rec.martial-arts FAQ part 3 of 4 (LONG)

[Matthew Weigel]

Archive-name: martial-arts/faq/part3
Last-modified: 31 Dec 2001

Posting-Frequency: twice per month


rec.martial-arts FAQ - Part 3 of 4
==================================

=====================================================================

16) What are the different Arts, Schools and Styles? (continued)


Contents of this section in Part 2 of 4:

16.1) Aikido 16.2) Baguazhang 16.3) Brazilian JiuJitsu
16.4) Bushidokan 16.5) Capoeira 16.6) Cha Yon Ryu
16.7) Cuong Nhu 16.8) Daito Ryu Aiki-Jujustu
16.9) Gatka 16.10) Hapkido 16.11) Hwa Rang Do
16.12) Iaido 16.13) Judo 16.14) Jujutsu
16.15) Kajukenbo 16.16) Kali/Escrima/Arnis
16.17) Karate 16.18) Kendo 16.19) Kenjutsu
16.20) Kenpo (Amer.) 16.21) Kempo (Kosho Ryu)
16.22) Kempo (Ryukyu) 16.23) Kobudo 16.24) Krav Maga
16.25) Kyudo

Part 3 of 4:

16.26) Lua 16.27) MMA/NHB 16.28) Moo Do
16.29) Muay Thai 16.30) Ninjutsu 16.31) Praying Mantis
16.32) ROSS 16.33) SAMBO 16.34) Sanshou
16.35) Savate 16.36) Shogerijutsu 16.37) Shuaijiao
16.38) Silat 16.39) Tae Kwon Do 16.40) Taijiquan
16.41) Western MA 16.42) Wing Chun 16.43) Wushu/Gongfu
16.44) Xingyiquan 16.45) Yoseikan Budo

=============

16.24) Lua

(Contributor: Stephen Kurtzman - ***@kurtzman.com)

Lua is the Royal Hawaiian martial art. In the 1800s the royal Hawaiian
family decreed that the art would be restricted to members of the
royal Hawaiian family (In fact, it is still illegal to practice the
art in the state of Hawaii). Since the 1980s, the veil of secrecy to
non-Hawaiians has started to lift with the open teaching of the art in
Southern California by Alohe Kolomona Kaihewalu.

Lua is a form of combat which resembles Jujutsu in some of its moves.
The primary emphasis of the art is joint dislocation.


16.25) MMA/NHB
(Contributors: Rob Meyer - ***@aol.com,
Christopher Kallini - ***@kallini.com)

Intro:

Mixed Martial Arts is both a style and not a style simultaneously. It
is both a new and old way of thinking about martial arts. It bases the
decisions about which techniques to use on their demonstrated
effectiveness by different practitioners in open, non-style-specific
sparring and/or competition that is designed to have as few rules as
possible while still ensuring safety against death or severe permanent
injury.

There are two main styles of MMA:

1. Sport MMA- Mixed Martial Arts designed for sporting competition,
such as the Ultimate Fighting Championship (UFC), Pride Fighting
Championship, or Vale Tudo style fighting matches. These matches
usually have two unarmed persons duking it out with the core rules
being: No biting, No eye-gouging (with fingers or chin) and No
fish-hooking (inserting body parts such as the fingers into bodily
crevices such as the mouth or nose). Groin attacks (striking or
squeezing the groin) are also often illegal.

The promoters may add more rules, or simply use what are considered to
be the core rules. More restrictive promotions of MMA include Old
Pancrase, Shootfighting, or RINGS rules. These rulesets often ban
striking on the ground, closed-fist striking, or both.

In general, boxing (kickboxing/muay thai included), wrestling
(Freestyle, Greco-Roman, and to a lesser extent Judo), and Brazilian
Jiu-Jitsu (BJJ) are the three styles that comprise the core of nearly
all modern MMA training.

2. Street MMA- The principles of Mixed Martial Arts as applied for
non-sport situations. There seem to be fewer mixed martial artists
interested in this as compared to sport MMA, though the number of
practitioners is growing. In practice, many, though not all, of the
persons doing this come from a Jeet Kune Do background, and sometimes
call what they do Jeet Kune Do (ex. Matt Thornton, Erik Paulson)

Their work is somewhat different from the JKD mainstream in calling for
large amounts of few-rules sparring, and they encourage their students
to do sport MMA sparring/competition. One can argue endlessly whether
what they do is or is not MMA or JKD- suffice it to say there are
similarities to both, and that JKD can be MMA and MMA JKD.

Most Street MMAers believe that sport MMA merely needs some changes in
strategy (less emphasis on staying on the ground, more weapons
awareness) and the addition of some techniques to become highly
effective for the street. By far the most common addition to
street-oriented MMA is Filipino martial art (FMA) training, due to its
emphasis on, and practical use of weaponry, primarily the stick and
knife.

Origin:

The sport developed worldwide in the current form circa 1997, with the
main centers of development being Brazil, the US, and Japan. During the
time of its development, there were many exchanges of knowledge between
the nations that developed MMA. Techniques were taken from the martial
arts and sports of Brazil, Japan, England, America, Thailand, Holland,
France, and Russia, along with smaller amounts from other nations.
Early MMA was internationally popularized by the broadcast of the
Ultimate Fighting Championship I in November of 1993.

History:

The first documented Mixed Martial Arts style competitions, and
certainly the conceptual ancestor of todays MMA, were the Pankration
events of Classical Greece. Different styles of Greek wrestling and
boxing were utilized. However, unlike the early UFCs, there was little
emphasis on proving which style(s) worked best. Instead, there was much
more concentration on representing the city the athletes came from, and
each city's native styles were considered to be equally good. Other
forms of MMA have existed throughout history, such as French
Brancaille.

The first Ultimate Fighting Championship was the brainchild of Art
Davie and Rorian Gracie. Originally to be called War of the Worlds, it
ended up featuring a sumo wrestler, a boxer, a savateur, two
kickboxers, a kenpo man, a shootfighter, and a Brazilian Jiu-Jitsu
fighter named Royce Gracie. Gracie swept by the other contestants to
win the tournament, and swept two of the next three tournaments (Gracie
could not continue due to heat stroke in UFC III) By the time of UFC
III, the referee was allowed to stop fights. After UFC IV, Rorian
Gracie pulled out of the UFC, and after UFC 6, similar but smaller MMA
events began popping up all over the country.

In the first few UFC tournaments, when the rules were limited to the
core three, a large variety of stylists competed. However, few fared
well. Boxers tended to dominate the striking, wrestlers (Freestyle,
Greco-Roman, and to a lesser extent Judo) dominated the takedowns, and
Brazilian Jiu-Jitsu (BJJ) dominated on the ground. As a result, people
began focusing on these three.


(Note- much of the information on the history of MMA came from the book
No Hold Barred: Evolution, by Clyde Gentry III, available at
http://www.groundfighter.com)

Description:

Most Sport MMA fighters fall into one of three general categories- the
groundfighter, the wrestler, or the striker.

The groundfighter is the closest to a "pure" grappler one finds in MMA
nowadays. The groundfighter's strength is the ability to force a fight
to the ground, where they then seek a fight-ending submission (joint
locks or choke). While the ability to perform takedowns is integral to
groundfighting strategy, a clean, powerful takedown is not as important
to the groundfighter as it is to the wrestler.

The wrestler is a stand-up and striking on the ground oriented
grappler, whose strength is usually the takedown. A common strategy of
the wrestler is known as "ground and pound." This refers to the method
of taking an opponent down, achieving a dominant ground position, and
finishing the fight with strikes.

The striker is also commonly known as the standup fighter, due to their
preference to stay on their feet and win with a knockout. The strategy
of the striker is called "sprawl and brawl". This refers to their focus
on nullifying takedowns (the sprawl is the highest percentage defense
to one of the more common entries to a takedown in wrestling, the
shoot) in order to stay upright and exchange blows.

These categories should not be taken as exclusionary of other
categories - groundfighters learn at least the basics of wrestling to
be able to take down people and the basics of striking to keep from
getting KOed. Strikers learn enough wrestling to neutralize takedown
and throw attempts and enough groundfighting to get back to their feet
if they are taken down. Wrestlers learn enough groundfighting or
striking to protect themselves in one of those areas and to be able to
easily finish opponents with another.

On rare occasions, you will see fighters highly skilled (by MMA
standards) in all three areas. These types of fighters are becoming
increasingly common as the sport becomes more professional.

Training:

Training resembles boxing, wrestling, and BJJ training, but with a much
smaller selection of technique (for instance, the BJJ spider guard is
strongly de-emphasized in MMA, as are wrestling pins). There is also a
focus on 'putting it together,' using boxing to set up a takedown, how
to take someone down while maintaining position for a submission,
boxing on the ground, etc.

Street MMA may add weapon drills, awareness training, and changes in
strategy.

Sub-Styles:

Examples of Street MMA are the Dog Brothers style of martial arts
sparring (full-contact stickfighting with limited to no protective gear
and real sticks), Roy Harris' school in San Diego, CA, and Frank Benn's
school in Austin, TX. Reality Fighting and adrenal stress/scenario
training (such as that done by Model Mugging/IMPACT, Tony Blauer,
Peyton Quinn, etc. ) are also often large influences on many of these
programs.


16.26) Moo Do

(Contributor: Eric S. Raymond - ***@locke.ccil.org)

Moo Do is a new, eclectic style founded by Grand Master Chae T. Goh,
built on Tae Kwon Do but incorporating a much wider range of
techniques than most TKD schools. The name means "Warrior's Way". In
1972, Master Goh came to America after a remarkable history of success
as a student, teacher, and innovator in several martial arts in Korea,
Japan, and Vietnam. Moo Do combines Tae Kwon Do kicking, Karate
punching, and Hapkido grappling and throwing techniques. The style
focuses on street-usable techniques and forms, as both technique
practice and a way of pursuing the `do' or self-improvement aspect of
the art. Sport and competition fighting are de-emphasized.

Movements and forms are basically linear, but with a lot of training
in 45-degree shifts for evasion. A wide range of grappling and
throwing techniques designed specifically for common self-defense
situations on the street are included. Each class begins with
stretching and aerobic exercise. The classes are physically
challenging, but there's a strong tradition of adapting to what the
student's body can handle. Kick-punch combinations and
multiple-technique attacks are pushed hard from the beginning.
Sparring begins at intermediate levels.

Basic meditation is part of the curriculum. Students are instructed
in the ethics of the Hwarang Do, including loyalty to nation and
family, truthfulness, keeping one's word, loving kindness to one's
spouse, and the necessity to "justify your means" when using force.
Senior students are required to research and write essays on various
topics in the art to pass belt tests.


16.27) Muay Thai

(Contributors: Peter Hahn - ***@anubis.network.com,
Glen Downton - ***@pf.adied.oz.au)

Intro:

Muay Thai is usually regarded as a very hard, external style.
However, especially because of its roots in heavily Buddhist Thailand,
some consider it to have a spiritual aspect as well. Thai boxers
typically perform some Buddhist rituals before beginning a match.

Practicing Muay Thai is a vigorous workout and produces tremendous
cardiovascular endurance.

Origin: Thailand

History:

Modern Thai Boxing (Muay Thai) originated from Krabi Krabong (a Thai
weapons art roughly meaning "stick and sword"). When the Thais lost
their weapons or fought close quarters with weapons they used knees,
elbows, feet, fists and headbutting. They became famous for their
toughness on the battle field with constant wars with their Burmese
rivals. King Ramkamheng (1275 - 1317) wrote the
"Tamrab-Pichei-Songkram" - the Book of War Learning, about the Thai
war art, the basis of which was weaponless fighting.

The biggest Thaiboxing hero of Thailand is the 'Black Prince' Nai
Khanom Dtom, who was captured by the Burmese and had to fight against
12 of the best Burmese fighters before he was released (in 1560). The
Thais are still having annual Muay Thai tournaments in order to salute
him.

In the old days the fights lasted until one of the fighters was dead
or seriously injured. There were no rounds and the fights could have
lasted for several hours. No protective gear was used and sometimes
they wore rope over their knuckles and glued some broken glass on top
of it...

Before the 1940's, Thai fighters fought bare-knuckled. After World War
II, the Thai government became concerned due to the high number of
fatalities in the ring and and forced some rules to be used: they gave
up groin shots, eye pokes, started using weight classes and boxing
gloves, and rounds. The Thais felt that this watered down their
sport. As a result, Thais place more emphasis on kicks, particularly
to the legs; knee strikes; and grappling. These skills score higher
points than hand strikes in Thai matches.

Description:

Muay Thai involves boxing techniques, hard kicking, and knee and elbow
strikes. Low kicks to the thighs are a very distinguishing technique
used frequently in Muay Thai. Stand up grappling is also used and
allowed in the ring. Muay Thai practitioners develop a very high
level of physical conditioning developed by its practitioners.

Training:

The training involves rigorous physical training, similar to that
practiced by Western boxers. It includes running, shadow-boxing, and
heavy bag work. Much emphasis is also placed on various drills with
the so-called "Thai pads". These pads weigh five to ten pounds, and
cover the wearers forearms. In use, the trainer wears the pads, and
may hold them to receive kicks, punchs, and knee and elbow strikes,
and may also use them to punch at the trainee. This training is
vaguely similar to the way boxing trainers use focus mitts. The
characteristic Muay Thai round kick is delivered with the shin,
therefore, the shins become conditioned by this type of kicking.

Full contact, full-power sparring is usually not done in training, due
to the devastating nature of the techniques employed. Thai boxers may
box, hands only, with ordinary boxing gloves. Another training drill
is for two fighters to clinch, and practice a form of stand-up
grappling, the goal of which is to try to land a knee strike.
However, full-power kicks, knees, and elbows are typically not used in
training.

Promising children will enter dedicated Muay Thai training camps as
young as six or seven. There, the fighter will be put on a plan aimed
at making him a national champion while still in his teens. The Thais
fight frequently, and a 20 year old fighter may have had 150 fights.
Typically, half the purse from each fight goes to the training camp,
with the remainder being split between the fighter and his family.


16.28) Ninjutsu

(Contributor: Joachim Hoss - ***@k.maus.de, Adam James McColl -
***@direct.ca)

Intro:

Lit. Translation: "Nin" Perseverance/Endurance "jutsu" Techniques
(of). Surrounded by much controversy, today's "ninjutsu" is derived
from the traditional fighting arts associated with the Iga/Koga region
of Japan. These arts include both "bujutsu" ryuha (martial technique
systems) and "ninjutsu" ryuha, which involve a broad base of training
designed to prepare the practitioner for all possible situations.

History:

The history of ninjutsu is clouded by the very nature of the art
itself. There is little documented history, much of what is known was
handed down as part of an oral tradition (much like the native
american indian) and documented by later generations. This has led to
a lot of debate regarding the authenticity of the lineages claimed by
the arts instructors.

Historical records state that certain individuals/families from the
Iga/Koga (modern Mie/Omi) region were noted for possessing specific
skills and were employed (by samurai) to apply those and other skills.
These records, which were kept by people both within the region and
outside of the region, refer to the individuals/families as "Iga/Koga
no Mono" (Men of Iga/Koga) and "Iga/Koga no Bushi" (Warriors of
Iga/Koga). Due to this regions terrain, it was largely unexplored and
the people living within lived a relatively isolated existence. This
enabled them to develop perspectives which differed from the
"mainstream" society of the time, which was under the direct influence
of the upper ruling classes. When necessary, they successfully used
the superstitions of the masses as a tool/weapon and became feared and
slightly mythologized because of this.

In the mid/late 1500's their difference in perspective led to conflict
with the upper ruling classes and the eventual invasion/destruction of
the villages and communities within the Iga/Koga region. The term
"ninja" was not in use at this time, but was later introduced in the
dramatic literature of the Tokugawa period (1605-1867). During this
period, ancestral fears became contempt and the stereotypical image
("clans of assassins and mercenaries who used stealth, assassination,
disguises, and other tricks to do their work") was formed which, to
this day, is still very much the majority opinion.

Over 70 different "ninjutsu ryu" have been catalogued/identified,
however, the majority of them have died out. Most were developed
around a series of specific skills and techniques and when the skills
of a particular ryu were no longer in demand, the ryu would (usually)
fade from existence. The three remaining ninjutsu ryu (Togakure ryu,
Gyokushin ryu, and Kumogakure ryu) are encompassed in Dr. Masaaki
Hatsumi's Bujinkan Budo Taijutsu system. These ryu, along with six
other "bujutsu ryu" (Gyokko Ryu, Koto Ryu, Takagi Yoshin Ryu, Shinden
Fudo Ryu, Gikan Ryu and Kukishinden Ryu), are taught as a collective
body of knowledge (see Sub-Styles for other info).

During the "Ninja-boom" of the 80's, instructors of "Ninjutsu" were
popping out of the woodwork - it was fashionable to wear black. Now
that the boom is over there are not as many people trying cash in on
the popularity of this art. However, as with all martial arts, it
would be wise to be very careful about people claiming to be "masters
personally taught by the Grandmaster in Japan".

How do you verify the authenticity of an instructor? In the case of a
Bujinkan Budo Taijutsu instructor there a few points which one can
use.

First: all recognized "instructors" of the Bujinkan Dojo will, in
addition to their Dan grade (black belt), have either a Shidoshi-ho
(assistant teacher - first to fourth Dan) or Shidoshi (teacher - fifth
to ninth Dan) certificate/ licence from Dr Hatsumi. Only people with
these certificates are considered to be qualified to teach his system
(a Dan grade alone DOES NOT make one a teacher).

Second: in addition to these certificates/licences, all recognized
"instructors" of the Bujinkan Dojo will possess a valid Bujinkan Hombu
Dojo Shidoshi-kai (Bujinkan Headquarters Dojo Teachers Association)
for the current year. These cards are issued each year from Dr Hatsumi
to those recognized as "instructors".

These points will help you if you are looking at training with someone
from the Bujinkan Dojo. Beyond that, it's a case of "buyer beware".

Description:

Terms like "soft/hard", "internal/external", linear/circular" have
been used to describe ninjutsu by many people. Depending upon the
perspective of the person, it could appear to be any one, all or even
none of the above. It is important to remember that the term
"ninjutsu" does not refer to a specific style, but more to a group of
arts, each with a different point of view expressed by the different
ryu. The physical dynamics from one ryu to another varies - one ryu
may focus on redirection and avoidance while another may charge in and
overwhelm.

To provide some kind of brief description, ninjutsu includes the study
of both unarmed and armed combative techniques, strategy, philosophy,
and history. In many Dojos the area of study is quite comprehensive.
The idea being to become adept at many things, rather than
specializing in only one.

The main principles in combat are posture, distance, rythm and flow.
The practitioner responds to attacks in such a way that they place
themselves in an advantageous position from which an effective
response can be employed. They are taught to use the entire body for
every movement/technique, to provide the most power and leverage. They
will use the openings created by the opponents movement to implement
techniques, often causing the opponent to "run in/on to" body weapons.

Training:

As was noted above, the areas of study in ninjutsu are diverse.
However, the new student is not taught everything at once.

Training progresses through skills in Taihenjutsu (Body changing
skills), which include falling, rolling, leaping, posture, and
avoidance; Dakentaijutsu (Striking weapons body techniques) using the
entire body as a striking tool/ weapon - how to apply and how to
receive; and Jutaijutsu (Supple body techniques) locks, throws,
chokes, holds - how to apply and how to escape.

In the early stages, weapons training is usually limited to practicing
how to avoid attacks - overcoming any fear of the object and
understanding the dynamics of its use from the perspective of
"defending against" (while unarmed). In the mid and later stages, once
a grounding in Taijutsu body dynamics is in place, practitioners begin
studying from the perspective of "defending with" the various
tools/weapons.

In the early stages of training, kata are provided as examples of
"what can be done here" and "how to move the body to achieve this
result". However, as the practitioner progresses they are encouraged
to explore the openings which naturally appear in peoples movements
and apply spontaneous techniques based upon the principles contained
within the kata. This free flowing style is one of the most important
aspects of ninjutsu training. Adaptability is one of the main lessons
of all of these ryu.

Due to the combative nature of the techniques studied, there are no
tournaments or competitions in Ninjutsu. As tournament fighting has
set rules which compel the competitor to study the techniques allowed
within that framework, this limits not only the kinds of techniques
that they study, but also the way in which they will apply those
techniques. The way that you train is the way that you fight. Ninjutsu
requires that its practitioners be open to any situation and to be
able to adapt their technique to ensure survival.

Sub-Styles:

There are a number of people claiming to teach "ninjutsu".

Dr. Masaaki Hatsumi has been the recpient of numerous cultural awards
in recognition of his extra-ordinary knowledge of Japanese martial
culture. He is considered by many to be the only source for authentic
"ninjutsu". However, as was noted above, the teachings of the three
ninjutsu ryu which are part of his Bujinkan system, are not taught
individually. Rather, they are taught as part of the collective body
of knowledge which forms the foundation of his Bujinkan Budo Taijutsu
system.

Shoto Tanemura, formerly of the Bujinkan Dojo, formed his own
organization (Genbukan Dojo) and claimed to be the Grandmaster
of/teaching both Iga and Koga Ryu Ninjutsu. He has since formed a
number of other organizations and is becoming more widely known for
his "Samurai Jujutsu" tapes (Panther Productions).

The list of names of people claiming to teach "Koga Ryu Nijutsu" is
quite long. The last person to be recognized as part of the Koga Ryu
lineage in Japan was Seiko Fujita. His knowledge of "ninjutsu" died
with him - he left no successor.


16.29) Praying Mantis (Tanglangquan/Tanglangpai)

(Contributor: Fernando Blanco - ***@hotmail.com)

Intro:

Imitative boxing of the Praying Mantis. The Praying Mantis is an
insect with killer instinct and blinding speed. The Tanglangpai is a
combat system composed of several sub-styles, that due to the richness
and complexity of their techniques are considered styles by
themselves. Some of these styles were created combining the praying
mantis boxing with other wu-shu systems. Some writers count more than
40 Praying Mantis styles. This section will only mention below the
more ancient and traditional ones.

Origin: Shandong Province (Northern China)

History:

Wang Lang (the style creator) was born in the Jimo district, in
Shandong Province. He lived during the Ming Dynasty fall and as he
was a patriot (some Masters say he was uncle of the last Ming
Emperor), he decided to excel in the martial arts to fight against the
Qing Dynasty (Manchurian rulers). He entered to the Shaolin
monastery in Songshang, but being prosecuted by the Manchurians he
travelled all over China, training in places places where he could
find Gongfu Masters. In this way he learned 17 Chinese Boxing
styles.

After this travel, Wang Lang entered to the Laoshan monastery. Once
there, he was always defeated by the abbot of the temple in spite of
his deep knowledge of the fighting arts. One day, while he was
meditating in a forest he saw a combat between a praying mantis and a
cicada. He was impressed by the aggressive attitude of the mantis and
he started studying its movements. After a long learning time he
combined the praying mantis hand movements with the monkey steps (to
enhance the coordination between hand and feet). With this new style
Wang Lang could defeat the monastery abbot. Wang Lang went on
modifying his system and when he felt satisfied with his creation he
accepted some disciples.

Description:

Even though Praying Mantis sub-styles are quite different, they all
contain the basic structure created by Wang Lang: * 8 stances * 12 key
words * 8 rigid and 12 flexible methods * 5 external and 5 internal
elements * 8 non- attacking and 8 attacking points.

Northern praying mantis is a style characterized by fast hand
movements. The hook hands are the "trade mark" of the style and they
are found in all the northern sub-styles. Northern Tanglangquan's
main weapon is the blinding speed of the hand trying to control and
punch the opponent. It has a balanced combination of circular and
straight movements.

Other important elements are the simultaneous block and punch, and
strong chopping punches. These are practical movements for full
contact street fighting. Some Chinese martial artists say that Seven
Star Praying Mantis Boxing (one of the praying mantis sub-styles) is
the most aggressive style created in China. Grappling, kicking,
nerve-attack and weapons complete the northern branch.

Southern praying mantis is very different. It is an infighting system
that resembles Wing Chun. Qigong is very important in the Southern
Praying Mantis. Movements are continuous and circular, soft and hard,
except in attack, where the middle knuckle (phoenix eye) of the index
finger is used like a needle to pierce the internal organs. A punch
with the fist produces an external muscular bruise, striking with the
phoenix eye produces an internal bruise.

Training:

1) Physical exercises
2) Body conditioning
Tieshazhang (Iron Palm)
Baidagong (body strengthening)
Jhiu Sa So (Poison Palm)
3) Fighting Theory
Tui (legs actions)
Da (hand actions)
4) School training (basic movements known as combinations)
5) Shuai (Throwing Techniques)
6) Na (also known as Qinna, grappling techniques)
7) Forms training (The core of the system. Solo training and forms
for two or more people)
8) Sanshou (free fighting)
9) Jei Jai (weapons training)
10) Dim Mak (also known as mur mon, the death touch)
8 attacking points
8 non attacking points
Deadly points
11) History and tradition (honor the ancestors in the style and keep
the folklore tradition -for example Lion Dance-)

Sub-Styles:

Northern Sub-Styles:

Seven Stars Praying Mantis (Qixing Tanglang)
Eight Steps Praying Mantis (Babu Tanglang)
Six Armonies Praying Mantis (Liuhe Tanglang)
Secret Door Praying Mantis (Bimen Tanglan)
Mysterious Track Praying Mantis (Mizong Tanglang)
Throwing Hands Praying Mantis (Shuaishou Tanglang)
Plumb Flower Praying Mantis (Meihua Tanglang)
Flying legs Praying Mantis from the Wah Lum Temple (Wah
Lum Tam Tui Tang Lang) Jade Ring Praying Mantis (Yuhuan
Tanglang) Long Boxing Praying Mantis (Changquan Tanglang)
Great Ultimate Praying Mantis (Taiji Tanglang)
Eight Ultimates Praying Mantis (Baji Tanglang)

Southern Sub-Styles (Hakka shadow boxing):

Bamboo Forest Praying Mantis (Kwong Sai Jook Lum Tang Lang)
Chou Clan Praying Mantis (Chou Gar Tang Lang)
Chu Clan Praying Mantis (Chu Gar Tang Lang)

Familiar or non spread Sub-Styles:

Han Kun Family Praying Mantis (Han Gong Jia Tanglang)
Drunken Praying Mantis (Zui Tanglang)
Shiny Board Praying Mantis (Guangban Tanglang)
Connected Arms Praying Mantis (Tongbei Tanglang)
Mandarin Duck Praying Mantis (Yuanyang Tanglang)


16.30) ROSS (Russian Martial Art)

(Contributor: Scott Sonnon - ***@redrose.net)

Russian Martial Art is a system of education in human biomechanics and
the study of human behavior under extreme situations. Students are
guided towards introspection and exploration of their full human
potential. Movement is natural and free, and acquiring skills is
based on the study of Cossack and Russian folk dances, Slavic folklore,
and "Natural Laws."

The ancient Slavic martial traditions dates to the nomadic
steppe-warriors of approximately 5,000 BCE, passed from father to
son in families for generations of pre-Soviet Russia, and then only
among the elite combat specialist subdivisions (SPETSNAZ) of the
former USSR. Scott Sonnon, USA Sambo Team Coach and Trainer and
World Sambo Vice-Champion, was the first foreigner accepted into this
heritage in the attempt to bring the world together in fraternity.
Sonnon imported the art to America in 1996 to improve the quality of
life of his compatriots through the Russian health system, advanced
sports biomechanics, and elite combative preparation. In 2000, one of
the sportive derivations of Russian Martial Art, named Sambo, will be
Olympic at the Sydney Games.

Russian Martial Art derives its name ROSS from "ROSSIYA" which
is the Russian spelling for the word RUSSIA. ROSS, a Russian
acronym standing for "Russian Native Martial Art" was developed by
Commander Alexander Retuinskih, President of the All-Russian
Federation of Russian Martial Art (RFRMA), Chairman of the
International Combat Sambo Commission, Chairman of the Russian Combat
Sambo Committee, officer General of the Cossack Military. In 1991,
the RFRMA was sanctioned by the Russian Olympic Committee as the sole
representative of Russian Martial Art. ROSS is taught to trainers
of Russian Spetsnaz units of the Ministries of Internal Affairs,
Defense and protective services, Russian Marine troops, VDV, OMON,
and Minsk's "Alpha" units in Byelorussia, special MVD units "Vityaz",
frontier troops of Lithuania and many others.

In Russian Martial Art, the main goal of a person is to render the
adversary harmless while minimizing losses for both self and foe:
to work efficiently in any situation. Learning Russian Martial Art,
students acquire great power as fighters, but more importantly as a
human beings, increasing ones value for health and life, for both self
and others. Both in combat and in life, students treat other creatures
with awareness and compassion. When necessary, firm action is issued,
but never in a callous or careless manner, and when all other option
have been considered. "Your life is not your alone; it belongs to your
friends, family and community" (Alexander Ivanovich Retuinskih), or as
is said in the Cossack Cadet Code: "The life of your friend is always
more valuable than your own. You can die yourself, but rescue your
friend."

ROSS undertakes training in 8 directions:

1. Russian-Style Close-Quarters Combat and Survival
2. Renovated SAMBO (see FAQ entry on SAMBO)
3. Executive and Close Protection Training
4. Bayonet-Fencing
5. Advanced Sports Biomechanics
6. Acrobatic Dance, Stunt and Theatrical Combat
7. Russian System of Health and Wellness
8. Russian Fisticuffs


16.31) SAMBO

(Contributor: Alex Levitas - ***@iil.intel.com)

Intro:

SAMBO is an acronym of Russian words "SAMozaschita Bez Orujiya" -
"Self-Defence Without Weapon".

Origin: Russia

History:

SAMBO was created in the 1930's. Official recognition of new art was
in 1938. At first it was named "free-style wrestling", then "free
wrestling," and in 1946 was renamed "SAMBO." This system is
compilation of techniques from a number of martial arts including
Japanese and Chinese martial arts; national martial arts of USSR area
natives (Georgians, Armenians, Mongols, Russians etc.); French
wrestling and other arts. At the time of the 2nd world war the system
was widely "tested" by the Soviet army. "Special" techniques were
added at the time, for example fighting in cells, quick-and-quiet
sentry killing, and so on. Because of the number of criminals in the
Soviet army at that time (during WWII each prisoner was "invited" to
the front with each year at the front worth two or so years of their
sentence) SAMBO experts acquired many lessons on criminal street
fighting, and a number of these techniques were included in SAMBO.
SAMBO continues to accept new techniques and modify old ones.

Description:

Today, SAMBO is built from 3 parts: the sportive part (Olympic sport),
the self-defense part, and the special or combat part.

The sportive part is similar to Judo but with some differences in
allowed techniques. SAMBO allows leg locks were Judo does not, but
Judo allows choking but SAMBO does not. There are somewhat more
techniques in SAMBO than in Judo.

The self-defense part of SAMBO is similar in form to Aikijujutsu
because it is intended to be entirely defensive. The founder of SAMBO
said this about the self-defense part:

"We give defensive weapons to citizens. Some people say that this
kind of martial art may be learned by criminals or hooligans and
used against citizens. Don't worry! This art does not include even
one attacking technique! If a hooligan will learn, he will be able
to apply it only against another hooligan who will attack him, but
never against a citizen."

There are many specific techniques for defending specific attacks,
including escaping from grips and chokes, defenses against punches and
kicks, defenses against weapons (knife, stick etc.), and
floor-fighting. The self-defense part of SAMBO is based on body
movements and locks with a few punches and kicks. The object is to
allow defense but not to injure the opponent more than necessary
because this part was created for citizens. In the former Soviet
Union the law was that if you injure your opponent more than needed in
a self-defense situation you could receive a 5 year prison term. Some
of the self-defense techniques are based on sportive SAMBO.

The third part - combat SAMBO - was created for the army and police.
It is a very severe, and dangerous system. If the idea of sportive
SAMBO is "Take points and win," and the idea of the self-defence part
is "Don't allow to attacker injure you," the idea of combat SAMBO is
"Survive, and if someone hinders you - injure or kill him." Combat
SAMBO includes sportive and self-defence techniques, but uses them in
different ways. For example, sportive SAMBO uses the traditional
shoulder throw of Judo and Jujutsu. In combative SAMBO the throw is
done with the opponents arm rotated up and locked at the elbow, and
can be done to throw the opponent on his head. If the opponent
attempts to counter by lowering his center of gravity and pulling
backwards (as is taught in sportive SAMBO) the arm will be broken.
Combative SAMBO teaches shoulder throw counters that might be able to
deal with a locked arm like kicking out the opponents knee and pulling
back by the hair or eye sockets.

In addition to modified sportive and self-defence techniques, combat
SAMBO includes kicks, punches, "dangerous throwing" (throws that can't
be include into sportive part because they cause injury), locks on the
spine, things that are prohibited in sportive wrestling (biting, for
example), many "sadistic dirty things," working against weapons (with
or without a weapon of your own), tricks like putting your coat on
your opponents head (works nicely), floor fighting (very strong),
fighting in closed space (small room, pit, stairs), quick-and-quiet
sentry killing, and so forth. Students also learn strategy and
tactics of fighting alone or in groups against single or multiple
opponents. SAMBO is less popular today in Russia because the influx
of oriental martial arts in recent years. But, the development of
SAMBO has continued and elements of it are incorporated into other
modern combat systems.


16.32) Sanshou

(Contributor: Edmund Tsoi - ***@globalserve.net)

Intro:

In Chinese, Sanshou (loose hands) refers to the free application of
all the realistic hand-to-hand combat skills of Gongfu. It is
divided into three categories: Sport Sanshou (Chinese Kickboxing),
Civilian Sanshou, and Military Sanshou (AKA Qinna Gedou).

Origin: China

History:

After fighting directly with the superior American forces during the
Korean War, the Chinese government realized that new scientific R&D is
important for its military forces. Army chief Peng Dehuai directed a
great military training campaign (Da Be Wu) after the war. Martial
arts masters from each of China's 92 provinces were brought together
with medical experts to compare and evaluate their techniques. A new
hand-to-hand combat system was developed based on three criteria:
simplicity, directness, and effectiveness against a larger, stronger
opponent. This system of fighting was thoroughly tested in training
camps throughout China, and in border conflicts with Soviet troops.
The Chinese military published manuals on Sanshou in 1963 and 1972.

Besides military Sanshou, civilian Sanshou continued to be developed
by underground martial arts schools and individual martial artists in
communist China. Civilian Sanshou warriors sharpened their skills by
street championships where they challenged each other. These kinds of
challenges were very popular during the cultural revolution (1966-76)
and usually ended by being broken up by the police.

In recent years, sport Sanshou has been developed and promoted by the
Chinese government. In the early years (1980s), there were no formal
championships for Sanshou. Only demonstrations were available on
national T.V. Most of the Sanshou participants were military and
police men. Therefore, sport Sanshou kept its flavour of military
kickboxing and wrestling. Lately, the Chinese government have
promoted Sanshou into a nation-wide sport and held formal national
and international championships every year.

Description:

The Sanshou as practiced by the Chinese military is based on the
Chinese Art of War, physics, anatomy, bio-mechanics, and human
physiology. It is a complete system of realistic unarmed combat
covering the skills of striking, grappling, wrestling, groundfighting,
and weapon defenses taken from various Chinese and foreign martial
arts and hand-to-hand combat styles. It focuses on applying the
principles of combat rather than on techniques. The various
divisions of the military and police force have slight differences in
technique, but they all employ the same principles.

Because of the increase of violent crimes in China, civilian Sanshou
was created by the Chinese government so that Chinese civilians can
learn self defense skills. It is also a complete system of striking
and grappling, but without the lethal techniques that are required in
the military. Many "underground" martial artists also developed
Sanshou fighting skills.

The sport of Sanshou is rising in popularity all over the world. It
is a kickboxing style that is fought on a platform called a "Lei Tai".
Fighters wear boxing gloves, headgear, and body protectors. It is
full contact kicking and punching with throws and sweeps allowed.
Knees, elbows, headbutts, joint manipulation and chokes are not
allowed, but fighters can be thrown off the platform.

Training:

Military and civilian Sanshou training involves many punching,
kicking, grappling, wrestling, groundfighting, and weapon defense
drills with a partner. Contact sparring with protective gear is also
emphasized. This is where the different skills are blended together
into one fluid art. There are no forms or formal stances, and no
qigong exercises.

Sport Sanshou training is similar to kickboxing training, except that
throws and sweeps are also drilled extensively. Physical conditioning
is also important in sport full-contact fighting.

In Toronto Canada, Sanshou instruction is available through Chinese
Self-Defense Studies, the first and only organization outside of China
that teaches Military Sanshou. Information on Chinese Self-Defense
Studies can be found at the following
http://www.globalserve.net/~nelumbo/sanshou.htm.

Sub-styles:

Military Sanshou (AKA Qinna Gedou)
Civilian Sanshou
Sport Sanshou (Chinese Kickboxing)


16.33) Savate

(Contributor: Tobias Ratschiller - ***@pass.dnet.it)

Intro: A native French kicking style.

Origin: France

History:

It was developed in the last century, and its origins and
relationships, if any, to other Martial Arts are unclear. There are
stories about French sailors picking up techniques in Eastern ports,
bringing them home and integrating them with local foot fighting and
fencing techniques.

"French Boxing-Savate" was founded in 1970 in France. It consists
mainly of precise striking with the hands and low foot-striking and
appropriate defense-techniques. The hand-techniques are similar to
boxing. Special attention is paid to develop elegant and soft
movements.

Description:

It primarily encompasses kicking techniques somewhat similar to Tae
Kwon Do or Karate. It includes punching techiques from Western Boxing
and stick fighting techniques based on French rapier fighting. It is
very stylized and more extended than most Eastern kicking arts.

Training:

Three different forms are taught:

- Assaut: technical fighting, the opponent must not (or nearly not)
be hit.
- Combat Technique: fighting with semi-contact
- Combat Total: full-contact fight with KO allowed.

Usually together with Savate is taught "La Canne", a mostly defensive
art using wooden sticks."


16.34) Shogerijutsu

(Contributor: Chris Butts - ***@juno.com)

Shogerijutsu deals with the concept of the dynamic martial artist.
Each student learns the basics, and from there they build on their own
foundation. Shogerijutsu combines many facets of learning from the
martial arts. Shogerijutsu takes the basic self-defense techniques of
jujutsu, karate-do, gongfu, and kick boxing, then combines it with
the philosophy of styles that represent the fundamental approach
toward self-defense and combat such as kenpo, jeet kune do, aikijutsu,
and gongfu. Shogerijutsu means "the essence in kicking technique",
but the name itself does not define the techniques or philosophy of
living that goes on within a system. The word "kicking" can be
replaced with any of a multitude of strikes.

The basics are taught at first. As the student progresses so does
their knowledge of control, joint locks, throws, combat philosophy,
ranges, kata, and body positioning. Each phase of learning focuses on
a breakup of the latter, with emphasis on implementing kata technique
into applicable use on the street. This style is ideal for people who
want to learn martial art basics. The philosophy of this style blends
well with any style whose purpose is self-defense with focus on
individualism.

For more information contact:
Norman Shogerijutsu Academy
1818 Twisted Oak Dr.
Norman, OK 73071


16.35) Shuaijiao

(Contributor: Bill Norcott - ***@bimby.posix.tandem.com)

Intro:

The oldest Chinese bare-handed fighting style. Shuaijiao is a
comprehensive fighting style which incorporates the principles of
Taijiquan.

Origin: China

History:

Shuiajiao emerged around 2,000 years ago. It was originally taught
only to the military elite. Starting in the Qin Dynasty,
Shuaijiao was demonstrated in tournaments for the Imperial court.
During the Qing Dynasty, China maintained a camp of 300 full time
fighters who trained for competition with China's allies. Today,
Shuaijiao is still taught primarily to the military and police in
China and Taiwan. Shuaijiao is a Northern Chinese martial art that
was not well known in the south until the 1930's.

Shuaijiao was introduced to the United States in 1978 by Dr.
Chi-Hsiu Daniel Weng. Dr. Weng started martial arts training at age
11, beginning with judo. After achieving second degree black belt in
judo, he began study of Shuaijiao from Grandmaster Chang
Dongsheng. Dr. Weng spent 20 years studying Shuaijiao with
Grandmaster Chang, including 10 years as Shuaijiao instructor at the
Taiwan Central Police College. Dr. Weng is an 8th degree black belt
in Shuaijiao, and is president of the U.S. Shuai-Chiao Association.

There has been a large growth of interest and participation in
Shuaijiao during the past several years. Major Chinese martial arts
tournaments now include Shuaijiao divisions. Shuaijiao fighters
have also competed successfully in Sanshou (full contact fighting)
competition. The five-man U.S. full contact team sent to the 2nd
World Wushu Championships included three Shuaijiao fighters.


Description:

Shuaijiao integrates striking, kicking, throwing, tripping,
grappling, joint locking, and escaping methods. Shuaijiao fighting
principles are based on Taijiquan, but techniques are applied
with more force. There are 30 theoretical principles of Shuaijiao;
the six major principles are: absorbing, mixing, squatting, hopping,
turning, and encircling.

Shuaijiao fighting strategy emphasizes maintaining balance and
controlling the opponent. Tactics emphasize throwing the opponent
while maintain a joint lock, then following with a vital point strike.
There are 36 major throws in the system, with 3600 combinations.
Shuaijiao is notable for joint attacks and hard throws.

Shuaijiao has a belt ranking system. The succession of belts is:
white, green, green-blue, blue 1, blue 2, blue 3, black. There are
ten degrees of black belt. The 10th degree is reserved for the
founder of the lineage, the late Grandmaster Chang Dongsheng.

Competition is similar to actual combat, except that strikes and kicks
are allowed only in conjunction with a throw. Also, joint attacks are
discouraged. Match is three falls. Point is awarded upon completion
of the throw with control maintained over opponent. There is no
pinning nor submission holds in Shuaijiao competition; in actual
combat the throw would be followed by a finishing strike. Victory in
tournament competition is required for advancement to blue belt and
above.

Training:

There are a dozen stationary training stances to train strength and
flexibility. Twenty moving forms train the position and footwork used
in approaching, joint locking and throwing. Wushu high kicking
excercises train leg strength and flexibility. The kicks most often
used in Shuaijiao fighting are low kicks and sweeps. Unique to
Shuaijiao is "belt cracking", which uses the uses the uniform belt
in excercises that train strength and proper position. Throws are
practised in excercises with a partner, then in sparring. Sparring is
practised at all levels, as soon as the student has mastered
breakfalls. A typical class consists of stretching excercises, Wushu
kicking, forms practise, throwing and breakfalls, and sparring.

Sub-Styles:

Shuaijiao styles are categorized by region. The four major regional
styles are Mongolian, Beijing, Tianjin, and Baoding.
The USSA teaches the Baoding style.

For more information, contact:

United States Shuai-Chiao Association,
P.O. Box 1221
Cupertino, CA 95015
U.S.A.

16.36) Silat

(Contributors: Jeffrey Chapman - ***@armory.com
Russ Rader - ***@ix.netcom.com
Tim Rivera - ***@umr.edu)

Intro:

Pencak Silat is the Indonesian and Malaysian set of Martial Arts, all
with different styles and schools (over 400 of them). Some of them use
different spellings, depending upon their lineage - Dutch-Indonesian
Silat is typically "Pentjak Silat" and "pure" Indonesian styles "Pencak
Silat." The Indonesian spelling is used here, not to exclude some Silat
styles, but for uniformity.

Origin: Indonesia and Malaysia

History:

Since Silat is an umbrella term covering many styles, it is not
possible to give a single history. Some of the arts are very old (1000
years?), and some were developed less than 50 years ago. Also, as with
other arts, the history of Silat is somewhat unclear. There is a
mixture of indigenous techniques along with techniques borrowed from
Chinese arts and Indian arts such as Kalaripayit.

Description:

Pencak Silat depends heavily on an indigenous weapons and animal-styles
heritage. In the (distant) past, it was predominately a weapons
system; empty hand techniques are derived from the weapons forms. It
is still often said that there is no silat without the knife.

Techniques are quite varied, although kicks are not emphasized much.
Foot work is sophisticated and the development of stability is of major
importance. The foot and and hand techniques are so subtle and
intricate that they are often taught separately, then integrated after
the student has mastered them individually. There is a good balance
between offensive and defensive techniques.

Different styles of Silat use different terminology to describe a
practicioner's ability - "guru" is frequently used to refer to a
proficient instructor, "kang" for senior students, and "pendekar"
someone who has developed a high level of skill and possibly spiritual
development. However, the usage varies from style to style, and
possibly even from school to school.

Training:

As an example, Pencak Silat Mande Muda has a complex and rather
rigorous system of training, which includes classical empty hand and
weapons forms, practical empty hand, weapons, and improvised weapons
techniques, stretches, physical conditioning, and breath control.
Although the forms are often performed with musical accompaniment,
much like a dance, they are nevertheless extremely valuable both as
conditioning methods and as encyclopedias of technique.

Sub-Styles:

Mande Muda, Serak (also spelled Sera and Serah), Cimande (Tjimande),
Cikalong (Tjikalong), Harimau, Mustika Kwitang, Gerakan Suci, Perisai
Diri, many others.


16.37) Tae-Kwon-Do

(Contributors: Dakin Burdick - ***@silver.ucs.indiana.edu,
Ray Terry - ***@hpkel02.cup.hp.com)

Intro: One of the most popular sports and martial arts in the world.

Origin: Korea

History:

The five original Korean Kwans ("schools") were: Chung Do Kwan, Moo
Duk Kwan (the art of Tang Soo Do), Yun Moo Kwan, Chang Moo Kwan, and
Chi Do Kwan. These were founded in 1945 and 1946. Three more Kwans
were founded in the early 1950's - Ji Do Kwan, Song Moo Kwan, and Oh
Do Kwan.

After fifty years of occupation by Japan (which ended in 1945) and
after the division of the nation and the Korean War, Korean
nationalism spurred the creation of a national art in 1955, combining
the styles of the numerous kwans active within the country (with the
exception of Moo Duk Kwan, which remained separate - therefore Tang
Soo Do is still a separate art from TKD today). Gen. Hong Hi Choi was
primarily responsible for the creation of this new national art, which
was named Tae Kwon Do to link it with Tae-Kyon (a native art). Earlier
unification efforts had been called Kong Soo Do, Tae Soo Do, etc. Many
masters had learned Japanese arts during the occupation, or had
learned Chinese arts in Manchuria. Only a few had been lucky enough
to be trained by the few native martial artists who remained active
when the Japanese banned all martial arts in Korea. Choi himself had
taken Tae-Kyon (a Korean art) as a child, but had earned his 2nd dan
in Shotokan Karate while a student in Japan.

Description:

Primarily a kicking art. There is often a greater emphasis on the
sport aspect of the Art. Tae-Kwon-Do stylists tend to fight at an
extended range, and keep opponents away with their feet. It is a
hard/soft, external, fairly linear style. It is known for being very
powerful.

Training:

Training tends to emphasize sparring, but has forms, and basics are
important as well. There is a lot of competition work in many
dojongs.

The World Taekwondo Federation is the governing body recognized by the
International Olympic Committee, and as a result WTF schools usually
emphasize Olympic-style full contact sparring. The WTF is represented
in the U.S. by the U.S. Taekwondo Union (USTU).

The International Taekwondo Federation is an older organization
founded by Hong Hi Choi and based out of Canada. It tends to
emphasize a combination of self-defense and sparring, and uses forms
slightly older than those used by the WTF.

The American Taekwondo Association is a smaller organization similar
in some ways to the ITF. It is somewhat more insular than the ITF and
WTF, and is somewhat unique in that it has copyrighted the forms of
its organization so that they cannot be used in competition by
non-members.

There are numerous other federations and organizations, many claiming
to be national (AAU TKD has perhaps the best claim here) or
international (although few are), but these three have the most
members. All of these federations, however, use similar techniques
(kicks, strikes, blocks, movement, etc.), as indeed does Tang Soo Do
(another Korean art, founded by the Moo Duk Kwan, that remained
independent during the unification/foundation of Tae Kwon Do).

Sub-Styles: None(?)


16.38) Taijiquan (T'ai Chi Ch'u"an)

(Contributors: William Breazeal - ***@tweedledee.ucsb.edu,
Michael Robinson - ***@cogsci.berkeley.edu,
Simon Ryan/Peter Wakeham - ***@trl.oz.au)

INTRO:

One of the three orthodox "internal" styles of Chinese martial art
(the other two being Xingyiquan and Baguazhang). The term
"Taiji" refers to the ancient Chinese cosmological concept of the
interplay between two opposite yet complementary forces (Yin and Yang)
as being the foundation of creation. "Quan" literaly means "fist"
and denotes an unarmed method of combat. Taijiquan as a martial
art is based on the principle of the soft overcoming the hard.

ORIGIN: Chenjiagou, Wen County, Henan Province, China.

HISTORY:

The origins of Taijiquan are often attributed to one Zhang Sanfeng
(a Taoist of either the 12th or 15th century depending on the
source) who created the art after witnessing a fight between a snake
and a crane. These stories were popularized in the early part of this
century and were the result of misinformation and the desire to
connect the art with a more famous and ancient personage. All of the
various styles of Taijiquan which are in existence today can be
traced back to a single man, Chen Wangding, a general of the latter
years of the Ming Dynasty. After the fall of the Ming and the
establishment of the Qing Dynasty (1644), Chen Wangding returned to
the Chen village and created his forms of boxing. Originally
containing up to seven forms, only two forms of Chen Style
Taijiquan have survived into the present.

The Art was only taught to members of the Chen clan until a promising
young outsider named Yang Luzhan was accepted as a student in the
early part of the 19th century. Yang Luzhan (nicknamed "Yang without
enemy" as he was reportedly a peerless fighter) modified the original
Chen style and created the Yang style of Taijiquan, the most
popular form practiced in the world today. Wu Yuxiang learned the Art
from Yang Luzhan and a variation of the original Chen form from Chen
Jingbing (who taught the "small frame" version of Chen Taijiquan)
and created the Wu style. A man named Hao Weizhen learned the
Wu style from Wu Yuxiang's nephew and taught the style to Sun
Ludang, who in turn created the Sun style (Sun was already an
established master of Xingyiquan and Baguazhang when he learned
Taijiquan. He combined his knowledge of the other arts when
creating his style). Yang Luzhan had another student, a Manchu named
Chuan You (or Quan You), who in turned taught the Art to his son, Wu
Jianchuan (or Jianquan). Wu Jianchuan popularized his variation of
the Yang style, which is commonly refered to as the Wu Jianchuan
(or Jianquan) style. In recent times (this century) there have been
many other variations and modificationsof the Art, but all may be
traced back through the above masters to the original Chen family form.

Description:

Complete Taijiquan arts include basic exercises, stance keeping
(Zhanzhuang), repetitive single movement training, linked form
training, power training (exercises which train the ability to issue
energy in a ballistic pulse), weapons training (which includes
straight sword, broadsword, staff and spear), and various two-person
exercises and drills (including "push-hands" sensitivity drills). A
hallmark of most styles of Taijiquan is that the movements in
the forms are done quite slowly, with one posture flowing into the
next without interruption. Some forms (the old Chen forms for example)
alternate between slow motion and explosive movements. Other styles
divide the training into forms which are done slowly at an even tempo
and separate forms which are performed at a more vigorous pace. The
goal of moving slowly is to insure correct attention is paid to proper
body mechanics and the maintenance of the prerequisite relaxation.

Training:

Training exercises can be divided into two broad categories: solo
exercises, and drills which require a partner. A beginner will usually
begin training with very basic exercises designed to teach proper
structural alignment and correct methods of moving the body, shifting
the weight, stepping, etc. All of the Taijiquan arts have at
their very foundation the necessity of complete physical relaxation
and the idea that the intent leads and controls the motion of the
body. The student will also be taught various stance keeping postures
which serve as basic exercises in alignment and relaxation as well as
a kind of mind calming standing meditation. A basic tenet of all
"internal" martial arts is that correct motion is born of absolute
stillness. Once the basics are understood, the student will progress
to learning the formal patterns of movement ("forms") which contain
the specific movement patterns and techniques inherent in the style.

Traditionally, single patterns of movement were learned and repeated
over and over until mastered, only then was the next pattern taught.
Once the student had mastered an entire sequence of movements
individually, the movements were taught in a linked sequence (a
"form"). The goal of training is to cultivate a kind of "whole body"
power. This refers to the ability to generate power with the entire
body, making full use of one's whole body mass in every movement.
Power is always generated from "the bottom up," meaning the powerful
muscles of the legs and hips serve as the seat of power. Using the
strength of the relatively weaker arms and upper body is not
emphasized. The entire body is held in a state of dynamic relaxation
which allows the power of the whole body to flow out of the hands and
into the opponent without obstruction.

The Taijiquan arts have a variety of two person drills and
exercises designed to cultivate a high degree of sensitivity in the
practitioner. Using brute force or opposing anothers power with power
directly is strictly discouraged. The goal of two person training is
to develop sensitivty to the point that one may avoid the opponent's
power and apply one's own whole body power wher the opponent is most
vulnerable. One must cultivate the ability to "stick" to the opponent,
smothering the others' power and destroying their balance. Finally,
the formal combat techniques must be trained until they become a
reflexive reaction.

Modified forms of Taijiquan for health have become popular
worldwide in recent times because the benefits of training have been
found to be very conducive to calming the mind, relaxing the body,
relieving stress, and improving one's health in general.

Modern vs. Traditional training methods

Traditionally, a beginning student of Taijiquan was first required
to practice stance keeping in a few basic postures. After the basic
body alignments had settled in, the student would progress to
performing single movements from the form. These were performed
repetitively on a line. After a sufficient degree of mastery had been
obtained in the single movements, the student was taught to link the
movements together in the familiar long form. Now, it is not uncommon
for a student to be taught the long form immediately, with no time
being spent on stance keeping or on basic movement exercises. Since
the Long Form trains all of the qualities developed in the basic
exercises, this does not really produce a dilution of resulting
martial art. It does however make it more difficult for beginner to
learn. The duration of the basic training depends on the student and
the instructor; however, it would not be unusual for a relatively
talented student, with good instruction, to be able to defend
themselves effectively with Taiji after as little as a year of
training.

Sub-Styles:

Chen Wangding's original form of Chen style Taijiquan is often
refered to as the "Old Frame" (Laojia) and its second form as
"Cannon Fist" (Paochui). In the latter part of the 18th century, a
fifth generation decendant of Chen Wangding, Chen Youben simplified
the original forms into sets which have come to be known as the "New
Style" (Xinjia). Chen Youben's nephew, Chen Jingbing, created a
variation of the New Style which is known as the "Small Frame" (Xiaojia)
or "Zhaobao" form. All of these styles have survived to the present.

The Yang style of Taijiquan is a variation of the original Chen
style. The forms which were passed down from the Yang style founder,
Yang Luzhan have undergone many modifications since his time. Yang
Luzhan's sons were very proficient martial artists and each, in turn,
modified their father's art. The most commonly seen variation of the
form found today comes from the version taught by Yang Luzhan's
grandson, Yang Zhengfu. It was Yang Zhengfu who first popularized
his family's Art and taught it openly. Yang Zhengfu's form is
characterizes by open and extended postures. Most of the modern
variations of the Yang style, as well as the standardized Mainland
Chinese versions of Taijiquan are based on his variation of the
Yang form.

Yang Luzhan's student, Wu Yuxiang combined Yang's form with the
Zhaobao form which he learned from Chen Jingping to create the Wu
style. This style features higher stances and compact, circular
movements. His nephew's student, Hao Weizhen was a famous
practitioner of the style, so the style is sometimes refered to as the
Hao Style. Hao Weizhen taught his style to Sun Ludang, who combined
his knowledge of Xingyiquan and Baguazhang to create his own

Yang Luzhan had another student named Zhuan You (or Juan You),
who in turn taught the style to his son Wu Jianchuan (or Jianquan).
This modification of the Yang style is usually refered to as the
Wu Jianchuan (or Jianquan) style. This form's movements are smaller
and the stance is higher than the popular Yang style.

In summary, the major styles of traditional Taijiquan are the
Chen, Yang, Wu, Wu Jianchuan (or Jianquan) and Sun. All other "styles"
are variations of the above.

Non-martial Taiji variants.

There are modified forms of Taiji which are devoted mostly to health
enhancement and relaxation. The movements retain the flavor of
Taijiquan, but are often simplified.



16.39) Historical European Martial Arts

(Contributors:
Kirk Lawson - ***@dayton.net
Jason Couch - jason-***@comcast.net
Paul Wagner - ***@hotmail.com
Stephen Hand - ***@ssg.com.au
Topi Mikkola - ***@cc.hut.fi
Mark Rector - ***@yahoo.com
Eli Steenput - ***@yahoo.com)

Intro:

Historical European Martial Arts groups are dedicated to re-creating
the lost martial arts of Europe. Different groups embrace styles and
weapons of particular periods, which range from the Middle Ages to
the Industrial Revolution, although the majority focus on the
Renaissance era. These arts are re-created by intensely studying and
then practicing the techniques illustrated in various period
instructional manuals.

Origin: Medieval and Renaissance Europe

History:

Masters of defense are known to have taught the martial arts in
Europe as early as the 12th Century. These masters wrote, and often
illustrated, training manuals to pass on their skills and techniques;
the oldest known existent copy dates to the 13th century.

Some writings are cryptic lines intended only for those students
already initiated into the particular fight system; some are more
accessible descriptions and illustrations intended to attract new
students; and yet others are the distillation of the essential fight
principles extracted from the teacher's years of experience.
Unfortunately, these writings are almost all that is left to the
practitioner, as intact martial systems have not survived the
passage of time.

Although certain sports such as fencing, archery, singlestick,
boxing, and folk wrestling have retained portions of these skills,
much martial knowledge was lost due to the changed focus of military
science, the ever-fickle philosophies and fashions of personal
self-defense, and the rules imposed by the evolution into sporting
activities.

In the late 19th Century a renewal of interest in these "lost" skills
emerged. This movement was led notably in Great Britain by a group of
fencers that included Egerton Castle ("Schools and Masters of
Defense"), Sir Alfred Hutton ("Old Swordplay", "Cold Steel"), and
Captain Matthey ("Paradoxes of Defense"). These Victorian gentlemen
not only collected antique arms and fencing texts, but also put their
research into practice in the fencing hall. Theirs was the last gasp
of swordsmanship practiced by men who still romantically viewed the
sword and the knowledge of its use as a necessity for the
well-dressed gentleman and of those men who believed the historical
texts offered very real and practical advice for contemporary
soldiers who were still expected to wield the lance, bayonet and
sword on the field of battle.

A burgeoning sporting safety equipment industry spurred the renewed
interest in combat sports. Some believe that exposure to classical
Asian martial arts through trade with Japan also influenced this
revival. This interest was often viewed with an eye toward sport, as
in the case of quarterstaff, or merely as a curiosity.

In the late 20th century interest in recovering the martial aspect of
these European martial arts again gained in popularity. Forces behind
the interest and research in this area included: medieval re-enactors
of various philosophies seeking to fight in a more authentic manner;
theatrical fight choreographers wishing to depict more authentic
combat on stage and screen; modern fencers exploring the more
combative roots of their sport; Western practitioners of Eastern
martial arts exploring their own cultural heritage, and to some
degree the public fascination with tales of European-style combat
such as those spun by J.R.R. Tolkien or the adventures fancifully
presented in role-playing games such as Dungeons and Dragons (tm) may
have helped pave the way for public interest and acceptance of the
combative value of these arts. Other possible motivations for the
resurgence of interest included: ethnic and nationalistic pride in
cultural heritage; the backlash against religious or spiritual
elements found in some non-Western martial arts; Self Defense; and
as a vehicle for establishing a connection to the past for some who
would otherwise be uninterested in Martial Arts.

There is no accepted "standard" naming convention for these clubs or
the martial arts that they practice. Some examples of school names
include "Fechtbuch Society," "School of Fence/Defence," "Historical
European Martial Arts (HEMA) schools/clubs/study
groups/associations," "Western Martial Arts," "Historical
Swordsmanship," "Academy of Arms," "Classical Fencing," etc. Most
will simply report that they practice "Western Martial Arts." The
trend is to select a name indicative of the focus of the organization
or to select a name that would have been appropriate for the school
during the period studied.

Description:

Historical fight manuals provide instruction in both armed and
unarmed combat: standing grappling, striking, ground grappling,
throwing, etc. Weapons instruction found in various manuals include
dagger, longsword, arming sword, spear, quarterstaff, polearm,
weapon and shield, club, cudgel, sabre (saber), smallsword, rapier,
two-weapon styles, and many more.

Illustrations for competing in judicial duels in particular show, in
addition to the expected sword illustrations, techniques for fighting
with hooked shields, polearms, and even techniques for the bizarre
domestic duel wherein a woman swings a rock in a veil at a man waist-
deep in a hole in the ground armed with a club.

Techniques and styles vary with time period and with location but
can cover unarmored, armored, mounted, afoot, differently armed, and
most other conceivable variations in combative circumstances.

While not addressed here in any detail, the civilian and sporting
elements of Western martial arts are also a valid area of study for
groups, including various pugilistic, wrestling, stickfighting, and
other martial styles that may have different origins than the
Medieval and Renaissance martial arts previously discussed.

There are a large number of Historical European Martial
Arts clubs, both small and large, including The British Federation,
Federazione Italiana Scherma Antica e Storica, the European
Historical Fencing Alliance, the Association for Historical Fencing
in the USA, the Australian Historical Swordplay Federation, The
Company of Maisters in Great Britain, The Academy of European
Medieval Martial Arts, The Association for Renaissance Martial Arts,
and the International Masters at Arms Federation. A web search on
the term "Fechtbuch," "Historical European Martial Arts", "Western
Martial Arts", "European Swordplay" and the like will net numerous
organizations and clubs.

Training:

Every society or club has its own curriculum, equipment, safety,
and training requirements. Some organizations offer simple guidance,
information exchange, and fellowship; others may offer a regulating
body to unite clubs in distant geographic locations. Since any
regular training is necessarily very local, most local groups set
their own standards regardless of affiliation.

Working from texts written by the masters of old, these groups may
study techniques from earlier or later martial traditions to isolate
the evolution of technical details. Perhaps most important, groups
network with other re-creationists via the Internet to discuss
details, make contacts, and arrange workshops and seminars to assist
in re-creating the particular art they study. In addition to the
input from others studying the same or related material, modern and
historical combat sports practitioners may also be consulted for
further technical comparisons.


16.40) Wing Chun

(Contributor: Marty Goldberg - ***@csd4.csd.uwm.edu)

Intro: One of the most popular forms of Gongfu.

Origin: China

History:

Wing Chun was an obscure and little known art until the mid twentieth
century. While multiple histories of the art do exist (some with only
minor discrepancies), the generally accepted version is thus:


he style traces its roots back over 250 years ago to the Southern
Shaolin Temple. At that time, the temple a was sanctuary to the
Chinese revolution that was trying to overthrow the ruling Manchu. A
classical martial arts system was taught in the temple which took
15-20 years to produce an efficient fighter.

Realizing they needed to produce efficent fighters at a faster pace,
five of China's grandmasters met to discuss the merits of each of the
various forms of gongfu. They chose the most efficient techniques,
theories and principles from the various styles and proceeded to
develop a training program that produced an efficent fighter in 5-7
years.

Before the program was put into practice, the Southern temple was
raided and destroyed. A lone nun, Ng Mui, was the only survivor who
knew the full system. She wandered the countryside, finally taking in
a young orphan girl and training her in the system. She named the
girl Yimm Wing Chun (which has been translated to mean Beautiful
Springtime, or Hope for the Future), and the two women set out
refining the system.

The system was passed down through the years, and eventually became
known as Wing Chun, in honor of the founder. The veil of secrecy
around the art was finally broken in the early 1950's when Grandmaster
Yip Man began teaching publicly in Hong Kong, and his students began
gaining noteriety for besting many systems and experienced opponents
in streetfights and "friendly" competitions. The art enjoyed even
more popularity when one of its students, Bruce Lee, began to enjoy
world wide fame.

Description:

Most important is the concept of not using force against force, which
allows a weak fighter to overcome stronger opponents. Generally, a
Wing Chun practitioner will seek to use his opponent's own force
against him. A great deal of training is put in to this area, and is
done with the cultivation of a concept called Contact Reflexes (see
"Training").

Also of importance are the use of several targeting ideas in Wing
Chun. The Mother Line is an imaginary pole running vertically through
the center of your body. From the Mother Line emanates the Center
Line, which is a vertical 3D grid that divides the body in to a right
half and a left half. Most of the vital points of the body are along
the Center Line, and it is this area that the Wing Chun student learns
to protect as well as work off of in his own offensive techniques.
Also emanating from the Mother Line is the Central Line. The Central
Line is seen as the shortest path between you and your opponent, which
is generally where most of the exchange is going to take place.
Because of this linear concept, most of the techniques seek to occupy
one of the two lines and take on a linear nature.

This leads to the expression of another very important concept in Wing
Chun: "Economy of Motion". The analogy of a mobile tank with a turret
(that of course shoots straight out of the cannon) is often used to
describe the linear concept.

Only two weapons are taught in the system, the Dragon Pole and the
Butterfly swords. These are generally taught only once the student
has a firm foundation in the system.

Training:

The way the art produces efficent and adaptble fighters in a
relatively short time is by sticking to several core principles and
constantly drilling them in to the student, as well as taking a very
generic approach to techniques. Instead of training a response to a
specific technique, the student practices guarding various zones about
the body and dealing genericly with whatever happens to be in that
zone. This allows for a minimum of technique for a maximum of
application, and for the use of automatic or "subconcious" responses.

Much training time is spent cultivating "Contact Reflexes". The idea
is that at the moment you contact or "touch" your opponent, your body
automaticaly reads the direction, force, and often intent of the part
of the opponent's body you are contacting with and automatically
(subconciously) deals with it accordingly. This again lends itself to
the generic concept of zoning.

Contact Reflexes and the concept of not using force against force are
taught and cultivated through unique two man sensitivity drills called
Chi Sao.

The concepts of guarding and working off of these lines and zones are
learned throught the practice of the three forms Wing Chun students
learn, and which contain the techniques of the system: Shil Lum Tao,
Chum Kil, and Bil Jee.

Another unique aspect of the system is the use of the Mook Jong, or
wooden dummy, a wood log on a frame that has three "arms" and a "leg"
to simulate various possible positions of an opponent's limbs. A
wooden dummy form is taught to the student, that consists of 108
movements and is meant to introduce the student to various
applications of the system. It also serves to help the student perfect
his own skills.

Weapons training drills off the same generic ideas and concepts as the
open hand system (including the use of Contact Reflexes). Many of the
weapon movements are built off of or mimic the open hand moves (which
is the reverse process of Kali/Escrima/Arnis, where weapon movements
come first and open hand movements mimic these).

Sub-Styles:

Currently, there exist several known substyles of Wing Chun. Separate
from Yip Man are the various other lineages that descended from one of
Yip Man's teachers, Chan Wah Shun. These stem from the 11 or so other
disciples that Chan Wah Shun had before Yip Man.

Pan Nam Wing Chun (currently discussed here and in the martial arts
magazines) is currently up for debate, with some saying a totally
separate lineage, and others saying he's from Chan Wah Shun's lineage.

Red Boat Wing Chun is a form dating back from when the art resided on
the infamous Red Boat Opera Troup boat. Little is known about the
history of this art or its validity.

At the time of Yip Man's death in 1972, his lineage splintered in to
many sub-styles and lineages. Politics played into this splintering a
great deal, and provided much news in the martial arts community
throughout the 70's and 80's. By the time the late 80's/early 90's
rolled around, there were several main families in Yip Man's lineage.
To differentiate each lineage's unique style of the art, various
spellings or wordings of the art were copyrighted and trademarked
(phonetically, Wing Chun can be spelled either as Wing Chun, Wing
Tsun, Ving Tsun, or Ving Chun). These main families and spellings
are:

Wing Tsun -- Copyrighted and Trademarked by Grandmaster Leung Ting.
Used to describe the system he learned as Grandmaster Yip Man's last
direct student before his death. Governing body is the International
Wing Tsun Association, and the North American Section in the U.S.
(IWTA-NAS).

Traditional Wing Chun -- Copyrighted and Trademarked by Grandmaster
William Cheung. Used to describe a very different version of Wing
Chun he learned while living with Yip Man in the 1950's. Includes
different history of lineage as well. Governing body is the World
Wing Chun Kung Fu Association.

Ving Tsun - Used by other students of Yip Man, such as Moy Yat. This
spelling was considered the main one used by Grandmaster Yip Man as
well. It is also used by many of the other students, and was adopted
for use in one of the main Wing Chun associations in Hong Kong -- The
Ving Tsun Athletic Organization.

Wing Chun - General spelling used by just about all practitioners of
the art.

A World Wide listing of Wing Chun Kwoons (schools) is maintained by
Marty Goldberg (***@csd4.csd.uwm.edu) and posted periodically to
rec.martial-arts. A mailing list (open to all students of Wing Chun)
is also maintained by Marty and Rob Gillespe at ***@efn.org


16.41) Wushu / Gongfu

(Contributors: Nick Doan - ***@meaddata.com,
Alex Jackl - ***@avs.com)

Intro:

This is an almost impossible category. This label is attached to
almost any martial art that comes from China. It is the generic name
for literally hundreds of individual Chinese fighting arts. In
reality we should have an entry for each individual Gongfu style we
are interested in, but this would fill entire volumes. However, we
will do our best.

Origin: China

History:

This is extremely controversial. Most of what appears here is a
summary of what has been learned from Sifu Benny Meng.

There are vague references of a King in China some thousands of years
ago who trained his men in techniques of hand-to-hand combat to use in
fighting against invading barbarians.

The first real references of an organized system of martial arts came
from a man named General Chin Na. He taught a form of combat to his
soldiers which most people believe developed into what is modern day
Chin-Na.

The first written record we have of Chinese martial arts is from a
Taoist acupuncturist from the 5th century. He describes combat
designed along the lines of an animal's movements and style.

Legend has it that a Bhuddist monk named Bohdiharma, also called
Damo, came acROSS the Tibetan Mountains to China. The Emperor of China
at the time was much impressed with the man, and gave him a temple
located in Henan - the famed Sui Lim Monastery (Shaolin Monastery).
Damo found that the monks there, while searching for spiritual
enlightenment, had neglected their physical bodies. He taught them
some exercises and drills that they adapted into fighting forms. This
became the famous Shaolin Gongfu system.

"Gongfu" means "skill and effort". It is used to describe anything
that a person nees to spend time training in and becoming skillful in.
(A chef can have good "gongfu".) The Chinese term that translates
into "military art" is "Wushu" Gongfu.

As all martial arts, Wushu in its early stages of development was
practiced primarily for self-defense and for aquiring basic needs. As
time progressed, innumerable people tempered and processed Wushu in
different ways. By China's Ming and Qing dynasties (1368-1911), Wushu
had formed its basic patterns.

Intense military conflicts served as catalysts for the development of
Wushu. During China's Xia, Shang, and Zhou periods (2000BC to 771BC),
Wushu matured and formed complete systems of offense and defense, with
the emergence of bronze weapons in quantity. During the period of
Warring States (770BC to 221BC), the heads of states and government
advocated Wushu in their armies and kept Wushu masters for their own
puposes.

Military Wushu developed more systematically during the Tang and Song
dynaties (618 to 1279) and exhibitions of Wushu arts were held in the
armies as morale boosters and military exercises. In the Ming and Qing
dynasties, the general development of Wushu was at its height.
Military Wushu became more practical and meticulous and was
systematically classified and summarized . General Qi Jiguang of the
Ming Dynasty delved into Wushu study and wrote "A New Essay on Wushu
Arts", which became an important book in China's military literature.

The latter half of the 20th century has seen a great upswing in the
interest of Gongfu world wide. The introduction of Gongfu to the
Western world has seen to it that its development and popularity will
continue to grow.

Description:

Styles of Gongfu encompass both soft and hard, internal and external
techniques. They include grappling, striking, nerve-attack and much
weapons training.

The Shaolin styles encompass both Northern and Southern styles, and
therefore are the basis of the following outline.

I Shaolin Wushu styles
A. External Styles (Hard, Physical)
1. Northern
a. Northern Shaolin
b. Chang Quan (Long Fist)
c. Praying Mantis
d. Eagle Claw
e. Monkey
f. Drunken, et al

2. Southern
a. Southern Shaolin
b. Wing Chun
c. Five Animal System (Dragon, Snake, Tiger, Leopard, Crane)
d. Tiger and Crane Systems, et al

B. Internal Styles (Soft, Mental/Spiritual)
1. Taijiquan
2. Others (Bagua, Xingyi, et al)


Training:

II Shaolin Wushu Methods
A. Hard or External Styles
1. Stresses training and strengthening of the joints, bones,
and muscles
2. Requires rigorous body conditioning
3. Consists of positioning and movement of the limbs and body,
correct technique, muscular strength, speed, etc.

B. Soft or Internal Styles
1. Stresses development of internal organs where "Qi" is
produced
2. Allows one to develop mental capability to call upon this
"Qi"
3. Concerned with breathing, poise, and tone of the core body
structures

C. Long or Northern Styles
1. Stresses Flexibility, quickness, agility, and balance
similar to the attributes of a trained and well-conditioned
gymnast
2. Uses many kicks along with hand techniques
3. Legs specialize in long-range tactics

D. Short or Southern
1. Stresses close-range tactics, power, and stability
2. Uses mostly hand techniques

Gongfu almost always seems to incorporate forms and routines. They
emphasize solo practice as well as group practice. (They even have
forms for two or more people). They train in multiple types of
weapons. There is also a great emphasis on sparring in the harder
styles, and sensitivity training in the soft styles.

Sub-Styles: see above


16.42) Xingyiquan (Hsing Yi Ch'uan)

(Contributor: William Breazeal - ***@tweedledee.ucsb.edu)

INTRODUCTION:

Xingyiquan is one of the three orthodox "internal" styles of
Chinese martial art (the other two being Taijiquan and Baguazhang).
"Xing" refers to form and "Yi" to the mind or intent.
"Quan" literally means fist and denotes a method of unarmed combat.
Xingyiquan is commonly refered to as "Form and Mind" or "Form and
Will" boxing. The name illustrates the strong emphasis placed on
motion being subordinate to mental control.

ORIGIN: Shanxi Province, China.

HISTORY:

The exact origins of Xingyiquan are unknown. The creation of the
Art is traditionally attributed to the famous general and patriot Yue
Fei (1103- 1141) of the Song Dynasty. There is, however, no historical
data to support this claim. The style was originally called "Xin Yi Liu
He Quan"(Heart Mind Six Harmonies Boxing). The Six Harmonies
refer to the Three Internal Harmonies (the heart or desire coordinates
with the intent; the intent coordinates with the qi or vital energy;
the qi coordinates with the strength), and the Three External
Harmonies (the shoulders coordinate with the hips; the elbows
coordinate with the knees and the hands coordinate with the feet).

The earliest reliable information we have makes reference to Ji Longfeng
(also known as Ji Jige) of Shanxi Province as being the
first to teach the art of Xin Yi Liu He Quan. Ji Longfeng was
active near the end of the Ming Dynasty (early 1600's) and was a
master of spear fighting (he had the reputation of possessing "divine"
skill with the spear). He is recorded as stating "I have protected
myself in violent times with my spear. Now that we are in a time of
"peace" and our weapons have all been destroyed, if I am unarmed and
meet the unexpected, how shall I defend myself?" In answer to his own
question, Ji Longfeng reportedly created a style of weaponless
combat based on his expertise with the spear. He refered to his art as
"Liu He," the Six Harmonies.

Ji Longfeng had two very famous students. One was from from Hebei
province and was named Cao Jiwu. The other was from Henan
Province and was named Ma Xueli. It was at this point in history
that the Xin Yi Liu He Quan (now also refered to as Xingyiquan)
divided into three related yet separate styles, the Shanxi,
Henan and Hebei schools. After spending 12 years studying
Xingyiquan with Ji Longfeng, Cao Jiwu entered the Imperial Martial
Examinations and placed first (this was the most prestigious honor one
could possibly win as a martial artist in old China, and assured the
victor a high government position). Cao passsed on his art to two
brothers, Dai Longbang and Dai Linbang.

Dai Longbang passed his Art on to Li Luoneng (also known as Li
Nengran). Li holds the distinction of being the greatest Xingyi Boxer in
the styles' history and one of the top Chinese boxers of all time. Li
Luoneng taught his art in his native Shanxi Province and also
taught a great number of students in Hebei Province (his duties as a
bodyguard involved escorting various members of wealthy families to
and from Hebei). Two of Li's most famous Shanxi students were Song
Shirong and Zhe Yizhai. His most famous Hebei student was the
formidable Guo Yunshen (who reportedly defeated all comers with his
"Beng Quan," a straight punch to the body). Guo Yunshen passed on
his art to Wang Fuyuan, Liu Qilan and Sun Ludang among others;
Liu Qilan passed on the Art to the most famous practitioners of
this century, including Li Cunyi and Zhang Zhangui (also known as
Zhang Zhaodong). There are many practitioners of all three
sub-systems active today, and Xingyiquan is still a popular and
well respected style of martial art in China.

DESCRIPTION:

The art is divided into two main systems, the Ten Animal and Five
Element respectively. The Five Element system is further divided into
two major branches, the Hebei and Shanxi styles. The Ten animal
style is closest to the original Xin Yi Liu He Quan in form and
practice. The movements in the forms are patterned after the spirit of
various animals in combat, including the Dragon, Tiger, Monkey, Horse,
Chicken, Hawk, Snake, Bear, Eagle and Swallow. The Five Element based
systems have five basic forms (including Splitting, Drilling,
Crushing, Pounding, and Crossing) as the foundation of the art. These
basic energies are later expanded into Twelve Animal forms which
include variations of the animal forms found in the Ten Animal styles
as well as two additional animals, the Tai (a mythical bird) and the
Tuo (a type of water lizard, akin to the aligator). Training in all
systems centers on repetitive practice of single movements which are
later combined into more complicated linked forms.

The direction of movement in Xingyiquan forms is predominately
linear. Practitioners "walk" through the forms coordinating the
motions of their entire bodies into one focused flow. The hands, feet
and torso all "arrive" together and the nose, front hand and front
foot are along one verticle line when viewed from the front (san jian
xiang jiao). The arms are held in front of the body and the
practitioner lines up his or her centerline with opponent's
centerline. A familiar adage of Xingyiquan is that "the hands do
not leave the (area of the) heart and the elbows do not leave the
ribs." There are few kicks in the style and the techniques are of a
predominately percussive nature. Great emphasis is placed upon the
ability to generate power with the whole body and focus it into one
pulse which is released in a sudden burst.

Xingyi is characteristically aggressive in nature and prefers to
move into the opponent with a decisive blow at the earliest
opportunity. The style prizes economy of motion and the concept of
simultaneous attack and defense. As the name of the style implies, the
form or "shape" of the movements is the outward, physical
manifestation of the "shape" of one's intent. A fundamental principle
underlying all styles of Xingyiquan is that the mind controls and
leads the movement of the body.

TRAINING:

Training in Henan (Ten Animal) Xin Yi Liu He Quan includes basic
movements designed to condition and develop the striking ability of
the "Seven Stars" (the head, shoulders, elbows, hands, hips, knees and
feet). From there the student will progress to learning the basic
animal forms. Form practice consists of repeating single movements
while walking foward in various straight line patterns. Later, the
single movements are combined into linked forms. The techniques are
relatively simple and straightforeward and rely on the ability to
generate force with almost any part of the body (the Seven Stars).
Also included at more advanced levels are weapons forms (including the
straight sword, staff and spear).

The Five Element based styles of Xingyiquan (Shanxi and Hebei)
traditionally begin training with stance keeping (Zhan Zhuang). The
fundamental posture is called "San Ti" (Three Bodies) or "San Cai"
(Three Powers, refering to heaven, earth and man). It is from this
posture that all of the movements in the style are created and most
teachers place great emphasis upon it. After stance keeping the
student begins to learn the Five Elements (Wu Xing). These are the
basic movements of the art and express all the possible combinations
of motion which produce percussive power. After a certain level of
proficiency is acquired in the practice of the Five Elements, the
student goes on to learn the Twelve Animal and linked forms. The
Twelve Animal forms are variations of the Five Elements expressed
through the format of the spirit of animals in combat. There are
several two-person combat forms which teach the student the correct
methods of attack and defense and the applications of the techniques
practiced in the solo forms. Five Element based styles also include
weapons training (the same weapons as the Henan styles).

SUBSTYLES:

As mentioned above, Xingyiquan is divided into three related yet
distinct styles: Henan Xin Yi Liu He Quan and Shanxi/Hebei
Xingyiquan.

Henan Xin Yi Liu He Quan is characterized by powerful swinging
movements of the arms and the ability to strike effectively with every
part of the body. This system is very powerful and aggressive in
nature and the movements are simple and straightforeward.

Hebei style Five Element Xingyiquan emphasizes larger and more
extended postures, strict and precise movements and powerful palm and
fist strikes.

Shanxi style Five Element Xingyiquan is characterized by
smaller postures with the arms held closer to the body, light and
agile footwork and a relatively "softer" approach to applying
technique (Shanxi Xingyi places a greater emphasis on evasiveness
than the other styles).


16.43) Yoseikan Budo

(Contributor: Tobias Ratschiller - ***@pass.dnet.it)

Yoseikan Budo ("the house in which is taught with courage and honesty
the way of the warrior") was founded in the early 60's by Hiroo
Mochizuki Sensei, son of Minoru Mochizuki, one of the great martial
artists of the 20th century. Mochizuki Hiroo Sensei has high Dan
rankings in several martial arts, among them Aikido, Jujutsu, Wado-Ryu
Karate, and Iaido. Yoseikan Budo is today spread throughout Europe,
Africa and the USA. The FYBDA (Federation Internacional de Yoseikan
Budo et Disziplines Asimilees) is the worldwide umbrella organization,
which is subdivided in national Academies and regional federations.

Mochizuki Hiroo Sensei realized that most basic techniques are based
on a wavy movement beginning in the hip, which produces much more
power than when movement is limited to only extremities. These basic
elements are taught and applied to all YB techniques. YB consists of
(modified) techniques of Karate, Judo/Ju-Jutsu and Aikido. The use of
classical weapons as Bokken, Tanto, Bo, Nunchaku etc is taught as well
as traditional and new forms (kata). Beginners usually study basic
techniques for a year or so, including mae-geri, mawashi-geri etc,
nage-waza, falls, foot-work, kata, etc. From 3rd Kyu to 1st Kyu more
aikido-techniques and the use of weapons are taught. Competitions are
held and consist of Kata, Randori, Tanto-Tanto, etc.

There was a split of the umbrella organization in the early years,
leading to a sub-style (found primarily in the UA) with the name YB
that focuses primarily on Aikido-techniques.

======================================================================

Disclaimer and Copyright Notice

Some answers given may reflect personal biases of the author and the
martial arts FAQ listing's contributors. The answers contained herein
pertain to discussions on the rec.martial-arts group, and are by no
means exhaustive.

The martial arts FAQ list owes its existence to the contributors on
the net, and as such it belongs to the readers of rec.martial-arts.
Copies may be made freely, as long as they are distributed at no
charge, and the disclaimer and the copyright notice are included.

[Matthew Weigel]

Archive-name: martial-arts/faq/part2
Last-modified: 02 February 2004

Posting-Frequency: twice per month


rec.martial-arts FAQ - Part 2 of 4
==================================

======================================================================

Part 2 of 4

16) What are the different Arts, Schools, Styles?

16.1) Aikido 16.2) Baguazhang 16.3) Brazilian JiuJitsu
16.4) Bushidokan 16.5) Capoeira 16.6) Cha Yon Ryu
16.7) Cuong Nhu 16.8) Daito Ryu Aiki-Jujustu
16.9) Gatka 16.10) Hapkido 16.11) Hwa Rang Do
16.12) Iaido 16.13) Judo 16.14) Jujutsu
16.15) Kajukenbo 16.16) Kali/Escrima/Arnis
16.17) Karate 16.18) Kendo 16.19) Kenjutsu
16.20) Kenpo (Amer.) 16.21) Kempo (Kosho Ryu)
16.22) Kempo (Ryukyu) 16.23) Kobudo 16.24) Krav Maga
16.25) Kyudo

Part 3 of 4:

16.26) Lua 16.27) MMA/NHB 16.28) Moo Do
16.29) Muay Thai 16.30) Ninjutsu 16.31) Praying Mantis
16.32) ROSS 16.33) SAMBO 16.34) Sanshou
16.35) Savate 16.36) Shogerijutsu 16.37) Shuaijiao
16.38) Silat 16.39) Tae Kwon Do 16.40) Taijiquan
16.41) Western MA 16.42) Wing Chun 16.43) Wushu/Gongfu
16.44) Xingyiquan 16.45) Yoseikan Budo

===================================================================


16) What are the different Arts, Schools and Styles?

This is a question with many, many answers---some could say that there
are as many styles as there are martial artists. So, we'd like to
introduce some Schools and Styles that will give you a basic
familiarity with the world of martial arts. The Arts are listed
alphabetically.

Important note: This information is true to the best of the knowledge
of those who wrote the descriptions of the various arts. If your
style has only a small write up or none at all and you have enough
information on it to make a good FAQ entry, write it up in the form
shown below and send it to ***@cs.cmu.edu.

If you have a question about a particular style or its writeup, one
option is to look in the next section for who contributed to the art's
writeup, and send e-mail to them. Otherwise, comment to
***@cs.cmu.edu.


16.1) Aikido

(contributors: Eric Sotnak - ***@troi.cc.rochester.edu,
Alex Jackl - ***@avs.com)

Intro:

Aikido emphasizes evasion and circular/spiral redirection of an
attacker's aggressive force into throws, pins, and immobilizations as
a primary strategy rather than punches and kicks.

Origin: Japan.

History:

Aikido was founded in 1942 by Morihei Ueshiba (1883-1969). Prior to
this time, Ueshiba called his art "aikibudo" or "aikinomichi". In
developing aikido, Ueshiba was heavily influenced by Daito Ryu
Aikijujitsu, several styles of Japanese fencing (kenjutsu),
spearfighting (yarijutsu), and by the so- called "new religion":
omotokyo. Largely because of his deep interest in omotokyo, Ueshiba
came to see his aikido as rooted less in techniques for achieving
physical domination over others than in attempting to cultivate a
"spirit of loving protection for all things." The extent to which
Ueshiba's religious and philosophical convictions influenced the
direction of technical developments and changes within the corpus of
aikido techniques is not known, but many aikido practitioners believe
that perfect mastery of aikido would allow one to defend against an
attacker without causing serious or permanent injury.

Descriptions:

The primary strategic foundations of aikido are:
(1) moving into a position off the line of attack;
(2) seizing control of the attacker's balance by means of
leverage and timing;
(3) applying a throw, pin, or other sort of immobilization
(such as a wrist/arm lock).

Strikes are not altogether absent from the strategic arsenal of the
aikidoist, but their use is primarily (though not, perhaps,
exclusively) as a means of distraction -- a strike (called "atemi") is
delivered in order to provoke a reaction from the aggressor, thereby
creating a window of opportunity, facilitating the application of a
throw, pin, or other immobilization.

Many aikido schools train (in varying degrees) with weapons. The most
commonly used weapons in aikido are the jo (a staff between 4 or 5
feet in length), the bokken (a wooden sword), and the tanto (a knife,
usually made of wood, for safety). These weapons are used not only to
teach defenses against armed attacks, but also to illustrate
principles of aikido movement, distancing, and timing.

Training:

A competitive variant of aikido (Tomiki aikido) holds structured
competitions where opponents attempt to score points by stabbing with
a foam-rubber knife, or by executing aikido techniques in response to
attacks with the knife. Most variants of aikido, however, hold no
competitions, matches, or sparring. Instead, techniques are practiced
in cooperation with a partner who steadily increases the speed, power,
and variety of attacks in accordance with the abilities of the
participants. Participants take turns being attacker and defender,
usually performing pre-arranged attacks and defenses at the lower
levels, gradually working up to full-speed freestyle attacks and
defenses.

Sub-Styles:

There are several major variants of aikido. The root variant is the
"aikikai", founded by Morihei Ueshiba, and now headed by the founder's
grandson, Moriteru Ueshiba. Several organizations in the United States
are affiliated with the aikikai, including the United States Aikido
Federation, the Aikido Association of America, and Aikido Schools of
Ueshiba.

Other major variants include:

* the "ki society", founded by Koichi Tohei,
* yoshinkan aikido, founded by Gozo Shioda,
* the kokikai organization, headed by Shuji Maruyama,
* "Tomiki aikido" named after its founder, Kenji Tomiki.


16.2) Baguazhang (Pa Kua Chang)

(Contributors: William Breazeal - ***@tweedledee.ucsb.edu,
Mike Martelle - ***@qlink.queensu.ca)

Intro:

Baguazhang is one of the three orthodox "internal" styles of Chinese
martial art (the other two being Taijiquan and Xingyiquan).
Translated, Bagua means "Eight Trigram". This refers to the eight
basic principles described in the ancient metaphysical treatise the
Yijing (I-Ching), or "Book of Changes". Bagua is meant to be the
physical manifestation of these eight principles. "Zhang" means "palm"
and designates Baguazhang as a style of martial art which emphasizes
the use of the open hand over the closed fist. Baguazhang as a
martial art is based on the theory of continuously changing in
response to the situation at hand in order to overcome an opponent
with skill rather than brute force.

Origin: Northern China.

History:

Although there are several theories as to the origins of Baguazhang,
recent and exhaustive research by martial scholars in mainland China
concludes without reasonable doubt that the art is the creation of one
individual, Dong Haichuan (or Dong Haiquan). Dong was born in Wen'an
County, Hebei Province about 1813. Dong practiced local martial arts
(which reportedly relied heavily upon the use of openhand palm strikes)
from his youth and gained some notoriety as a skilled practitioner. At
about 40 years of age, Dong left home and travelled southward. At some
point during his travels Dong became a member of the Quanzhen
(Complete Truth) sect of Taoism. The Taoists of this sect practiced a
method of walking in a circle while reciting certain mantras. The
practice was designed to quiet the mind and focus the intent as a
prelude to enlightenment. Dong later combined the circle walking
mechanics with the boxing he had mastered in his youth to create a new
style based on mobility and the ability to apply techniques while in
constant motion.

Dong Haichuan (or Dong Haiquan) originally called his art "Zhuanzhang"
(Turning Palm). In his later years, Dong began to speak of the Art in
conjunction with the Eight Trigrams (Bagua) theory expoused in the
Book Of Changes (Yijing). When Dong began teaching his "Zhuanzhang"
in Beijing, the vast majority of his students were already
accomplished martial artists in their own right. Dong's teachings were
limited to a few "palm changes" executed while walking the circle and
his theory and techniques of combat. His students took Dong's forms
and theories and combined them with their original arts. The result is
that each of Dong's students ended up with quite different
interpretations of the Baguazhang art.

Most of the various styles of Baguazhang found today can be traced
back to one of several of Dong Haichuan's (or Dong Haiquan's) original
students. One of these students was a man called Yin Fu. Yin studied
with Dong longer than any other and was one of the most respected
fighters in the country in his time (he was the personal bodyguard to
the Dowager Empress, the highest prestige position of its kind in the
entire country). Yin Fu was a master of Luohanquan, a Northern Chinese
"external" style of boxing before his long apprenticeship with Dong.
Another top student of Dong was Cheng Tinghua, originally a
master of Shuaijiao (Chinese wrestling). Cheng taught a great number of
students in his lifetime and variations of his style are many. A third
student of Dong which created his own Baguazhang variant was Liang
Zhenpu. Liang was Dong's youngest student and was probably
influenced by other of Dong's older disciples. Although Baguazhang
is a relatively new form of martial art, it became famous throughout
China during its inventor's lifetime, mainly because of its
effectiveness in combat and the high prestige this afforded its
practitioners.

Description:

Baguazhang is an art based on evasive footwork and a kind of
"guerilla warfare" strategy applied to personal combat. A Bagua
fighter relies on strategy and skill rather than the direct use of
force against force or brute strength in overcoming an opponent. The
strategy employed is one of constant change in response to the
spontaneous and "live" quality of combat.

Bagua is a very circular art that relies almost entirely on open hand
techniques and full body movement to accomplish its goals. It is also
characterized by its use of spinning movement and extremely evasive
footwork. Many of the techniques in Bagua have analogs in other
Northern Chinese systems;however, Bagua's foot work and body
mechanics allow the practitioner to set up and execute these
techniques while rapidly and smoothly changing movement direction and
orientation. Bagua trains the student to be adaptable and evasive,
two qualities which dramatically decrease the amount of physical power
needed to successfully perform techniques.

The basis of the various styles of Baguazhang is the circle walk
practice. The practitioner "walks the circle" holding various postures
and executing "palm changes" (short patterns of movement or "forms"
which train the body mechanics and methods of generating momentum
which form the basis of the styles' fighting techniques). All styles
have a variation of the "Single Palm Change" which is the most basic
form and is the nucleus of the remaining palm changes found in the
Art. Besides the Single Palm Change, other forms include the "Double
Palm Change" and the "Eight Palm Changes" (also known variously as the
"Eight Mother Palms" or the "Old Eight Palms"). These forms make up
the foundation of the Art. Baguazhang movements have a
characteristic circular nature and there is a great deal of body
spinning, turning and rapid changes in direction. In addition to the
Single, Double and Eight Palm Changes, most but not all styles of
Baguazhang include some variation of the "Sixty-Four Palms." The
Sixty-Four Palms include forms which teach the mechanics and sequence
of the specific techniques included in the style. These forms take the
more general energies developed during the practice of the Palm
Changes and focus them into more exact patterns of movement which are
applied directly to a specific combat technique.

Training:

Training usually begins with basic movements designed to train the
fundamental body mechanics associated with the Art. Very often the
student will begin with practicing basic palm changes in place
(stationary practice), or by walking the circle while the upper body
holds various static postures (Xingzhuang). The purpose of these
exercises is to familiarize the beginning student with the feeling of
maintaining correct body alignment and mental focus while in motion.
The student will progress to learning the various palm changes and
related forms. The Sixty-Four Palms or other similar patterns are
usually learned after some level of proficiency has been attained with
the basic circle walk and palm changes. Some styles practice the
Sixty-Four Palms on the circle while other styles practice these forms
in a linear fashion. All of the forms in Baguazhang seek to use the
power of the whole body in every movement, as the power of the whole
will always be much greater than that of isolated parts. The
body-energy cultivated is flexible, resilient and "elastic" in nature.

In addition to the above, most styles of Baguazhang include various
two-person forms and drills as intermediate steps between solo forms
and the practice of combat techniques. Although the techniques of
Baguazhang are many and various, they all adhere to the above mentioned
principles of mobility and skill. Many styles of Baguazhang also
include a variety of weapons, ranging from the more "standard" types
(straight sword, broadsword, spear) to the "exotic." An interesting
difference with other styles of martial arts is that Baguazhang
weapons tend to be "oversized," that is they are much bigger than
standard weapons of the same type (the extra weight increases the
strength and stamina of the user).

SUBSTYLES:

Each of Dong Haichuan's (or Dong Haiquan's) students developed their
own "style" of Baguazhang based on their individual backgrounds and
previous martial training. Each style has its own specific forms and
echniques. All of the different styles adhere to the basic principles
of Baguazhang while retaining an individual "flavor" of their own. Most
of the styles in existence today can trace their roots to either The
Yin Fu, Zheng Dinghua, or Liang Zhenpu variations.

Yin Fu styles include a large number of percussive techniques and fast
striking combinations (Yin Fu was said to "fight like a tiger," moving
in swiftly and knocking his opponent to the ground like a tiger
pouncing on prey). The forms include many explosive movements and very
quick and evasive footwork. Variations of the Yin Fu style have been
passed down through his students and their students, including Men
Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian.

Zheng Dinghua styles of Baguazhang include palm changes which are
done in a smooth and flowing manner, with little display of overt
power (Zheng Dinghua's movement was likened to that of a dragon
soaring in the clouds). Popular variants of this style include the Gao
Yisheng system, Dragon style Baguazhang, "Swimming Body" Baguazhang,
the Nine Palace system, Jiang Rongqiao style (probably the
most common form practiced today) and the Sun Ludang style.

The Liang Zhenpu style was popularized by his student Li Ziming
(who was the president of the Beijing Baguazhang Association for
many years and who did much to spread his art worldwide).


16.3) Brazilian Jiu-Jitsu

(Contributor: Don Geddis - ***@bjj.org)

Intro:

Possibly the premier ground-fighting martial art. Made famous by Royce
Gracie in the early UFCs in the mid-1990's, it specializes in
submission grappling when both fighters are on the ground. Techniques
include positional control (especially the "guard" position), and
submissions such as chokes and arm locks.

Origin:

Brazil.

History:

In the mid-1800's in Japan, there were a large number of styles ("ryu")
of jiu-jitsu (sometimes spelled "jujitsu"). Techniques varied between
ryu, but generally included all manner of unarmed combat (strikes,
throws, locks, chokes, wrestling, etc.) and occasionally some weapons
training. One young but skilled master of a number of jiu-jitsu styles,
Jigoro Kano, founded his own ryu and created the martial art Judo (aka
Kano-ryu jiu-jitsu) in the 1880's. One of Kano's primary insights was
to include full-power practice against resisting, competent opponents,
rather than solely rely on the partner practice that was much more
common at the time.

One of Kano's students was Mitsuo Maeda, who was also known as Count
Koma ("Count of Combat"). Maeda emigrated to Brazil in 1914. He was
helped a great deal by the Brazilian politician Gasto Gracie, whose
father George Gracie had emigrated to Brazil himself from Scotland. In
gratitude for the assistance, Maeda taught jiu-jitsu to Gastao's son
Carlos Gracie. Carlos in turn taught his brothers Osvaldo, Gasto Jr.,
Jorge, and Helio.

In 1925, Carlos and his brothers opened their first jiu-jitsu academy,
and Gracie Jiu-Jitsu was born in Brazil.

At this point, the base of techniques in BJJ was similar to those in
Kano's Judo academy in Japan. As the years progressed, however, the
brothers (notably Carlos and Helio) and their students refined their
art via brutal no-rules fights, both in public challenges and on the
street. Particularly notable was their willingness to fight outside of
weight categories, permitting a skilled small fighter to attempt to
defeat a much larger opponent.

They began to concentrate more and more on submission ground fighting,
especially utilizing the guard position. This allowed a weaker man to
defend against a stronger one, bide his time, and eventually emerge
victorious.

In the 1970's, the undisputed jiu-jitsu champion in Brazil was Rolls
Gracie. He had taken the techniques of jiu-jitsu to a new level.
Although he was not a large man, his ability to apply leverage using
all of his limbs was unprecedented. At this time the techniques of the
open guard and its variants (spider guard, butterfly guard) became a
part of BJJ. Rolls also developed the first point system for jiu-jitsu
only competition. The competitions required wearing a gi, awarded
points (but not total victories) for throws and takedowns, and awarded
other points for achieving different ground positions (such as passing
an opponent's guard). After Rolls' death in a hang-gliding accident,
Rickson Gracie became the undisputed (and undefeated!) champion, a
legend throughout Brazil and much of the world. He has been the
exemplar of Brazilian Jiu-Jitsu technique for the last two decades,
since the early 1980's, in both jiu-jitsu competition and no-rules MMA
competition.

Jiu-jitsu techniques have continued to evolve as the art is constantly
tested in both arenas. For example, in the 1990's Roberto "Gordo"
Correa, a BJJ black belt, injured one of his knees, and to protect his
leg he spent a lot of practice time in the half-guard position. When he
returned to high-level jiu-jitsu competition, he had the best
half-guard technique in the world. A position that had been thought of
as a temporary stopping point, or perhaps a defensive-only position,
suddenly acquired a new complexity that rapidly spread throughout the
art.

In the early 1990's, Rorion Gracie moved from Brazil to Los Angeles. He
wished to show the world how well the Gracie art of jiu-jitsu worked.
In Brazil, no-rules Mixed Martial Art (MMA) contests (known as "vale
tudo") had been popular since Carlos Gracie first opened his academy in
1925, but in the world at large most martial arts competition was
internal to a single style, using the specialized rules of that style's
practice.

Rorion and Art Davie conceived of the Ultimate Fighting Championship.
This was a series of pay-per-view television events in the United
States that began in 1993. They pitted experts of different martial
arts styles against each other in an environment with very few rules,
in an attempt to see what techniques "really worked" when put under
pressure. Rorion also entered his brother Royce Gracie, an expert in
Brazilian Jiu-Jitsu, as one of the contestants.

Royce dominated the first years of the UFC against all comers, amassing
eleven victories with no fighting losses. At one event he defeated four
different fighters in one night. This, from a fighter that was smaller
than most of the others (at 170 lbs, in an event with no weight
classes), looked thin and scrawny, and used techniques that most
observers, even experienced martial artists, didn't understand.

In hindsight, much of Royce's success was due to the fact that he
understood very well (and had trained to defend against) the techniques
that his opponents would use, whereas they often had no idea what he
was doing to them. In addition, the ground fighting strategy and
techniques of BJJ are among the most sophisticated in the world.
Besides the immediate impact of an explosion of interest in BJJ across
the world (particularly in the US and Japan), the lasting impact of
Royce's early UFC dominance is that almost every successful MMA fighter
now includes BJJ as a significant portion of their training.
Description:

Brazilian Jiu-Jitsu is primarily a ground-fighting art. Most techniques
involve both fighters on the mat. There is a heavy emphasis on
positional strategy, which is about which fighter is on top, and where
each person's legs are. Positions are stable situations, from which a
large variety of techniques are available to both fighters.

The primary positions include:

* Guard: The person applying the guard is on the bottom with his
back on the ground; his legs are wrapped around his opponent's hips
(who is said to be "in the guard").
* Side control: Chest-on-chest but without the legs being entangled.
* Mount: On top of his opponent (who "is mounted"), sitting on his
chest, with one leg on either side of his torso.
* Back mount: Behind his opponent, with his feet hooked around his
opponent's hips and upper thighs.

Specific techniques taught are designed either to improve one's
position (for example, to "pass the guard", by going from being "in the
guard" to getting around the opponent's legs, resulting in side
control); or else as a finishing submissions. Most submissions are
either chokes (cutting off the blood supply to the brain) or arm locks
(hyperextending the elbow, or twisting the shoulder).

Belt ranks start at white belt, and progress through blue, purple,
brown, and then black. It generally takes about 2-3 years of training
multiple times per week to be promoted to the next belt rank. However,
there is no formal rank test. Instead, rank is about the ability to
apply jiu-jitsu techniques in a competitive match. A student generally
needs to be able to reliably defeat most other students at a given rank
in order to be promoted to the next rank.

Given the jiu-jitsu roots, and the interest in competition,
occasionally related techniques are taught. In each case, other
specific martial arts focus on these sets of techniques more than BJJ,
and they generally just receive passing mention and rare practice in
BJJ training. For example, takedowns tend to be similar to Judo and
western wrestling; leg locks (such as in Sambo) are not encouraged but
sometimes allowed. Some schools teach street self-defense or weapon
defense as well; this instruction tends to be much more like old-style
Japanese jiu-jitsu with partner practice, and rarely impacts the
day-to-day grappling training. Also, many dedicated BJJ students are
also interested in MMA competition, and attempt to practice their
techniques without a gi, and sometimes with adding striking from boxing
or Muay Thai.

Training:

Most training has students wearing a heavy ("jiu-jitsu" or "Judo")
gi/kimono, on a floor with padded mats. A typical class involves 30
minutes of warm ups and conditioning, 30 minutes of technique practice
with a willing partner, and 30 minutes of free sparring training,
against an opponent of equal skill who attempts to submit you.

Most of the training is done with all students on the mat. For example,
training usually beings with both students facing each other from a
kneeling position.

Competition is also encouraged. For a jiu-jitsu tournament, competitors
are divided by age, belt rank, and weight class. Time limits are
generally five to ten minutes, depending on belt rank. Matches start
with both competitiors standing, on a floor with a padded mat. A tap
out from submission ends the match. If time runs out without a
submission, points determine the winner:

* 2 points: Takedown from standing; Knee-on-stomach position; or
Scissor, sweep, or flip, using legs (from bottom position to top)
* 3 points: Passing the guard
* 4 points: Mount; or Mount on back (with leg hooks in)

Many BJJ students are also interested in open submission grappling
tournaments (different points rules, usually no gi), or Mixed Martial
Arts (MMA). Most BJJ instructors encourage such competition, and often
assist in the training. However, typically BJJ classes wear a gi, start
from the knees, and prohibit strikes.

Sub-Styles:

None.

However, note that Brazilian Jiu-Jitsu is sometimes taught under
slightly different names. In Brazil it is generally known simply as
"jiu-jitsu".

Members of the Gracie family often call it "Gracie Jiu-Jitsu", and in
fact this name probably pre-dates the now more-generic BJJ for
labelling the art when outside of Brazil. (This probably would have
become the generic name for the art, but Rorion Gracie trademarked the
phrase for his academy in Torrance, CA. A later lawsuit between Rorion
Gracie and Carley Gracie was resolved to permit Gracie family members
to use that phrase when teaching their family's art of jiu-jitsu.
However, the generic term "Brazilian Jiu-Jitsu" is now preferred for
referring to the art independent of instructor.)

Also, the Machado brothers (cousins of the Gracies) sometimes call
their style "Machado Jiu-Jitsu". Any of these names refer to basically
the same art.


16.4) Bushidokan

(Contributor: Bob Blount - ***@sound.net)

Bushidokan is an eclectic art of recent origin, founded by Jim
Harrison in the late 1960's. Harrison has studied Judo and Shorin-Ryu
karate extensively. The Bushidokan Art is a combination of Okinawan
karate, judo, and some JJ, with the primary emphasis on karate. The
karate portion of Bushidokan's training is quite similar to Shotokan -
definitely Okinawan in ancestry. Bushidokan is best suited for those
interested in effective street self-defense, tournament fighting, and
fairly rugged physical conditioning.

Beginning students learn seven basic stances, seven basic strikes (six
linear, one circular), seven basic blocks (one of which is circular)
and seven basic kicks. Many of the self-defenses taught incorporate
techniniques not included in the "basic" seven, thus exposing the
student to a greater variety. These include a number of throws, a few
soft (redirecting) blocks, and several wrist/hand locks. Two basic
self-defense strategies - a direct counter and an indirect counter -
are taught for each type of attack. Sparring is introduced as
students progress, but is always optional, and ranges from "no
contact" to "full contact".


16.5) Capoeira

(Contributors: Daniel C. Sobral - ***@linf.unb.br,
"Lagartixa" (Gecko) - ***@rohan.sdsu.edu )

Intro:

This is a very acrobatic, very energetic Brazilian martial art.

Origin: Angola and Brazil

History:

Capoeira is the common name for the group of African martial arts that
came out of west Africa and were modifed and mixed in Brazil. These
orginal stlyes inculded weapons, grappling and striking as well as
animal forms that became incorpated into different components and sub
styles of the popular art.

In the 1500's, black slaves from Africa were used in Brazil to build

he empire of the sugar cane. These slaves lacked a form of
self-defense, and in a way quite parallel to Karate, they developed a
martial-art with the things they had in hand, namely, sugar cane
knives and 3/4 staffs. Being slaves, they had to disguise the study of
the art, and that is how the dance came into it.

In the early 1800's Capoeira was outlawed in Brazil, especially in its
"home state" of Bahia, where gangs utilized it as their personal
fighting style against police.

Capoeira was born in the "senzalas", the places where the slaves were
kept, and developed in the "quilombos", the places where they used to
run to when they fled from their enslavers.

Description:

Capoeira consists of a stylized dance, practiced in a circle called
the "roda", with sound background provided by percussion instruments,
like the "agogo", the "atabaqui", etc. The "Berimbau" is a
percussion instrument that is always used on rodas.

Capoeira relies heavily on kicks and leg sweeps for attacks and dodges
for defenses. Is not uncommon to not be taught any kind of hand
strike of parry, though arm positioning for blocks is taught.

The "ginga" (meaning "swing"_, the footwork of Capoeira, consists in
changing the basic stance (body facing the adversary, front leg flexed
with body weight over it, the other leg strechted back) from the right
leg to the left leg again and again.

Capoeira also puts a heavy emphasis on ground fighting, but not
grappling and locks. Instead, it uses a ground stance (from the basic
stance, you just fall over your leg stretched back, flexing it, and
leaving the front leg stretched ahead), from which you make feints,
dodges, kicks, leg sweeps, acrobatics, etc.

Hand positioning is important but it's used only to block attacks and
ensure balance, though street fighting "capoeiristas" use the hands
for punches.

When fighting, it is rare to stop in one stance, and in this case, you
just "follow" your opponent with your legs, preventing him from
getting close, or preparing a fast acrobatic move to take advantage
when he attacks. The rest of the time, you just keep changing stances,
feinting, and doing the equivalent of boxing "jabs".

Training:

After a through warm-up, standing exercises are done, with emphasis on
the "ginga", the footwork characteristic of the art, and on the basic
kicks: "bencao", a front-stomping kick, "martelo", a roundhouse kick,
"chapa", a side-kick, "meia-lua de frente", a low turning kick, "armada",
a high turning kick, "queixada", an outside-inside crescent kick. Then
walking sequences are done, with the introduction of sommersaults,
backflips and headstands, in couples and individual. Some more
technical training follows, with couples beginning a basic and slow
"jogo", and then the whole class forms and goes for "roda" game for at
least 30 minutes.

Capoeira conditions and develops the muscles, especially the abdominal
muscles.

Sub-Styles:

Regional: Capoeira in a more artistic, open form, giving more way to
athletic prowess and training. The newer, faster, more popular style
created by mestre Bimba (the guy who was responsible for the legalization
of capoeira and the founder of the first academy). Breakdancing evolved
from this style, and 90% of all breakdancing moves come directly from
capoeira. This is a faster game, less a fight and more of a showing off. Flourishes, high
kicks, and aerial, acrobatic maneuvers are the hallmark
of the regional game, which is usually played to the beat of the berimbau
known as Sao Bento Grande.

Angola: a more closed, harder style that is closest to the original
African systems that came to Brazil. The "traditional" capoeira, the game
is accompanied by a specific beat of the berimbau by the same name. Angola
games are generally slow and low to the ground, and incorporate a lot of trickery, sweeps
and takedowns, and physically grueling movements that
require great strength and balance.

Iuna: Iuna is not really a style of capoeira. Rather, it refers to a
rhythm of the berimbau that is played when somebody dies or when mestres
(masters) play alone. There is no singing when iuna is played, and only
masters are allowed to play during iuna.


16.6) Cha Yon Ryu

(Contributor: Ross Deforrest - ***@prismnet.com)

Cha Yon Ryu ("Natural Way") is an eclectic, fairly new martial art
founded in 1968 by Kim Soo of Houston, Texas, who remains Director of
the system. Tae Kwon Do contributes kicking techniques, strong stances
and direct, linear strikes and blocks, as does Shotokan Karate. With
the study of movements from Okinawa te (Okinawa), the Cha Yon Ryu
practitioner starts to add techniques with some angularity to his/her
repertoire, and eventually progresses to the fluid, circular movements
of Quanfa Gongfu. Hapkido is the martial art from which are drawn
defenses against chokes, grabs and armed attacks, as well as various
throwing and falling techniques.

Students strive to fulfill The Dojang Hun (Training Hall Oath): Seek
perfection of character, Live the way of truth, Endeavor, Be faithful,
Respect your seniors, and Refrain from violent behavior.


16.7) Cuong Nhu (pronounced "Kung New")

(Contributors: Elizabeth Roman and Robert First -
***@unity.ncsu.edu
and http://www4.ncsu.edu/unity/users/r/rafirst/cooldojo/)

Cuong Nhu is another eclectic, fairly new martial art, founded in 1965
by Master Ngo Dong in Vietnam. The first US school opened in
Gainesville FL in 1971. Cuong Nhu is an integrated martial art
blending hard aspects ("cuong" in Vietnamese) from Shotokan Karate,
Wing Chun Gongfu, and American Boxing, with influences from the soft
("nhu" in Vietnamese) arts of Judo, Aikido, and Taiji, in addition
to Vovinam, a Vietnamese martial art using both hard and soft
techniques. In keeping with its inclusive nature, Cuong Nhu
instruction extends beyond the traditionally martial to public
speaking, poetry, paintint, and philosophy. There is a strong
emphasis on developing self control, modesty, and a non-defeatist
attitude.

Beginning students focus on the hard, linear arts, mostly modified
Shotokan Karate techniques and katas. Experienced students add
movements from more advanced softer, circular arts such as Aikido and
Taiji. All levels get some exposure to the entire range of styles.
Training emphasizes moral and philosophical development, and students
discuss the "Code of Ethics" and selections from Cuong Nhu philosophy
in class. As with other styles, belt color indicates rank as certified
by regional testing.

There are approximately 70 Cuong Nhu dojos in the US. For more
information or the location of a school near you, the Cuong Nhu
Oriental Martial Arts Association (CNOMAA) can be reached at (904)
737-7094 or http://www.cuongnhu.com.


16.8) Daito Ryu Aiki-Jujustu

(Contributors: Torben Alstrup/Ole Kingston - ***@imada.ou.dk)

Intro: A prominent sub-style of Jujutsu

History:

Daito-ryu Aiki-Jujutsu is an old Jujutsu style presumably founded my
Minamoto, Yoshimitsu in the eleventh century. Originally, it was only
practised by the highest ranking Samurais in the Takeda family in the
Kai fiefdom in northern Japan.

Feudal overlord Takeda, Shingen died in 1573, and his kinsman Takeda,
Kunitsugu moved to the Aizu fiefdom, where he became Jito - overseer
of the fief. Kunitsugu introduced Daitoryu Aikijujutsu at the Aizu
fiefdom, where the secret fighting art only was taught to the feudal
lords and the highest ranking samurais and ladies in waiting.

The feudal system was broken down after 1868 when the Meiji
restoration begun. Saigo, Tanomo (1829-1905), the heir to Daito-ryu
gave the system to Takeda, Sogaku (1859-1943) and instructed him to
pass it on to future generations. Takeda, Sogaku first used the term
"Daito-ryu Aikijujutsu" in the beginning of the twentieth century and
taught the art of it to many students.

Takeda, Sogaku taught Daito-ryu from the beginning of the twentieth
century until his death in 1943 two of his best known students were
Ueshiba, Morihei, founder of Aikido and Choi, Yong Sul, founder of
Hapkido.

Other prominent 20th century Daito-ryu masters include Horikawa, Kodo
(1894-1980); Takuma, Hisa (1895-1979); Hakaru, Mori (1931-), the
current director of the Daitoryu Aikijujutsu Takumakai; Sagawa,
Yukiyoshi (1902-); Takeda, Tokimune (1916-1993), son of Takeda,
Sogaku; Katsuyuki, Kondo (1945-); and Okamoto, Seigo (1925-), who is
often considered the most progressive teacher of Daitoryu Aikijujutsu.

Description and Training:

The way of teaching Daitoryu comes from Takeda, Sogaku's students in
the same manner as the understanding, feeling and character of the
techniques. Daito-ryu Aikijujutsu has four levels of techniques:
Shoden (Lowest), Chuden (advanced), Okuden (highest) and Hiden (secret
techniques).

Shoden
The training in Daito-ryu starts with Shoden, where the student learns
ukemi (falling and rolling), taisabaki (moving the body), tesabaki and
ashisabaki (movements of the hands and feet and legs), defense against
grappling, and continues with defense against punches, kicks and
weapons, as for instance short and long staffs (tanbo, jo and chobo)
and knives and swords (tanto and katana).

There are techniques that can be done from standing, sitting or lying
positions. The first transmission scroll Hiden Mokuroku describes the
first 118 jujutsu techniques from the Shoden level.

Chuden
These are advanced jujutsu techniques with large soft movements as
known from Aikido. The actual aiki training consists of a combination
of these techniques and those from Shoden. At this level of training
it is allowed to use some amount of force, several steps and large
movements.

Okuden
When doing Okuden all movements should be as small as possible.
Breathing, reflexes, circles and timing are used instead of muscles;
the techniques are small and fast, and it is not necessary to hold an
attacker in order to throw him.

The reflexes of the attacker are used against him. He gets a soft
shock, similar to an electric shock activating his reflexes, and it
becomes easy to manipulate the body of the attacker so it is felt as
an extension of one's own.

Hiden
These are the secret techniques. The real aiki consists always of soft
techniques that only work properly when the whole body and proper
breathing is used. The attacker is touched easily, you are as glued to
him, and the techniques are so small that even experienced budokas
cannot see what is happening. However, the most fascinating part of
Daito-ryu Aikijujutsu is that it is unnecessary to use physical power
for incapacitating the attacker his own force is turned against him.

16.9) Gatka

(Contributor: Arun Singh - ***@lycos.com)

Intro:

A Sikh martial art.

Origins and History:

Gatka is the martial art of the Sikhs, and is tied in with the
religion Sikhism. It's a weapons-based martial art, which was
imparted to the Sikhs in the time of Guru Hargobind Ji (the sixth
Guru of the Sikhs) by the Rajputs (Hindu warriors of northern India)
in the 16th century, in gratitude for their release from imprisonment
by the fledgling Sikh army of that time. The Sikhs at that time
opposed the Mughal Empire, which violently oppressed both Sikhs and
Hindus in the name of Islam.

The Tenth Master of the Sikhs, Guru Gobind Singh Ji, was an extremely
proficient martial artist.

He continued to encourage the Sikhs to train seriously in the martial
arts, and in 1699 founded the Khalsa, a special Order, to which all
Sikhs would thereafter aspire to joining. The Khalsa was subject to
strict military and personal discipline, and were enjoined to, inter
alia, always carry 5 items with them: the Kanga (a small wooden
comb), Kachhehra (long drawers instead of a loincloth), Kara (a steel
bracer worn on the right wrist), Kesh (uncut hair) and Kirpan (curved
sword). The Khalsa was enjoined to train to fight, and to vigorously
resist the oppression of any religious community, including Sikhs and
Hindus. The wearing of the kirpan represented the martial character
of the Khalsa, and all Sikhs, men, women and children, were
encouraged to resist their Mughal oppressors, and to train diligently
in gatka.

Gatka was used succesfully by the Sikhs throughout the 16th and 17th
centuries, in numerous battles against the Mughal forces. Eventually,
the Sikhs succeeded in deposing the Mughal overlords, and in creating
a new, tolerant rulership in the Punjab (the "Land of Five Rivers", a
region in modern-day India and Pakistan).

Gatka is, and has always been, taught as a spiritual exercise in
Sikhism. Sikhism requires its followers to become absorbed in
honouring the Name of God, and this is taught through the ecstatic
exercise of gatka. Sikhism and gatka are inextricably intertwined, in
many ways.

Description:

Gatka actually refers to the soti, a wooden stick used in training,
which is equipped with a basket hilt. The entire martial art is based
on the correct use of a vast array of melee (hand-to-hand) weapons.
The foundation of the art is the panthra, a basic form and
methodology for moving the feet, body, arms and weapons correctly, in
unison. Gatka is normally taught with rhythmic accompaniment, and the
object is to achieve fluid, natural and flowing movement, without
hesitation, doubt or anxiety. The attacking and blocking methods are
all based upon the positions of the hands, feet and weapon(s) during
the panthra dexterity exercise. Many weapons are taught with special
methodologies, in addition to the panthra exercise.

There are set of unique "chambers" and other techniques, which are
unique to certain weapons, such as the khanda (two-edged sword), the
tabar (axe) and the barcha (spear).

The most common weapon used by gatka exponents today is the lathi (a
stick of varying length), but all of the other traditional weapons
are still taught. A common combination in that hands of gatka
practitioners of today and in the past is the sword and shield.

The panthra exercise is a flowing, non-stop movement, and there are
no specific "techniques" as such in gatka. Rather, the methods of
attacking and defending are the same, and the application depends on
the circumstances at the time. The panthra exercise is practised at
the same time as the "Jaap Sahib" prayer is being sung. Also, a
three-beat-per-cycle is played by a drummer at the same time. This
assists in developing natural and flowing co-ordination.

Training:

Most gatka groups train in a religious or semi-religious situation,
such as in a gurdwara (a Sikh place of worship) or in a Sikh cultural
centre or school. However, in recent years a number of "Akhara"
(regiment or gymnasium) organisations have been founded, with the
express purpose of teaching and disseminating the skill of gatka.

Gatka students always train with "both hands full", as this is both
an excellent exercise for matching the two halves of the body and is
emphasised as ideal for combat. Gatka emphasises the superiority of
having something in both hands, whether it's two sticks, or a stick
and a sword, or a sword and a shield or any other combination.

At an advanced level, gatka is always tailored to the practitioner.
Hence the gatka practitioner will eventually focus all of his effort
on training his or her abilities with a chosen weapon or combination
of weapons.

Competition:

Gatka was never originally intended as a competitive sport. However,
recently a number of modern gatka organisations have introduced
competition. Normally, these are based on a "best of two" or a "best
of Five" hits contest between two practitiners.

How to find an instructor:

The best traditional gatka practitioners outside the Punjab are known
by word of mouth only. However, some organisations have recently
begun teaching their own variation of gatka, in schools and clubs, in
the same way as any other martial art. These organisations usually
advertise, too. However, their gatka may differ significantly from
the traditional form of the art, either by accident or design. It may
be fruitful to consult your local gurdwara (Sikh temple) officials in
order to find a reputable gatka instructor who is willing to teach
you. Discretion (most gatka experts disdain being the centre of
attention) and courtesy will be indispensable in finding yourself a
willing instructor in the art.


16.10) HapKiDo

(Contributors: Randy Pals - ***@ipact.com,
Ray Terry - ***@hpkel02.cup.hp.com,
Dakin Burdick - ***@silver.ucs.indiana.edu)

Intro:

This Korean art is sometimes confused with Aikido, since the Korean
and Japanese translation of the names is the same.

Origin: Korea

History:

Hapkido history is the subject of some controversy.

Some sources say that the founder of Hapkido, Choi, Yong Sul was a
houseboy/servant (some even say "the adopted son") of Japanese Daito
Ryu Aikijujutsu GrandMaster Takeda, Sokaku. In Japan, Choi used the
Japanese name Yoshida, Tatsujutsu since all immigrants to Japan took
Japanese names at that time. Choi's Japanese name has also been given
as Asao, Yoshida by some sources. According to this view, Choi
studied under Takeda in Japan from 1913, when he was aged 9, until
Takeda died in 1943. However, Daito Ryu records do not reflect this,
so hard confirmation has not been available. Some claim that Choi's
Daito Ryu training was limited to attending seminars.

Ueshiba, Morihei, the founder of Aikido, was also a student of Takeda
(this is not disputed). Hapkido and Aikido both have significant
similarities to Daito Ryu Aikijujutsu, so it would seem that Hapkido's
link to it is real, regardless of how and where Choi was trained.

Choi returned to Korea after Takeda's death and began studying Korean
arts and teaching Yu Sool or Yawara (other names for jujutsu),
eventually calling his kwan ("school") the Hapki Kwan. Ji, Han Jae,
began studying under Choi and eventually started his own school, where
he taught what he called Hapkido, after the grandmaster's school.
Along the way, Hapkido adopted various techniques from Tang Soo Do,
Tae Kyon, and other Korean kwans (schools).

Korean sources may tend to emphasize the Korean arts lineage of
Hapkido over the Aikijujutsu lineage, with some even omitting the
Aikijujutsu connection. However, as noted above, the connection can
be seen in the techniques.

Ji now calls his system Sin Moo Hapkido. He currently lives and
teaches in California, as does another former Choi student, Myung,
Kwang Sik, who is GrandMaster of the World Hapkido Federation.

Some other Choi Hapkido students are still living. Chang, Chun Il
currently teaches in New York City, and Im, Hyon Soo lives and teaches
in Korea. Both of these men were promoted to 9th dan by Choi. One of
the first Hapkido masters to bring the art to the western culture was
Han, Bong Soo.

In the 1970's and 80's Hapkido was taught as the style of choice to
elite South Korean armed forces units.

Description:

Hapkido combines joint locks, pressure points, throws, kicks, and
strikes for practical self-defense. More soft than hard and more
internal than external, but elements of each are included. Emphasizes
circular motion, non-resistive movements, and control of the opponent.

Although Hapkido contains both outfighting and infighting techniques,
the goal in most situations is to get inside for a close-in strike,
lock, or throw. When striking, deriving power from hip rotation is
strongly emphasized.

Training:

Varies with organization and instructor. As a general rule, beginners
concentrate on basic strikes and kicks, along with a few joint locks
and throws. Some of the striking and kicking practice is form-like,
that is, with no partner, however, most is done with a partner who is
holding heavy pads that the student strikes and kicks full power.

Advanced students add a few more strikes and kicks as well as many
more throws, locks, and pressure points. There is also some weapons
training for advanced students - primarily belt, kubatan, cane, and
short staff.

Some schools do forms, some do not. Some do sparring and some do not,
although at the advanced levels, most schools do at least some
sparring. Many Hapkido techniques are unsuitable for use in sparring,
as their use would result in injury, even when protective gear is
used. Thus, sparring typically uses only a limited subset of
techinques.

There is generally an emphasis on physical conditioning and excercise,
including "ki" exercises.


16.11) Hwa Rang Do

(Contributor: Carsten Jorgensen - ***@usa.net)

Intro:

Hwa Rang Do is a comprehensive martial arts system whose training
encompasses unarmed combat, weaponry, internal training and healing
techniques. Translated, Hwa Rang Do means "the way of flowering
manhood".

Origin: Korea

History:

For the ancient history of the Hwarang, please refer to the Ancient
Korean History section of http://www.hwarangdo.com/hrd1.htm.

In March 1942 present day founder of Hwa Rang Do, Dr. Joo Bang Lee and
his brother, Joo Sang Lee was introduced to the Buddhist monk Suahm
Dosa by their father, who was a personal friend of the monk, and they
began their formal training aged 5 & 6.

The brothers lived and trained as the sole students with the monk
mostly in weekends and during school vacations but also trained in
other martial arts when they were unable to train under Suahm Dosa.
Influences include Boxing, Yudo, Komdo, and Tang Soo Do. In addition

the Lee Brothers attained Master level of Dae Dong Ryu Yu Sul (modern
name - Hapkido) from its founder Choi Yong Sool in October 1956.

In April 1960 Dr. Joo Bang Lee created and founded his martial art by
combining Suham Dosa's techniques with the other systems he had
trained. He choose the name Hwa Rang Kwan to describe his system and
this also marked the first time the Hwa Rang was used publicly in
connection with unarmed Korean martial arts. There is no way of
knowing if the techniques Suahm Dosa taught the brothers actually was
the martial art of the Silla Hwa Rang, or another form of monk martial
art.

In 1967, at the request of President Park, Dr. Joo Bang Lee organized
the unification of the Korean martial arts and directed the Unified
Korean Martial Arts Exposition on May 27, 1968 at the Jang Chung
Sports Arena in Seoul. Since it was difficult for all martial art
organization leaders to agree on methods of administration, this
organization was also disbanded shortly after the exposition.

Following the dissolution, Dr. Joo Bang Lee concentrated his efforts
solely on the development of his martial art to the exclusion of all
other martial arts. He renamed it Hwa Rang Do translated to mean "The
Way of the Flowering Manhood". (Do - represents "the way" or the
"martial art"). Also this marked the first time the character for
"Way" was used in connection with the Hwa Rang and the unarmed martial
arts.

In 1968, Head Grandmaster Joo Sang Lee introduced Hwa Rang Do to the
United States of America. Dr. Joo Bang Lee became the system's supreme
grandmaster upon Suahm Dosa's death in 1969. He immigrated to America
in 1972 and founded the World Hwa Rang Do Association and since then
Hwa Rang Do has spread all over the world. Today Dr. Joo Bang Lee
presides over the World Hwa Rang Do Association, Hwa Rang Do World
Headquarters in Downey, California (USA).

Description:

Hwa Rang Do is a combination of UM (soft/circular movement) and YANG
(hard/linear movement). The Mu Sul (martial aspects) of Hwa Rang Do
can be further explained in four distinct - though interconnecting -
major paths of study.

NAE GONG - deals with developing, controlling, and directing one's Ki,
or internal energy force, through breathing and meditation exercises
in conjunction with specific physical techniques.

WAE GONG - Wae gong includes more than 4000 offensive and defensive
combative applications. Combining elements predominantly tense and
linear in nature with those soft and circular, these techniques mesh
to form a natural fighting system. This phase includes full
instruction in all hand strikes and blocks (trapping and grabbing as
well as deflection applications, using the hands, wrist, forearm,
elbows, arms and shoulders), 365 individual kicks, throws and falls
from any position and onto any surfaces, human anatomical structure as
it pertains to combat applications (knowing and utilizing the body's
weak points to effectively control the opponent, regardless of their
size), joint manipulation and breaking, finger pressure-point
application, prisoner arrest, control and transport, grappling
applications, forms, offensive choking and flesh-tearing techniques,
defense against multiple opponents, breaking techniques,
counter-attacks, and killing techniques.

MOO GI GONG - involves the offensive and defensive use of the over 108
traditional weapons found within 20 categories of weaponry. By
learning these various weapon systems, the practitioner can most
effectively utilize any available object as a weapon as the situation
demands.

SHIN GONG - is the study, development, and control of the human mind
in order to attain one's full potential and mental capabilities.
Techniques are taught to achieve an increase in one's total awareness,
focus, and concentration levels. Included are instruction in :
controlling one's mind; development of the "sixth sense"; memory
recall; the study of human character and personalities; practical
psychology; visualization; the art of concealment and stealth as
utilized by special agents (Sulsa); as well as advanced, secretive
applications. Hwa Rang Do teaches both the martial art (mu-sul) and
healing art (in-sul). If one is able to injure or worse, then he/she
should know how to heal as well, once again maintaining harmony
through balance of opposites. First aid applications, revival
techniques are taught in conjunction with the traditional full studies
of acupuncture, Royal Family acupressure, herbal and natural
medicines, and bone setting.

Training:

A typical training session includes Meditation (beginning and end of
class). Total body stretching and warm-up exercises. Basic punching
and kicking practice. Ki power exercises. "Basic-8" combination drills
(which vary by belt rank). Two-man countering techniques (vary by belt
rank). Open session which may include: sparring, tumbling, grappling,
sweeps, or advanced techniques. Self-defense techniques. Cool down
exercises. Hwa Rang Do code of ethics.

For further information, please refer to http://www.hwarangdo.com
and/or write to:
World Hwa Rang Do Association
8200 E. Firestone Blvd.,
Downey, Ca 90241
[phone]


16.12) Iaido

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: The Art of drawing the sword for combat.

Origin: Japan

History:

This art is very old, and has strong philosophical and historical ties
to Kenjutsu. It was practiced by Japanese warriors for centuries.

Description:

The object is to draw the sword perfectly, striking as it is drawn,
so that the opponent has no chance to defend against the strike.

Training:

Usually practiced in solo form (kata), but also has partner forms
(kumetachi).

Sub-Styles: Muso Shinden Ryu, Muso Jikishin Ryu, and others.


16.13) Judo

(Contributors: Neil Ohlenkamp - ***@aol.com,
Michael D'Auben - ***@compuserve.com)

Intro:

Judo is a sport and a way to get in great shape, but is also very
useful for self-defense.

Origin: Japan

History:

Judo is derived from Jujutsu (see Jujutsu). It was created by
Professor Jigoro Kano who was born in Japan in 1860 and who died in
1938 after a lifetime of promoting Judo. Mastering several styles of
jujutsu in his youth he began to develop his own system based on
modern sports principles. In 1882 he founded the Kodokan Judo
Institute in Tokyo where he began teaching and which still is the
international authority for Judo. The name Judo was chosen because it
means the "gentle way". Kano emphasised the larger educational value
of training in attack and defense so that it could be a path or way of
life that all people could participate in and benefit from. He
eliminated some of the traditional jujutsu techniques and changed
training methods so that most of the moves could be done with full
force to create a decisive victory without injury.

The popularity of Judo increased dramatically after a famous contest
hosted by the Tokyo police in 1886 where the Judo team defeated the
most well-known jujutsu school of the time. It then became a part of
the Japanese physical education system and began its spread around the
world. In 1964 men's Judo competition became a part of the Olympics,
the only eastern martial art that is an official medal sport. In 1992
Judo competition for women was added to the Olympics.

Description:

Judo is practiced on mats and consists primarily of throws
(nage-waza), along with katame-waza (grappling), which includes
osaekomi-waza (pins), shime-waza (chokes), and kansetsu-waza
(armbars). Additional techniques, including atemi-waza (striking) and
various joint locks are found in the judo katas. Judo is generally
compared to wrestling but it retains its unique combat forms. As a
daughter to Jujutsu these techniques are also often taught in Judo
classes.

Because the founder was involved in education (President of Tokyo
University) Judo training emphasizes mental, moral and character
development as much as physical training. Most instructors stress the
principles of Judo such as the principle of yielding to overcome
greater strength or size, as well as the scientific principles of
leverage, balance, efficiency, momentum and control.

Judo would be a good choice for most children because it is safe and
fun.

Training:

Judo training has many forms for different interests. Some students
train for competition by sparring and entering the many tournaments
that are available. Other students study the traditional art and
forms (kata) of Judo. Other students train for self-defense, and yet
other students play Judo for fun. Black belts are expected to learn
all of these aspects of Judo.

Sub-Styles:

Because Judo originated in modern times it is organized like other
major sports with one international governing body, the International
Judo Federation (IJF), and one technical authority (Kodokan). There
are several small splinter groups (such as the Zen Judo Assoc.) who
stress judo as a "do" or path, rather than a sport.

Unlike other martial arts, Judo competition rules, training methods,
and rank systems are relatively uniform throughout the world.


16.14) Jujutsu

(Contributor: Darren Wilkinson - ***@hippo.herston.uq.oz.au)

Intro:

Old, practical, fighting art. A parent to Judo, Aikido, and Hapkido.

Origin: Japan

History:

The begining of Ju-jutsu can be found in the turbulent period of
Japanese history between the 8th and 16th Century. During this time,
there was almost constant civil war in Japan and the classical
weaponed systems were developed and constantly refined on the battle
field. Close fighting techniques were developed as part of these
systems to be use in conjunction with weapons against armoured, armed
apponents. It was from these techniques that Ju-jutsu arose.

The first publicly recognised Ju-jutsu ryu was formed by Takenouchie
Hisamori in 1532 and consisted of techniques of sword, jo-stick and
dagger as well as unarmed techniques.

In 1603, Tokugawa Ieyasu brought peace to Japan by forming the
Tokugawa military government. This marked the beginning of the Edo
period of Japanese history (1603-1868), during which waring ceased to
be a dominant feature of Japanese life.

In the beginning of this period there was a general shift from
weaponed forms of fighting to weaponless styles. These weaponless
styles were developed from the grappling techniques of the weaponed
styles and were collectively known as ju-jutsu. During the height of
the Edo period, there were more than 700 systems of jujutsu.

The end of the Edo was marked by the Meiji Restoration, an abortive
civil war that moved power from the Shogun back to the Emperor. A
large proportion of the Samurai class supported the Shogun during the
war. Consequently, when power was restored to the Emperor, many things
related to the Samurai fell into disrepute. An Imperial edict was
decreed, declaring it a criminal offence to practice the old style
combative martial arts. During the period of the Imperial edict,
Ju-jutsu was almost lost. However, some masters continued to practice
their art "under-ground", or moved to other countries, allowing the
style to continue. By the mid twenty century, the ban on ju-jutsu in
Japan had lifted, allowing the free practicing of the art.

Description:

The style encompasses throws, locks, and striking techniques, with a
strong emphasis on throws, locks, and defensive techniques. It is
also characterized by in-fighting and close work. It is a circular,
hard/soft, external style.

Training: Practical with a heavy emphasis on sparring and mock combat.

Sub-Styles:

There are many, each associated with a different "school" (Ryu). Here
is a partial list: Daito Ryu, Danzan Ryu, Shidare Yanagi Ryu, Hokuto
Ryu, Hakko Ryu, Hontai Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu.

A more modern addition to this list is "Brazilian Jujutsu" or "Gracie
Jujutsu", so named because of its development by the Gracie family of
Brazil. Gracie/Brazilian Jujutsu (or GJJ/BJJ as it has come to be
known on rec.martial-arts) has a heavy emphasis on
grappling/groundfighting.


16.15) Kajukenbo

(Contributors: Peter Jason Ward - [e-mail],
Todd D. Ellner - ***@cs.pdx.edu)

Intro:

An eclectic martial art that is a blend of Karate, Judo, Kempo, and
Boxing, from which arts it takes its name.

History:

Kajukenbo was synthesized in the Palomas settlements of Hawaii during
the years 1949-1952. Five practitioners of their respective martial
arts developed Kajukenbo to complement each others styles to allow
effective fighting at all ranges and speeds. The last living founder
of Kajukenbo is Sijo Adriano D. Emperado who practiced kempo and
escrima. (Other founders are P.Y.Y. Choo, Frank Ordonez, J. Holck,
and Professor C. Chang). It was decided that kempo would be the
scafolding around which Kajukenbo was built. The arts drawn upon to
found Kajukenbo are Tang soo do, judo, ju-jitsu, kempo, and chu'an fa
gung fu (Chinese boxing); hence the name Ka-ju-kem-bo (Tang Soo Do was
shortened as a form of karate, even though that is technically
incorrect).

To test the effectiveness of their origional techniques the five
founders would get into fights around the Palomas settlements (the
worst slum in Hawaii at the time). If the technique succeeded
consistently in streetfighting it was kept as part of the system.

From these field test came Kajukenbo's Quins (known as the Palomas

sets (forms or kata)), Natural laws (self-defense), Tricks
(close-quarters fighting), and grab arts (escapes).

Description:

Kajukenbo concentrates on being an effective art at all ranges of
fighting, kicking -> Punching -> Trapping -> Grappling. While many
schools of karate and Korean martial arts concentrate on kata,
Kajukenbo stresses the self-defence movements over the relatively
fewer forms in the art. The reasoning behind this is that a
practitioner must be capable of defending himself in streetfighting
situations before turning inward to perfect the 'art' of Kajukenbo.
At higher levels there is meditative and chi training, but the author
cannot comment further at his level of experience.

Kajukenbo stresses the following-up of techniques based on an
opponents reactions and not stopping with just one hit. The reasoning
is that while one should strive to end a fight with the fewest
techniques nessesary, it is important to know how an opponent will
respond to attacks, and how best to take advantage of his reactions.
A major ethical point behind my instruction was, "If he starts the
fight, you decide when the fight is over."

Training:

The training is physically intense and very demanding. Exercise is a
part of the class structure to insure that practitioners will be
physically capable of defending themselves outside of the dojo. The
warm-up and callistenics typically last 1/3 of the class period.
Emphasis is placed on bag work (kick, punching, elbows, and knees) as
well as sparring and grappling (contact with control). After a certain
amount of time training, students begin to throw real punches at each
other and their partner is expected to react appropriately or face the
consequences. Learning to absorb and soften an impact is also a major
facet of training. Quins (kata) are performed to fine-tune a person's
movements while working with partners for self defense teaches a
student how to manipulate an opponent and follow up on his reactions.

Sub-Styles:

Kajukenpo, formed in 1970 by Algene Caraulia, and headquartered in
Cleveland, Ohio (from Anthony Schaaf <***@mtu.edu>).

Kenpo Karate is considered to be a sub-style of Kajukenbo (see

eparate entry on Kenpo) and is very close to "the original"
Kajukenbo.

Tum Pai, created in part by Sifu Al Dacascos, is adminstered by Sifu
Jon Loren, and incorporates more of the soft, internal Chinese arts.

Kajukenbo Chuan Fa was created by Dela Cruz and Professor Emperado and
has been taken over by Leonard Endrizzi and Bill Owens. It includes
more Chinese martial arts than Kenpo Karate and is softer but no less
rigorous.

Wun Hop Kuen Do is the newest sub-style - the personal expression of
Sifu Dacascos, containing the original syllabus but with more Chinese
and Filipino influence.


16.16) Kali/Escrima/Arnis

(Contributors: Andy Maddox - ***@clark.net
Russ Rader - ***@ix.netcom.com
Tim Rivera - ***@umr.edu)

Intro:

Kali, Escrima, and Arnis are all terms for the native fighting arts of
the Philippines, specifically the arts that use weapons. 'Arnis' and
'Escrima' (or 'Eskrima') are words rooted in Spanish, while 'Kali'
shows up in various pre-Spanish Pilipino dialects.

Some authorities say that Arnis is a term used in the northern parts of
Luzon Island, Escrima or Eskrima is used more commonly in the middle
parts of the Philippines, such as Cebu City, and Kali is used in the
southern island of Mindanao. Some of those who say that Kali is the
term for the southern styles claim that, since Mindanao was never
conquered by the Spanish to the extent that the rest of the Philippines
was, Kali more closely resembles the original pre-Spanish arts of the
area, and is more "complete" (covers more combative possibilities).

There are also some who claim that the word Kali is part of a modern
attempt to marginalize the Spanish (and other European) influence on
Filipino martial arts, and some go so far as to refer to Kali as a
"Filipino-American" style.

However, most people tend to say that the words don't matter - every
village, and often every master, has a distinct style, and that's what
the important thing is - "do you study Illustrisimo, Caballero, or
Cabales style?" Not "do you study escrima or kali?"

Origin: The Phillipines

History:

Filipino martial arts are the result of the interaction of Spanish and
possibly Italian and other European styles of sword-fighting (cut and
thrust rather than fencing, probably) with the native arts that existed
at the time. Although the European influence is probably mostly
Spanish, there is some evidence of Italian and possibly other European
mercenaries present in the Phillippines, and they probably used (and
possibly taught) their own native fighting styles.

The most popular legend concerning the Filipino arts is that Datu
(Chief) Lapu Lapu killed the Spanish explorer Ferdinand Magellan in
personal combat.

Description:

There are many different styles of Filipino martial arts, but general
categories can be drawn along the lines of range. Largo Mano styles
tend to prefer staying at long distance from their opponents, and using
well-timed and placed strikes to the hands of their opponents to disarm
them. Corto or Serrada styles are the opposite, tending to crowd into
their opponents, where the opponent will hopefully be uncomfortable and
unprepared, while the Serrada practitioner, by virtue of his practice,
will feel at home at this range. Other styles prefer the medio, or
middle range, which is between Largo Mano and Serrada. There are also
styles, such as Lameco Escrima, that address all three ranges. The
name Lameco even comes from these ranges; (La)rgo Mano, (Me)dio, and
(Co)rto.

The different Filipino styles typically cover some (or all) of the following
areas:

1 Single Stick (or long blade)
2 Double long weapon
3 Long & Short (sword & dagger, e.g.)
4 Single dagger
5 Double Dagger
6 Palm Stick/Double-end Dagger
7 Empty Hands (punching, kicking, grappling)
8 Spear/Staff, long weapons (two-handed)
9 Flexible weapons (whip, sarong, etc.)
10 Throwing weapons
11 Projectile weapons (bows, blowguns)
12 Healing arts

A further distinction that some people make is that some Filipino
styles are, at their heart, blade arts, while others are designed to
work with sticks. There are some arts, such as Sayoc Kali, that focus
on the knife almost exclusively, while there are others, such as some
lineages of Balintawak Eskrima, that focus almost entirely on the
single stick. This focus in certain lineages or styles may be the
origin of the notion that Kali is more "complete" than Arnis or
Escrima. However, this is a matter of some contention.

A distinctive feature of all of these Filipino arts is their use of
geometry. In strikes/defenses and movement, lines and angles are very
important. In addition, the independent use of the hands, or hands and
feet, to do two different things at the same time, is a high-level
skill sought after a fair amount of experience.

Training:

Filipino styles normally classify attacks not by their weapon, or
their delivery style, but by the direction of their energy - for
example, a strike to the head is usually analyzed in terms of "a high
lateral strike." A punch to the gut is treated much the same as a
straight knife thrust to that region would be. Students learn how to
deal with the energy of the attack, and then apply that knowledge to
the slight variations that come with different lengths and types of
weapons.

Filipino arts place great emphasis on footwork, mobility, and body
positioning. The same concepts (of angles of attack, deflections,
traps, passes, etc.) are applied to similar situations at different
ranges, making the understanding of ranges and how to bridge them very
important. The Filipinos make extensive use of geometric shapes,
superimposing them on a combat situation, and movement patterns, to
teach fighters to use their position and their movement to best
advantage. Some styles emphasize line-cutting (a la Wing Chun), while
some are very circular (like Aikido). Some like to stay at long range,
some will move inside as soon as possible. These differences are hotly
debated, as are most things, but they all work differently for
different people.

Most Filipino arts stress the importance of disarming an opponent in
combat. This is not usually done gently, or by using a complex disarm
(although these are taught), but by "destroying" the hand holding the
attacking weapon using your weapon (break the hand, and the stick will
fall.) This is often referred to as "de-fanging the snake", since a
poisonous snake that has no fangs cannot harm you.

Sub-Styles:

Latosa Escrima, Serrada Escrima, Dumog, Panandiakman, Panantukan, Sikaran.

Serrada Escrima, Balintawak Eskrima, Modern Arnis, Garimot Arnis,
Inosanto/LaCoste Kali, Sayoc Kali, Doce Pares, Pekiti-Tirsia Kali, many
more.


16.17) Karate

(Contributors: Howard S. High - ***@kuhub.cc.ukans.edu,
Avron Boretz - ***@cornell.edu,
Izar Tarandach - ***@cs.huji.ac.il,
Richard Parry - ***@kosmos.wcc.govt.nz)

Intro:

Somewhat generic term used for Japanese and Okinawan fighting arts.

Origin: Okinawa

History:

Karate is a term that either means "Chinese hand" or "Empty hand"
depending on which Japanese or Chinese characters you use to write it.
The Okinawan Karates could be said to have started in the 1600s when
Chinese practitioners of various Gongfu styles mixed and trained with
local adherents of an art called "te" (meaning "hand") which was a
very rough, very simple fighting style similar to Western boxing.
These arts generally developed into close- range, hard, external
styles.

In the late 19th century Gichin Funakoshi trained under several of the
great Okinawan Karate masters (Itosu, Azato) as well as working with
Jigoro Kano (see Judo) and Japanese Kendo masters (see Kendo).
Influenced by these elements, he created a new style of Karate. This
he introduced into Japan in the first decade of the 20th century and
thus to the world. The Japanese Karates (or what most people refer to
when they say "karate") are of this branch.

Description:

Okinawan Karate styles tend to be hard and external. In defense they
tend to be circular, and in offense linear. Okinawan karate styles
tend to place more emphasis on rigorous physical conditioning than the
Japanese styles. Japanese styles tend to have longer, more stylistic
movements and to be higher commitment. They also tend to be linear in
movement, offense, and defense.

Both tend to be high commitment, and tend to emphasize kicks and
punches, and a strong offense as a good defense.

Training:

This differs widely but most of the Karate styles emphasize a fairly
equal measure of basic technique training (repitition of a particular
technique), sparring, and forms. Forms, or kata, as they are called,
are stylized patterns of attacks and defenses done in sequence for
training purposes.

Sub-Styles: (Okinawan): Uechi-Ryu, Goju-Ryu, Shorin-Ryu, Isshin-Ryu
(Japanese): Shotokan, Shito-Ryu, Wado-Ryu

Here is a more complete list (complements of Howard High) in which
Okinawan and Japanese styles are mixed:

Ashihara, Chinto-Ryu, Chito-Ryu, Doshinkan, Gohaku-Kai, Goju-Ryu
(Kanzen), Goju-Ryu (Okinawan), Goju-Ryu (Meibukan), Gosoku-Ryu,
Isshin-Ryu, Kenseido, Koei-Kan, Kosho-Ryu Kenpo, Kyokushinkai, Kyu
Shin Ryu, Motobu-Ryu, Okinawan Kempo, Okinawa Te, Ryokukai, Ryuken,
Ryukyu Kempo, Sanzyu-Ryu , Seido, Seidokan, Seishin-Ryu, Shindo
Jinen-Ryu, Shinjimasu, Shinko-Ryu, Shito-Ryu (Itosu-Kai), Shito-Ryu
(Seishinkai), Shito-Ryu (Kofukan), Shito-Ryu (Kuniba Ha) , Shito-Ryu
(Motobu Ha), Shorin-Ryu (Kobayashi), Shorin-Ryu (Matsubayashi),
Shorin-Ryu (Shobayashi), Shorin-Ryu (Matsumura), Shorinji Kempo,
Shorinji-Ryu, Shoshin-Ryu, Shotokai, Shotokan, Shotoshinkai, Shudokai,
Shuri-Ryu, Shuri-Te, Uechi-Ryu , Wado-Kai, Wado-Ryu, Washin-Ryu,
Yoseikan, Yoshukai, Yuishinkan.

Sub-Style Descriptions:

Wado-Ryu was founded by Hironori Ohtsuka around the 1920s. Ohtsuka
studied Jujutsu for many years before becoming a student of Gichin
Funakoshi. Considered by some to be Funakoshi's most brilliant
student, Ohtsuka combined the movements of Jujutsu with the striking
techniques of Okinawan Karate. After the death of Ohtsuka in the early
1980s, the style split into two factions: Wado Kai, headed by
Ohtsuka's senior students; and Wado Ryu, headed by Ohtsuka's son,
Jiro. Both factions continue to preserve most of the basic elements of
the style.

Uechi-ryu Karate, although it has become one of the main Okinawan
martial arts and absorbed many of the traditional Okinawan karate
training methods and approaches, is historically, and to some extent
technically quite separate. The "Uechi" of Uechi-ryu commemorates
Uechi Kanbun, an Okinawan who went to Fuzhou, the capital city of
Fujian province in China in 1897 to avoid being drafted into the
Japanese army. There he studied under master Zhou Zihe for ten years,
finally opening his own school, one of the few non-Chinese who
ventured to do so at the time. The man responisble for bringing
Uechi-ryu to the US is George Mattson.

Uechi-ryu, unlike the other forms of Okinawan and Japanese karate
mentioned in the FAQ, is only a few decades removed from its Chinese
origins. Although it has absorbed quite a bit of Okinawan influence
and evolved closer to such styles as Okinawan Goju-ryu over those
decades, it still retains its original Chinese flavor, both in its
technique and in the culture of the dojo. It is a "half-hard,
half-soft" style very similar to such southern Chinese styles as
Fukienese Crane (as still practiced in the Chinese communities of
Malaysia), Taiwanese Golden Eagle, and even Wing Chun. Conditioning
the body for both attack and defense is a common characteristic of
both Okinawan karate and southern Shaolin "street" styles, and as such
is an important part of Uechi training. There is a strong internal
component to the practice, including focused breathing and tensioning
exercises similar to Chinese Qigong. Uechi, following its Chinese
Crane heritage, emphasizes circular blocks, low snap kicks, infighting
(coordinating footwork with grabs, locks, throws, and sweeps), and
short, rapid hand traps and attacks (not unlike Wing Chun).


16.18) Kendo

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: This is a popular sport in Japanese communities.

Origin: Japan

History:

Kendo is the sport and competitive form of Kenjutsu. Kendo has been
practiced for a long time in one form or another.

Description:

The practitioners wear protective armor and use simulated swords
(split bamboo called "shinai") to "spar" against one another. Strike
areas are limited as are moves. It is a very formal art. It is
linear, hard, and external.

Training:

Training mostly consists of two-person drills, basics, and some kata
that have been retained from kenjutsu between individuals.

Sub-Styles: none (?)


16.19) Kenjutsu

(Contributor: Al Bowers - ***@wilbur.dfrf.nasa.gov)

Intro: The combative use of a sword.

Origin: Japan

History:

The origins of this art are lost in the midst of history. It probably
has its origins in 12th century or 11th century Japan. It is famous
in myth and story from people like Miyamoto Mushashi in the 15th
century.

There are 4 root systems, Cujo-ryu, Nen-ryu, Kage-ryu and Shinto Ryu.
These probably all have roots prior to the beginning of the 16th
century. In the 16th century, there was an explosion of styles, with
many being formed between then and the present.

Modern kenjutsu schools trace from either the monk Jion (Nen ryu or
Cujo ryu) or from Iiosai, the founder of the Tenshin Shoden Katori
Shinto Ryu.

Description:

This is a hard, weapon style using the Japanese sword. It involves
powerful, high commitment strikes to selected targets in order to kill
the opponent. There is a strong side of spiritual and philosophical
study, similar in a way to that of Aikido.

Training:

There is a large amount of two-person work, mostly with wooden swords
(bokken). Some schools use the fukuru shinai, an ancestor of todays
weapon (Shinkage ryu, Nen-ryu). Sparring is a developed student
activity.

Sub-Styles:

Kage, Shinkage, Yagyu Shinkage Cujo, Itto-ryu, Nen-ryu, Katori Shinto
Ryu, Kashima shin-ryu, Niten-ichi-ryu, Jigen-ryu.

Shinkage was a royal school - for the Shogun.


16.20) Kenpo (American - see also Kajukenbo)

(Contributor: Stephen Kurtzman - ***@kurtzman.com)

Note: In the Japanese language, the consonants "n" and "m" have the
same symbol, thus the English spelling can be rendered either "Kempo"
or "Kenpo". There are several arts in this family, but the spelling
of "Ken/mpo" is not of significance in distinguishing between them.

This art is also called Kenpo Karate. American Kenpo is an eclectic
art developed by Hawaiian Ed Parker in the 60s. The art combines the
Kara-Ho Kenpo which Parker learned from William Chow with influences
from Chinese, Japanese, Hawaiian, and Western Martial sources.

American Kenpo blends circular motions and evasive movements with
linear kicks and punches. The art is oriented toward street-wise self
defense. A big emphasis on basics, sparring, and kata. It is similar
to most Karate styles in its training mechanisms.

The Tracy schools of Kenpo teach Parker's style, but are a
"politically" separate organization.


16.21) Kempo (Kosho Ryu)

Contributor: Mark Edward Bober (***@itw.com)

Introduction:

Kosho Ryu Ken/mpo is a philosophical art much like Jeet Kune Do but
with a Zen influences...lots of mind science material and healing
arts. It is not a style of compiled kata or specific techniques..it is
a study of all motion and therefore cannot be stylised to look like a
specific teacher or animal movement. Thus, this writeup will discuss
only the history of the art.

Origin: Japan

History:

Kosho Shorei Kempo was created by several happenings, spanning a
period of centuries. According to Mitose Sensei, during the invasion
of Genghis Khan, the Head Monk of the Shaolin Temple fled China and
found refuge with the Mitose family. In appreciation for the kindness
of the Mitose's, he taught them Shaolin Chuan Fa (Shorinji Kempo in
Japanese). From James Mitose's book:

"Fifteen hundred years ago, the ancestor (of the Author) was a Shinto
priest. He studied and taught many different martial arts including
sword fighting, lance fighting, fighting with the bow and arrow,
fighting on horseback, and swim fighting. Some arts looked like Kempo,
Karate, Gongfu, and Ju-jitsu- but they were different in many ways.
He mastered all of these arts and became Grand Master. Then Grand
Master Mitose founded a martial arts school and called his style
Mitose's Martial Art School."

In 1235 a Shinto priest whom James Mitose called his first ancestor
became enlightened to what we call Kempo. According to Mitose, this
man was a martial arts master and a Buddhist monk studying at Shaka-In
who found it difficult to be both. His religion taught him pacifism;
his martial art taught him destruction. He pondered this dilemma under
an old pine tree meaning Kosho in Japanese. He became enlightened and
was from then on known as, Kosho Bosatsu, the Old Pine Tree
Enlightened One. He discovered the relationship between man and Nature
and also the secret of the Escaping Arts which is what makes Kempo a
True and Pure Kempo or study of all Natural Law through a Martial Arts
medium. Then "the Grand Master founded the Kosho Shorei Temple of
Peace, True Self Defense and Kosho Shorei Yoga School. At that time,
he made up the Coat of Arms and the Motto for his Temple. In his
Temple, he taught how to escape from being harmed by using the
escaping patterns, with God's help."

Only 2 people in the world learned the Escaping Arts from Mitose
Sensei and one of these two learned all the facets of Kosho, namely
its 22 Generation Grandmaster Bruce Juchnik. The highest goal is to
defend oneself without body contact unlike Okinawan/Japanese Karate
systems or many other Ken/mpo systems.

Kosho Ryu influences can be seen in Ed Parker and his creation
American Kenpo. He added many labels to concepts inherent in Kosho
that had Japanese names or no labels at all.

References: "What Is Self Defense" 1953 James M. Mitose
"What Is True Self Defense" 1981 James M. Mitose


16.22) Kempo (Ryukyu)

(Contributor: Al Wilson - ***@drunivac.drew.edu)

Intro:

Ryukyu Kempo (which roughly translates into Okinawan kung-fu, or
Chinese boxing science) is the original style of martial arts learned
and taught by Gichin Funakoshi on the island of Okinawa (1). It
stresses the existence of body points within your opponent that can be
struck or grappled for more effective fighting.

Origin: Okinawa Islands (Ryukyu island chain).

History:

Practioners of Ryukyu Kempo believe that karate-do is a popular
subform of Kempo, established within this century by Gichin Funakoshi.
People with original copies of Funakoshi's first edition book _Ryukyu
Kempo_ state that he is clearly is grappling and touching an opponent.
Later editions and current karate books only show a practioner with a
retracted punch, where the original shows actively grappling an enemy.
It is felt that Funakoshi was the last of the purists, wanting all to
learn the art.

In subseqent years, the Okinawans, who have a culture and history of
their own, became disenchanted with the Japanese, and were less
inclined to teach them the "secret techniques" of self defence. When
American military men occupied Japan after WWII, they became enamored
of the martial-arts. It is theorized that the Japanese and Okinawans
were reluctant to teach the secrets of their national art to the
occupiers, and so taught a "watered down" version of karate-do usually
reserved for children. Contemporary Kempo practioners practice
"pressure point fighting" or Kyushu-jitsu and grappling, called Tuite.
It is an exact art of striking small targets on the body, such as
nerve centers, and grappling body points in manners similar to Jujitsu
or Aikido(2).

Modern teachers of this are George Dillman of Reading, PA, Taiku Oyata
of Independence, Missouri, Rick Clark of Terre Haute, Indiana, and
others.

Training:

The practioners of kempo believe that kata do not represent origin or
direction of attacks but positional techniques for the defender.
Concentration is made on physical perfection of kata and the Bunkai,
or explanation of the movements. Tournaments of kata and kumite
(sparriing) are encouraged as learning experiences, but not overly
stressed. Also taught is Kobudo, which is defined as weapons fighting
using ordinary hand tools.

Five principles to be observed in Oyata's school:
1. Proper distance.
2. Eye contact.
3. Minimum pain inflication on your opponent.
4. Legally safe.
5. Morally defensible.(3)

There are a couple of physical differences in Kempo and many other
styles. One is a three-quarter punch, rather than a full twist.
Second is a fist whereby the thumb stops at the first finger, rather
than the first two fingers. Third is the sword hand, which has the
little finger placed as parallel as possible to the third finger and
the thumb straight and on the inside rather than bent.(2)

References:
(1) _Karate-Do: My Way of Life_ by Gichin Funakoshi
(2) _Kyusho Jitsu: The Dillman Method of Pressure Point Fighting_
by George A. Dillman with Chris Thomas.
(3) _Ryukyu Kempo: History and Basics_ by J. D. Logue (Oyata
student).

Sub-Styles:


16.23) Kobudo

(Contributors: Steve Gombosi - ***@craycos.com,
John Simutis - ***@ingres.com)

Intro:

"Kobudo" literally means "ancient martial ways". In the karate world,
it generally refers to those traditional Okinawan weapons whose
history and practice has been linked to that of karate.

Origin: Okinawa

Description:

Most Okinawan styles have at least some kobudo/kobujutsu curriculum.
In addition, there are at least two major Okinawan organizations whose
primary focus is these weapons arts: the Ryukyu Kobudo Hozon
Shinko-kai and the Okinawa Kobudo Renmei. In the US there is 'Okinawa
Kobudo Association, USA'; the shihan in the US is in Citrus Heights,
CA. There may be other US Kobudo organizations.

The most common kobudo weapons (and the ones most often taught by
Okinawan karate systems) are:

bo - staff, usually a rokushakubo or "six foot staff", although 4, 9,
and 12 foot staffs are also used.
sai - three-tined iron clubs, usually carried as a set of 3.
nunchaku - two short tapered wooden clubs, connected at the narrow
ends by a short rope or chain (a flail, as well as other uses).
kama - a sickle, used singly or in pairs;
tuifa/tonfa - a club with a hand-length perpendicular handle, the
ancestor to the police PR-24; usually used in pairs.

Less common weapons are:

koa - a hoe.
eku - a boat oar.
tekko - essentially brass knuckles.
shuchu - a small kubotan-like thing about 5" long.
san-setsu-kon - the 3-section staff.
surujin/suruchen - a weighted chain with a spike or blade on one end -
similar to the Chinese chain whip or the Japanese manrikigusari;
tinbe - actually, this is two weapons...the tinbe itself, which is a
small shield traditionally made of the shell of a sea tortoise, and
the rochin, which is a short spear with a cutting blade - the weapon
actually resembles a Zulu spear more than anything else.
kusarikama - a kama on the end of a rope or chain.
nunti - a short spear.

and a few other oddball implements of mayhem including spears and the
occasional pilfered Japanese sword ;-).


16.24) Krav Maga

(Contributor: Peter Muldoon - ***@bway.net)

Intro: The Israeli official Martial Art

Origin: Israel

History:

The Krav Maga was developed in Israel in the early forties when the
underground liberation organizations were fighting for the
independence of the State of Israel. At that time, it was illegal to
possess weapons. The inventor and developer of the Krav Maga was a
champion heavy weight boxer, a judo champion, and an expert in
jiu-jutsu. In addition, he was as a trapeze acrobat and a well known
dancer. The knowledge he thus obtained, contributed to the
development of the Israeli martial art of self defense. There is no
hidden meaning behind the name Krav Maga, and literarily means
"contact fight / battle".

The Krav Maga was put into practice originally by the fighters of the
liberation organizations that often went to battle armed with knives
or sticks and with the knowledge of Krav Maga, and they were very
successful. After the establishment of the State of Israel, Krav Maga
was adopted as the official martial art taught in the defense forces,
and especially in the elite police and army units. Krav Maga was
integrated into army training by Imi Lichenfield, a career IDF officer
and chief instructor at the armys physical training facility at the
Wingate Institute. Imi is still active involved in the Krav Maga
Association and maintains the role of president.

Over the years, the Krav Maga has turned into an integrated part of
training in many disciplines such as educational institutes. Krav
Maga is taught in many public schools in Isreal.

Description:

The Krav Maga is not an ecletic martial art system, rather, it was
developed with the perception that the classic martial arts were
lacking various elements. The defense needs in the eras that the
classic martial arts were developed were different than those of
today. New unique techniques for defense against pistols, guns and
hand grenades were considered needed, and therefore developed.

Krav Maga has no katas or specific sequences that must be followed.
Students use the basic moves in conjunction with any one of a number
of other moves to fend off an attack, the key idea being adaptability
to new situations through improvisation. Emphasis is put on speed,
endurance, strength, accuracy and co-ordination especially for

intensive Krav Maga training.

Training:

Since the Krav Maga by definition is for self defense, it does not
have any constitution and judicial rules and therefore there are no
contests and exhibitions. The training is for practical usage in the
every day reality. There is a colored belt system with a Black Belt
typically granted after 8 to 10 years of practice. Spiritual and
philosophical aspects are studied only at the Black Belt level.

Get information from this website:
http://www.bway.net/~muldoon/km.html and/or write to:

Krav Maga Academy
57 West 84 st.
New york, NY 10024
[phone]

Another website:
Brazilian Association of Krav Maga: http://www.kravmaga.com.br

Sub-Styles: None.


16.25) Kyudo

(Contributor: E.Clay Buchanan - ***@microfocus.com)

Intro: Japanese target archery practiced as a martial art.

Origin: Japan.

History:

Kyudo, the Way of the Bow, is the oldest of Japan's traditional
martial arts. The bow has been used in Japan since prehistoric times.
From the fourth to the ninth century, close contacts between China
and Japan had a great influence on Japanese archery, especially the
Confucian belief that through a person's archery their true characters
could be determined. Over hundreds of years archery was influenced by
the Shinto and Zen Buddhist religions along with the pressing
practical requirements of warriors. Court nobles concentrated on
ceremonial archery while the warrior class emphasized kyujutsu, the
martial technique of using the bow in actual warfare.

With the introduction of firearms the bow as a weapon was neglected
and almost died out all together until Honda Toshizane, a kyudo
instructor at Tokyo Imperial University, combined elements of the
warrior style and the court ceremonial style into a hybrid style which
ultimately became known as the Honda Ryu (Honda martial school). This
style found great favor with the general public and he is generally
credited with saving Japanese Archery from oblivion. With the
American occupation banning all martial art instruction, traditional
kyujutsu schools declined further and when the ban was lifted, Kyudo,
as opposed to kyujutsu, became widely practiced and the Zen Nihon
Kyudo Federation (All Japan Kyudo Federation) was established in 1953,
publishing the standard kyudo textbook called the Kyohon, and
overseeing Kyudo development both in Japan and internationally up to
the present time. There now exists a European Kyudo Federation which
has annual seminars and promotion tests and in 1993 the first such
seminar and promotion test was held in America in San Jose,
California.

Description:

Kyudo is a highly meditative martial art whose ultimate goals are Shin
(Truth i.e. the ultimate reality), Zen (Goodness) and Bi (Beauty).
When asked the question "What is Truth?" a master archer would pick up
a bow and arrow and shoot it, without saying a word, allowing the
level of mastery of the bow to serve as the gauge of the archer's
progress along the "way" thereby showing the archer's knowledge of
reality i.e. "Truth" itself.

By such diligent practice Confucian theory teaches that the archer
will become morally good (Zen), and this sincerity of personality will
excite the aesthetic sense of anyone watching at an intuitive,
emotional level giving the performance a beauty derived not only from
the technical skill of the archer but also from the archer's emotional
maturity and spiritual sincerity.

Training:

Students typically begin by practicing visualization: performing the
shooting motions with no equipment and then perhaps using the gomuyumi
(rubber bow), a short stick with a length of rubber tube attached, to
acquire the feel of real bow resistance. The first actual shots are
fired into a straw bundle, called a makiwara, from a short distance of
about three feet. The student then progresses to target shooting at a
fixed regulation distance of 28 meters.

All students, no matter which instructor or school, will shoot the
same design of Japanese bow which is little changed from the twelfth
century. Traditionally made of hardwoods laminated front and back with
bamboo the Japanese bow is one of the longest in the world, usually
over seven feet in length. It is a natural double recurve bow with the
arrow nocked one third of the way from the bottom and the bow actually
rotating in the hand at release approx. 270 degrees. The unique
design of the bow requires that the bow actually be torqued or twisted
in full draw to make the arrow fly straight.

Sub-styles:

Technically, styles can be divided into two broad categories, shamen
uchiokoshi and shomen uchiokoshi, the modern shomen uchiokoshi style
having been developed by Honda Toshizane. Shamen archers predraw the
bow at an angle to the body and fix their grip on the bow before
raising it. Shomen archers raise the bow straight over the head and
fix their final grip on the bow in a predraw above the head.

There were dozens of traditional schools before World War II and many
of them survive today provoking endless debate as to the superiority
of one over the other. In fact, some traditional schools still do not
use the word kyudo preferring the word kyujutsu instead to describe
their teachings. Some styles heavily emphasize the spiritual aspect of
shooting and some proponents of Zen Archery view kyudo as a way to
further their own spiritual development in Zen Buddhism.

=====================================================================
Disclaimer and Copyright Notice

Some answers given may reflect personal biases of the author and the
martial arts FAQ listing's contributors. The answers contained herein
pertain to discussions on the rec.martial-arts group, and are by no
means exhaustive.

The martial arts FAQ list owes its existence to the contributors on
the net, and as such it belongs to the readers of rec.martial-arts.
Copies may be made freely, as long as they are distributed at no
charge, and the disclaimer and the copyright notice are included.

[L***@tivoli.com]

Archive-name: martial-arts/faq/part4
Last-modified: 15 September 1997

Posting-Frequency: twice per month


rec.martial-arts FAQ - Part 4 of 4
==================================

Note: The sole author/maintainer of the Groaner FAQ is Lauren Radner.
Please address any replies to Lauren (***@tivoli.com).


The Groaner FAQ for Martial Arts Newsgroups (ver 1.0)
by Lauren Radner (with lots of help)

One of the primary reasons for creating the rec.martial-arts.moderated
newsgroup was to avoid "Groaner" topics... you know, the kind of
thread-from-hell that pops up over and over, with just enough
variation that you probably can't killfile it successfully.

In short, every time you see one of these come up again, you *groan*.

In these threads, nobody's mind is going to be changed, tempers will
probably flare, and the topics may even be based on assumptions that
are unprovable, insulting, or just plain wrong.

Maybe you got directed here by someone who's been around longer, and
told you something like, "Go read the Groaner FAQ, number 19".

Most of these are *not* "Frequently Asked Questions". Many of them are
more like "Frequently Made Assertions" (TKD sucks. Kata sucks. 90% of
all fights go to the ground. Gracies are invincible. etc.). Few of those
are ever raised as actual, *legitimate* *questions*. Even if they are,
they almost immediately devolve into rude and foaming assertions, or,
at least, wearisome assertions, anyway.

Many of these are off charter in rec.martial-arts.moderated for exactly
these reasons.

A "Groaner" is any of the following:

1) A question guaranteed to start a flame war or a style war, no matter
how innocently asked.

For example, "Is <style A> any good in a street fight?"

Anybody who practices <style A> will say yes. Anybody who doesn't
will say no (that's why they practice <style B> instead).

2) A question so vague that it generates no useful answers, or a flame war,
or a style war.

For example, "Which martial art is best?" averages about three posts
before devolving into a flurry of "Mine!" "No! Yours sucks! Mine's
the best!". Everybody else is wondering "Best for *what*?" and
doesn't bother to answer your question.

3) An old chestnut that people are tired of refuting or correcting. This is
the martial arts equivalent of an urban myth. These topics elicit the
same response that you have when you see "Craig Shergold Needs Your
Cards" in your e-mail inbox.

For example, "Belts have all those colours because you start out
with a white belt, and the more you work out, the dirtier it gets,
until it eventually turns black, when you're really, really good."

4) A statement about which there are strong contradicting opinions, and
nobody is EVER going to change anybody's mind. These are the religious
wars of martial arts newsgroups.

For example, "Chi(Qi,ki) does/doesn't exist", or "Kata is/isn't
useless".

5) A statement guaranteed to annoy, and impossible to prove.

For example, "Bruce Lee would have kicked Stephen Seagal's a**!",
or "<style/person> must be the best in the world because <it/he/she>
has never been defeated!"

(I would like to point out here that I am undefeated in all of Asia.
Of course, I have never fought in *any* of Asia. Which pretty much
guarantees I'm undefeated there.)


The purpose of the Groaner FAQ is to beg you, PLEASE, have the courtesy
not to start these up again. There's nothing new that can be said, and the
bandwidth and flaring tempers are intolerable. If you've read the below
and *Really* think you truly have something *New* to add, well then, sigh,
I can't stop you. But don't say I didn't warn you.

Right now, this is a "work in progress". A team of us have identified
what we consider to be "Groaners", and we're churning out answers as
best and as fast as we can, meaning, when we can stand to think about
them ourselves. At this point, only the "FINISHED" answers are appended.
You'll see the rest handled in due time, I hope. A screen-wide line of
"=====" separates each answer.

===========================================================================
F = "FINISHED"- Groaners whose answers are complete (or nearly so).
P = "PARTIAL" - Groaners that have some foundation for an answer, but
aren't finished.
N = "NOTHING" - Groaners that haven't been touched (We don't like thinking
about these either, ya know).

F - 1) My martial art is better than yours. (see "What is a martial art")
P - 2) X is/isn't effective "on the street".
N - 3) <Movie Star> is/isn't a superior martial artist.
N - 4) <Movie Star A> could/couldn't whip <Movie Star B's> ass.
F - 5) Wing Chun Roolz. (see "What is a martial art")
N - 6) Bruce Lee was the best martial artist ever, philosophically and
physically ahead of his time.
N - 7) TKD was practiced by one-celled amoebae who passed it down to
Jhoon Rhee, and is therefore the oldest martial art.
P - 8) Guns/knives do/don't make you invincible.
F - 9) A three-day course does/doesn't make you invincible.
N - 10) Gracie Brothers are/aren't invincible.
N - 11) Kata are/aren't useless.
N - 12) How do you fight an attack dog?
N - 13) TKD is/isn't a dessert topping.
F - 14) Style X is trash/wonderful because it does/doesn't include a
philosophic aspect. (see "What is a martial art")
P - 15) The belt system colours are like that because as a white belt gets
dirtier...
P - 16) Which constitutes a worse attack, gun versus knife?
P - 17) Will I get sued/jailed if I use my martial arts?
P - 18) Do sprays work, do tasers work, do whistles work?
F - 19) What's the best martial art for self-defense?
F - 20) 90% of all fights end up on the ground.
F - 21) Is a gun the best martial arts defense?
F - 22) What are the chances of an unarmed martial artist versus a
gun-wielder?
P - 23) So I'm sparring and the other guy starts to bleed, can I catch
AIDS?
===========================================================================

===========================================================================
Below answers these Groaners:

1) My martial art is better than yours. (see "What is a martial art")

5) Wing Chun Roolz. (see "What is a martial art")

14) Style X is trash/wonderful because it does/doesn't include a
philosophic aspect. (see "What is a martial art")

===========================================================================

WHAT IS A MARTIAL ART?

The term "martial art" is used in (at least) two different ways. This
can be confusing. Some dictionary definitions only make things worse.

The dictionary definition handy at the moment defines a martial art
as "Any of several Oriental arts of combat or self-defense, as karate,
judo, or tae kwon do, usually practiced as a sport."

That definition is guaranteed to offend just about everyone who reads
this group.

Typically this group uses "Martial Art" in one of two ways:

1) The first definition is a generic one, which defines a "Martial Art"
as the study of any kind of combat and/or self-defense techniques.

This definition includes non-oriental arts like boxing. This definition
includes both those arts practiced primarily as a sport, and those arts
practiced primarily for self-defense. This definition includes those
arts that emphasize only physical technique. This definition also
includes those arts that emphasize a philosophical or mental aspect in
addition to physical techniques. In its broadest usage, this definition
includes learning how to drive a tank or drop bombs out of a plane as a
Martial Art. This explains the somewhat facetious references you will
see to "Gun Fu", the martial art of learning how to use firearms
(implying, as the dictionary definition does, that a martial art must
be oriental to be legitimate).

2) The second definition is much narrower, and draws a distinction
between a "Martial *ART*" and a "Martial *WAY*". To offer a gross
simplification:

A martial *art* is the study of an art that emphasizes only physical
techniques. Perfection of technique is the primary concern.

A martial *way* emphasizes the study of both physical techniques and
a philosophical or mental aspect as well. Perfection of the self is
the primary concern.

The emphasis on this distinction is very clear for those arts that have
Japanese names.

Typically, Japanese martial *art* style names end in "jutsu", such as
"jiu-jutsu", "aiki-jiujutsu", or "ken-jutsu".

Typically Japanese martial *way* style names end in "do", such as
"ju-do", "aiki-do", or "ken-do".

A lot of bandwidth has been wasted by those arguing about whether something
is or isn't a martial art, without first establishing which definition -
including the dictionary definition - is being used.

According to the dictionary definition, boxing is *not* a martial art.
According to definitions one and two, above, boxing *is* a martial art.

According to the dictionary definition and definition one, above, karate
*is* a martial art. According to definition two, above, karate (frequently
written as karate-do) is *not* a martial art (it is a martial *way*).

In the end, it is really the attitude of the individual doing the
practicing that determines whether, for *them*, what they are learning
is a "martial art" or a "martial way". The person standing next to you
in your school may or may not be practicing with the same attitude as
you are - one of you may be treating what you learn as a "martial way",
and the other may be approaching the same material as a "martial art".

A Note About Posting Etiquette In rec.martial-arts.moderated
and rec.martial-arts
--------------------------------------------------

A word of caution.

Posting that your martial *art* is superior to another martial *art*
will always get you into trouble, since it is a breach of not only
netiquette, but the charter of this group.

You will get into trouble for the following reasons:

1) If you are proclaiming superiority because your "Art" has a
philosophical aspect that some other art lacks, you will seriously
annoy those who use the definition of "martial ART" as meaning "the
study of technique with no inherent emphasis on philosophy". You will
be forever embroiled in a semantic clash based on the differences
between definition one, and definition two, above.

2) Proclaiming superiority of one art over another involves some extremely
annoying assumptions, such as that:

a) You are fully aware of all the philosophic principles (if any) and
physical techniques and applications of the art you are condemning.

b) You are fully aware of all the philosophic principles (if any) and
curriculum intended by the founder(s)/leader(s) (if any) of the
art you are condemning.

c) You are intimately familiar with the motivations, philosophies,
skill level, abilities, method of practice, and experiences of each
and every practitioner of the art you are condemning, especially
those practitioners who may read your post (trust us, you aren't).

d) You have enough familiarity with the philosophical foundations
(if any) and physical techniques of whatever you practice, and
you exemplify these sufficiently, that you can legitimately
represent yourself as an authority of your style.

e) Your definition of "better" is somehow universally accepted as the
One True Basis For Evaluation. (Better for what? Defending oneself?
Becoming limber? Winning trophies? Subduing without injuring an
aggressor? Killing an aggressor? Meeting people? Learning Japanese?
Being lethal to music? Building self-esteem? Firing a gun with the
most accuracy?)

Posting that one art is superior to another is bad manners.

A posting which also violates any of the above is a combination of
arrogance and stupidity for which you will probably never be forgiven.

An unfortunate side-effect is that you will probably ruin your credibility
as far as any future postings on *any* martial arts topic to this group.
Except for whoever agreed with you to begin with, of course.


========================================================================
The below answers this Groaner:

15) The belt system colours are like that because as a white belt gets
dirtier...
========================================================================

What do all those different colored belts mean? Where do they come
from?

The belt system, as a formalized method of indicating rank, was
popularized by Professor Jigaro Kano, founder of Kodokan Judo, around
the beginning of this century. There are varying opinions as to
whether the practice predated Kano's use of it, and where it may have
come from, but it certainly wasn't common (the more traditional
practice in Japanese martial arts was, and is, the granting of scrolls
indicating various levels of abilities). The practice was adopted by
Karate, formerly a fairly obscure Okinawan folk art, as that art was
brought into the mainstream of Japanese martial arts. Many arts have
since adopted it -- for example, some Western schools teaching Chinese
martial arts use it, though this practice is somewhere between uncommon
and unheard of in China itself.

Some of these schemes are elaborately hierarchial; some schools
use no belt ranking system at all. White belts almost always
indicate beginners, black belts indicate those who have reached
some level of ability. There are various colors used for rankings
both below black belt, and for high ranking black belts, and various
explanations as to what they mean. The color scheme -- and the
implications for school etiquette -- vary from system to system and
perhaps from school to school.

An often heard story holds that the colours are explained as
follows: a trainee's belts, which, traditionally, were never
washed, became progressively dirtier with time (starting out white,
becoming yellow with sweat, green with grass stains, and so on),
finally changing to black over the years. This explanation, alas,
is almost certainly fanciful.

The best source of information on the meanings of belt colors
and the proper behavior with respect to rank is, as always, one's
teacher.

-------------------------------------------------------------------
That's the Tactful answer to the "Belt Colours Groaner".... here's
the not-so-tactful (and therefore, much more fun) answer, with
thanks to the ever-thorough and factual Steve Gombosi:
-------------------------------------------------------------------

From: ***@rainbow.rmii.com (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 20 Feb 1996 14:48:45 -0700

What does it take to put a stake through the heart of this one?

A bigger hammer, obviously...

Gombo? It's time for your biweekly post on this one. I do hope you just
have one version of it in a file somewhere, that you can just cut and
paste routinely for a response. If you don't, post just one more time and
I'll save it for you and do you the favour in the future. How's that?

So, you want me to chime in on the Thread That Will Not "Dye", eh?

Your wish is my command, O Redheaded One...but I'm afraid most of my
saved posts evaporated when my former employer (Cray Computer) went down
the tubes. Bill Rankin was kind enough to send the following from a couple
of years ago - I'm flattered to know he thinks my drivel is worth
saving. The original was in response to the following from Danial

Danial E. Travers writes >

In tradtional days before Jigoro invented Judo, the martial artist of
okinawa only used white belts. When the belt turned black, you were a
black belt.

Ahem. I didn't know you were on a first-name basis with Kano. Anyway,
"in the traditional days before Kano invented Judo", there *was* no
kyu/dan ranking system. Kano invented it when he awarded "shodan" to
two of his senior students (Saito and Tomita) in 1883. Even then, there
was no external differentiation between yudansha (dan ranks) and mudansha
(those who hadn't yet attained dan ranking). Kano apparently began the
custom
of having his yudansha wear black obis in 1886. These obis weren't the
belts karateka and judoka wear today - Kano hadn't invented the judogi
yet, and his students were still practicing in kimono. They were the wide
obi still worn with formal kimono. In 1907, Kano introduced the modern
gi and its modern obi, but he still only used white and black.
Karateka in Okinawa didn't use any sort of special uniform at all in the
old days. The kyu/dan ranking system, and the modern karategi (modified
judogi) were first adopted by Funakoshi in an effort to encourage
karate's acceptance by the Japanese. He awarded the first "shodan" ranks
given in karate to Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and
Kasuya on April 10, 1924. The adoption of the kyu/dan system and the
adoption of a standard uniform based on the judogi were 2 of the 4
conditions which the Dai-Nippon Butokukai required before recognizing
karate as a "real" martial art. If you look at photographs of Okinawan
karateka training in the early part of this century, you'll see that they
were training in their everyday clothes, or (!) in their underwear.

The Korean dobok is, of course, a (slightly) modified karategi. I'll be
happy to let Dakin expound on the events that led to its adoption in
Korea, since he's the author of the definitive scholarly history of
TKD and related arts (when is it gonna be *published*, Dakin???). As far
as Mike's Shuai Chiao statement is concerned, I have read other authors
who claim that the Chinese adopted the convention during the Japanese
occupation. I have a lot of respect for Mike's opinions, but I've never
seen any real evidence one way or the other. There certainly isn't any
evidence that Kano got either the belt convention or the uniform itself
from the Mainland - especially since the uniform can be traced to
traditional Japanese undergarments.

Steve

-------------------------------------------
.... and... to further clarify:

-------------------------------------------

From: ***@rmi.net (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 22 May 1996 16:12:43 GMT

One reason I heard for belts being black was that you started off as a
white belt. As you trained the belt gathered dirt and eventually after
many years became black. This was then modified in more recent times

<snip>

... The kyu/dan ranking system, and the white/black belt
distinction that goes with it, is a recent (post-1880) invention.

But your accounting does not deny that the motivation for the chosen
colors was consistant with Neil's version does it?

Well, let's examine this fable in a little more detail.

First: the rank system predates the practice uniform itself (although only
by a few years). The obi distinction is a bit later than the rank
system and a bit earlier than the modern uniform and its (modified)
obi. Kano originally had his students practice in formal kimono,
as some traditional jujutsu systems *still* do, complete with
a wide, traditional obi (really closer to a sash than the modern
"belt"). Let's just say that Kano's students were as likely to
show up with a dirty kimono and obi as you are to show up for a
job interview in a mud-caked suit.

Second: the notion that there would be a certain cachet associated with
filth in a culture as obsessed with cleanliness and ritual purity
as Japan is pretty absurd to begin with.

Third: very high ranks in Japanese and Okinawan arts are often indicated
by red and/or red&white belts. It's hard to see how this is
consistent with the idea that colors result from progressive
staining or overdyeing. To clarify: such systems tend to reserve
red obis for 9th or 10th dan. If the staining theory is correct,
why is this the case? Note that this accounts for the unease
many practitioners of such systems feel around 14 year-old TKD
red belts ;-).

Steve

========================================================================
Below answers the following Groaner:

9) A three-day course does/doesn't make you invincible.
========================================================================

Can you really learn to defend myself after only a three-day course?

Many people are so uncomfortable with the notion of being attacked that
they "freeze". Many people have been so conditioned against responding to
an attack that they simply don't feel *capable* of resisting. There are
short "self-defense" courses which seek to break these inhibitions by
confronting students with an "attacker" in a safe, supportive environment
where physical resistance is not only permitted, but strongly encouraged.
Many people have reported that such courses have been useful to them. If
you feel you're in the same boat, you may wish to investigate these
courses. Note that *none* of these courses can provide you with the sort
of conditioned, automatic response that constant repetitive training
provides, nor will they do much to increase the power or skill with which
you execute those techniques. In other words, they're not a *substitute*
for long-term training in a martial art. What they *can* do is help break
down the psychological barriers which may impede you from defending
yourself to the limit of your current knowledge and abilities.

========================================================================
Below answers the following Groaner:

19) What's the best martial art for self-defense?

========================================================================

The answer is "it depends".

Before you can answer this question (and, make no mistake about it, you
*are* the one who is going to have to answer it), you need to ask
*yourself* some other questions:

1) What do you *mean* by the term "self-defense"? What sort of situations
do you envisage that require some sort of "self-defense"? Single or
multiple opponents? Armed or unarmed? Size relative to you? Do you
expect to be grabbed, thrown, kicked, or punched? Can you speculate
on the motivations for an attack? Do you expect merely to be robbed,
or do you consider rape, maiming, or murder a possibility? These
are very unpleasant questions to think about, but they're necessary
to figure out what your *personal* definition of "self-defense" is.
Essentially, what you have to figure out is:

a) What do you consider an "attack" that requires some sort of response?
b) What sort of response do you, deep in your heart of hearts, consider
appropriate?

Note that the law where you reside may have a very different
definition from the one you have in mind.

2) Who are you? What sort of personality type are you? Are you timid
or assertive? What are your physical attributes? Note that an art
which works well for a 220lb (100kg, for those of you in *rational*
countries) 18 year-old female body-builder may prove useless for
a 70 year-old man half her size, or for a small child.

3) How much time and effort are you *really* willing to put into this?
Note that most people *drastically* overestimate this - you're probably
no exception to the rule. Almost any martial art can be used for
"self-defense" *IF* you're willing to invest the effort to become
truly proficient at it. This includes a lot of arts which don't look
too practical at first glance. A lot of martial arts practice is
repetitive, boring, painful, sweaty, exhausting WORK. How much of
that are you really prepared to endure solely for something as nebulous
as "self-defense"?

Now that we've scared you sufficiently, let's discuss some specifics.
Almost all martial arts have some "self-defense" application, but that
application may be of marginal utility to you.

For example, the art of Shindo Muso Ryu Jodo is probably hard to beat if
you have to fight a traditional Japanese swordsman while armed with only
a stick. But few people find themselves in that situation these days.
Nevertheless, such an art develops excellent timing and an instinctive
sense of distance - both of which are of great utility in defending
oneself.

More mundane, and, if you will, "practical" specialties include throwing,
punching, kicking, groundfighting, and so forth. There is endless
argument about which of these is more "street applicable", with
not much general consensus. Some are probably better for one class
of attacks, some for another.

To sum up, what you need to do is peruse the various style descriptions
in the "Martial Arts FAQ", and read the "Newbie Guide" which was written
explicitly to help you begin to look for a school that suits you, even
if you know relatively little about martial arts. Both are available at:
http://www.users.fast.net/~paiyili/faq.htm#top .

Look these FAQs over in light of the answers you've given to the questions
above. Then, see what's available in your area. If you still can't
decide, feel free to ask on rec.martial-arts.moderated (and rec.martial-
arts).

If you phrase your question carefully, you can avoid being flamed
and probably get a lot of helpful advice. In other words, *don't*
ask "What's the best martial art?", "What's the best martial art for a
street fight?", "What's the best martial art to learn self-defense?".
Instead, ask something more like, "I'm a 28-year-old female, about 5'2",
strong, but not aerobically fit. I have a two-year-old child I take with
me everywhere I go. When I go shopping, I'm always afraid that some guy
is going to try to rob or rape me in one of the parking ramps. Of course
I can't run away and leave my two-year-old, and I don't really want to
hurt anybody, just get away safely. I can devote four nights a week to
practicing *something*. Does anybody have any suggestions?

========================================================================
Below answers the following Groaner:

20) 90% of all fights end up on the ground.

========================================================================

Many people feel that ground-fighting is an important aspect to consider
in a potential attack, citing an often quoted (but never attributed)
statistic that "90% of all fights end on the ground".

This may or may not be true. It's kind of hard to tell, since the sources
for that statistic are unknown. Note that even if it is true, it may
simply mean that 90% of all fighters are incapable of punching or kicking
effectively enough to do any real damage, or that 90% of the people who get
into fights are too drunk to stay on their feet.

Having said that, if you ever *are* taken to ground, being able to fight
there is a useful skill. Note that this doesn't necessarily imply
grappling.

Note also that being on the ground can place one at a disadvantage when
dealing with multiple assailants (especially armed ones), and can make
escape or evasion rather difficult. Not to mention the condition of the
ground itself at the time (broken glass? gravel? mud? snow?).

There are frequent discussions about whether ground-fighting is, or is
not, an essential aspect of most attacks, and whether one needs to
be versed in ground-fighting tactics to be considered sufficiently
versed in self-defense techniques, in order to be prepared for an attack.
There is not, however, a lot of consensus on the answer.

========================================================================
Below answers the following Groaner:

21) Is a gun the best martial arts defense?

========================================================================

Should you get a gun?

Especially in the United States, there's a lot of concern about the
use of firearms in self-defense as well as their use by assailants.

In the martial arts newsgroups, there is considerable disagreement
about the entire topic of gun ownership and usage. Never-ending debates
are easily resurrected about whether a gun:

...is safe; will be available when needed; can be made readily
available if needed; might be taken from you and used against you;
can be brought into play fast enough against someone [unarmed/armed
with a knife/armed with a gun]; the legalities of if and when a gun
can be used; etc....

Three key questions if you are considering the purchase of a gun for
protection:

o Are you willing to put the time and effort into learning how to
use it, and maintaining those skills?

o Are you able to deal with the psychological consequences of
injuring, permanently maiming or disabling, or killing someone
as a result of you pulling the trigger?

o Are you able to deal with the possible legal consequences of
injuring, permanently maiming or disabling, or killing someone
as a result of you pulling the trigger?


If you want advice on the purchase or use of such weapons, it's probably
best to seek it in the newsgroups devoted to firearms: rec.guns, and
for the verbosely masochistic, talk.politics.guns. The NRA certifies
instructors in a well-proven basic pistol syllabus, and can probably
help you find a local gun club that offers an NRA-type course. Most gun
stores and ranges will also be able to direct you toward one, perhaps
more efficiently (note that this is neither an endorsement nor a
rejection of the NRA's political views). If you feel you must have a
gun for self-defense, at least have the good sense to learn how to own
it responsibly and use it safely.

========================================================================
Below answers the following Groaner:

22) What are the chances of an unarmed martial artist versus a gun-wielder?

========================================================================

As far as defending oneself from firearms is concerned, the best
advice is to avoid getting yourself into situations where this might
be necessary. From close range, it's certainly possible for an unarmed
person to effectively deal with a gun - but it's *very* difficult and
*very* dangerous. The odds of failure are pretty high, and the cost of
failure is death. Remember that the next time you see someone kick a gun
out of someone's hand on TV. If the assailant is out of reach, unarmed
techniques are practically useless.

========================================================================


Acknowledgements
----------------

Thanks to the following people for contributing their wisdom, prose,
suggestions, and encouragement to this guide. (The appearance of
their names here does not signify agreement with everything written
here, of course.)

Stephen Chan Steve Gombosi David Poore
Terry Chan Peter Hahn Lauren Radner
Joe Chew Michael Lawrie Bill Rankin
Doug Cohen Mary Malmros Michael Robinson
Bud Glunt Jeff Pipkins Andy Vida-Szucs

(C) Copyright 1997, Lauren B. Radner. All rights reserved.
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