to. Once the knee is raised, extend the knee so that the foot follows an upward curving arc towards the target. Unlike the mae geri, yoko geri should strike the target with the outside edge of the foot, closer to the heel end than the toe end. You should still curl the toes back instead of inward for protection. After the extension, return the foot and then step down.
Yoko Geri Kekomi (Side Thrusting Kick)
Doing a yoko geri kekomi is similar to doing a yoko geri keage. The chamber is just like the keage geri. To execute the kick, thrust the foot outward to the side by using the thigh muscles. At the same time thrust the hips into the kick as well. Strongly rotate the supporting leg away from the kick also to help you to put your hips into the kick. When recovering the kick, do not forget to return the supporting legs position at the same so that you can deliver a second thrust kick if need be before stepping the foot down.
Mawashi Geri (Round Kick)
The mawashi geri is the first circular kicking technique learned at cpma. It is circular in the sense that it does not take a straight path to the target, but rather follows a round path to the target. The round kick uses both momentum and snapping power to deliver damage. There is not thrusting version of the round kick. It is important to note the technical, kihon way to do this kick is quite different than how it is actually used. This is because the kihon way, again, is for maximizing power and effect. To do the kick, start by lifting the knee to the side, with the knee very bent and the foot behind you and on the same horizontal plane as the knee. Start rotating the support foot in the direction of the kick, swing the kicking knee in time with the support foot's rotation. Be careful, if you do not rotate the support foot, you can do severe damage to your support knee. The support foot should rotate at least 90 degrees to the side, and preferably more. As the knee approaches the front, begin extending the kicking foot, again using the ball of the foot with toes curled back. Do not kick with the instep of the foot. As the support foot finishes rotating, the kicking knee should stop in front of you, and the kicking foot should strike the target. Throughout the kick, the foot should travel on the same horizontal plane as the knee. After execution of the kick, without lowering the kicking knee, bend the knee so that the foot comes tucked back behind the thigh and rotate the supporting foot back to it's starting position. You should be able to execute a second kick from this position. Now, drop the raised knee and set your foot down.
Ushiro Geri (Back Kick)
The back is possibly the strongest kick in the Shotokan style when done properly. The back kick is a linear kick that uses thrusting power. To do the kick, chamber the kicking leg as if you were going to execute a mae geri. Then, execute the kick by thrusting the kicking foot behind you while driving your hips backwards. It is okay to lean forward slightly during kick execution. The kick should strike it's target with the bottom of the heel, not with the ball of the foot or the sole of the foot. After kick execution, pull your hips back to their starting position and pull the extended leg back the cocked position, you should be able to execute another back or even a front kick from this position before setting your foot down.
Uchi Mikazuki Geri (Inside Crescent Kick)
The uchi mikazuki geri is a circular kick that follows an elliptical arc towards the target. But because it has a follow-through motion that goes through the target rather than recoiling from it, it is more like a thrusting kick than a snapping kick.
To do the kick, start by lifting the kicking leg like you were going to do a mae geri, except use the inner thigh muscles to pull the lifted knee across the waist and in front of the hip of the supporting leg. Extend the knee and swing the waist so that the outside edge of the kicking foot comes across and into the side of the target. Retract the knee, it should be slightly to the opposite the of the body than when you started the kick. Set the foot down. The kicking foot should have followed a smooth elliptical arc through the target, not in a choppy triangle. Normally, it is not easy to do this kick twice in a row.
To do the kick, start by lifting the kicking leg like you were going to do a mae geri, except use the inner thigh muscles to pull the lifted knee across the waist and in front of the hip of the supporting leg. Extend the knee and swing the waist so that the outside edge of the kicking foot comes across and into the side of the target. Retract the knee, it should be slightly to the opposite the of the body than when you started the kick. Set the foot down. The kicking foot should have followed a smooth elliptical arc through the target, not in a choppy triangle. Normally, it is not easy to do this kick twice in a row.
Soto Mikazuki Geri (Outside Crescent Kick)
This is the opposite kick to the uchi mikazuki geri. More often then an attack, this kick is used defensively to block an attacker's incoming kick.To do a soto mikazuki geri, start by lifting the kicking knee up like you were going to do a mae geri, but let the knee drift out to the outside a bit. Now, extend the knee and swing the waist across so that the sole of the kicking foot comes across and into the side of the target. Bring the foot in as you come across the target. The knee should stop in the chamber position for the uchi mikazuki geri. Set the foot down. The foot should have traveled in a smooth elliptical arc, not in a choppy triangle shape. Like the uchi mikazuki geri, this kick is normally done twice in a row.
Fumikomi Geri (Stomping Kick)
Fumikomi geri is a stomping kick. In kihon, it is similar to a downward yoko geri kekomi.The intent is to kick down hard on an opponent's instep,shin,knee cap,or high, or to step hard into the side of the opponents's knee in a painful and damaging takedown.
Set up for the fumikomi geri just like you were going to do a mae geri. The hips and raised knee should be facing forward, towards the target; the foot should be flat and the ankle bent. Now, with a strong twisting motion, drive the foot downward in front of you while turning the hips and supporting foot, you should land sideways in the kiba dachi (side stance). The kicking foot should land with the outside edge striking just before the rest of the foot. Be careful not to do damage to the foot and ankle by over stretching the ankle. This kick need not make an excessive amount of noise.
Fumikomi Geri (Stomping Kick)
Fumikomi geri is a stomping kick. In kihon, it is similar to a downward yoko geri kekomi.The intent is to kick down hard on an opponent's instep,shin,knee cap,or high, or to step hard into the side of the opponents's knee in a painful and damaging takedown.
Set up for the fumikomi geri just like you were going to do a mae geri. The hips and raised knee should be facing forward, towards the target; the foot should be flat and the ankle bent. Now, with a strong twisting motion, drive the foot downward in front of you while turning the hips and supporting foot, you should land sideways in the kiba dachi (side stance). The kicking foot should land with the outside edge striking just before the rest of the foot. Be careful not to do damage to the foot and ankle by over stretching the ankle. This kick need not make an excessive amount of noise.
Tobi Geri (Jump Kick)
Tobi geri is the jump kick, or flying kick. It is the only kick in karate where the practitioner leaves the ground and is intended as a last ditch, all or nothing type of attack because of the poor defensive position the attacker is left in. There are actually a couple variations of this technique. There are the tobi mae geri, tobi yoko geri, and the nidan geri. Tobi mae and tobi yoko are, of course, jumping front and jumping side kicks. Nidan geri is the jumping double kick. It is not the double side kicks seen in the movies, but a double front kick, one after the other. Three kicks that are related to tobi geri, but don't leave the ground are the shuffle kicks, shuffle front, shuffle side, and shuffle round kick. The shuffle kicks are actually stepping stone techniques to prepare a student for doing a jump kick. Shuffle and jump kicks are almost always initiated from a formal stance. This helps greatly in generating the power needed to make a proper jump with enough momentum to be effective. Mae geri are done from the zenkutsu dachi (front stance) and yoko geri are done from the kiba dachi (side stance).
To do a shuffle front kick, start in zenkutsu dachi. Quickly drive the back foot into the spot where your front foot is. At the same time, lift the front foot and do a mae geri kekomi with it. The kick should connect at the same moment that the rear foot settles into the spot where your kicking foot was. Recoil the kicking foot and step forward with it into a new front stance. Shuffle round kick is the same as shuffle front kick, except you do a mawashi geri instead of a mae geri kekomi.
To do a shuffle side kick, start in kiba dachi. Pick a side to kick to, the foot on the side is the kicking foot, the foot on the opposite side is the moving foot. Drive the moving foot into the spot where the kicking foot is. At the same time, lift the kicking foot and do a yoko geri kekomi. The moving foot should stop sliding and twist at the same time as the kick delivery. After the extension, recoil the kick and rotate the support foot. Step forward into a new kiba dachi. To do the tobi mae geri, start in zenkutsu dachi. Drive the rear knee forward and upward as if you were going to do a mae geri, but let the moving leg lift your waist up and jump off of the ground. Lift the front leg up and do a mae geri keage. Land the feet in the same order they left the ground and land in a new zenkutsu dachi. To do a tobi yoko geri, start in kiba dachi. Push off with the legs to drive the hips up and into the air. Swing the rear leg under your body and extend the kicking leg into a yoko geri keage. After the kick, recoil the legs and land in a new kiba dachi.To do a nidan geri, start in zenkutsu dachi. Nidan geri is done exactly the same as tobi mae geri, except that you must get enough air on the jump to do a mae geri keage on the initial knee raise in the air as well as a mae geri keage off of the front foot while still in the air. The kicks should strike at different levels on the target. Typically, the first kick is to the middle and the second is head high.
To do a shuffle front kick, start in zenkutsu dachi. Quickly drive the back foot into the spot where your front foot is. At the same time, lift the front foot and do a mae geri kekomi with it. The kick should connect at the same moment that the rear foot settles into the spot where your kicking foot was. Recoil the kicking foot and step forward with it into a new front stance. Shuffle round kick is the same as shuffle front kick, except you do a mawashi geri instead of a mae geri kekomi.
To do a shuffle side kick, start in kiba dachi. Pick a side to kick to, the foot on the side is the kicking foot, the foot on the opposite side is the moving foot. Drive the moving foot into the spot where the kicking foot is. At the same time, lift the kicking foot and do a yoko geri kekomi. The moving foot should stop sliding and twist at the same time as the kick delivery. After the extension, recoil the kick and rotate the support foot. Step forward into a new kiba dachi. To do the tobi mae geri, start in zenkutsu dachi. Drive the rear knee forward and upward as if you were going to do a mae geri, but let the moving leg lift your waist up and jump off of the ground. Lift the front leg up and do a mae geri keage. Land the feet in the same order they left the ground and land in a new zenkutsu dachi. To do a tobi yoko geri, start in kiba dachi. Push off with the legs to drive the hips up and into the air. Swing the rear leg under your body and extend the kicking leg into a yoko geri keage. After the kick, recoil the legs and land in a new kiba dachi.To do a nidan geri, start in zenkutsu dachi. Nidan geri is done exactly the same as tobi mae geri, except that you must get enough air on the jump to do a mae geri keage on the initial knee raise in the air as well as a mae geri keage off of the front foot while still in the air. The kicks should strike at different levels on the target. Typically, the first kick is to the middle and the second is head high.
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