SHOTOKAN
Contents of Part 1
|
16.1) Aikido |
16.2) Capoeira |
16.3) Cha Yon Ryu |
|---|---|---|
|
16.4) Coung Nhu |
16.5) Hapkido |
16.6) Hsing Yi |
16.7) Hwa Rang Do |
16.8) Iaido |
16.9) Judo |
16.10) Jujitsu |
16.11) Kajukembo |
16.12) Kali / Escrmia / Arnis |
Contents of Part 2
|
16.13) Karate |
16.14) Kendo |
16.15) Kenjutsu |
|
16.16) Kenpo (Amer.) |
16.17) Kempo (Ryukyu) |
16.18) Kobudo |
|
16.19) Krav Maga |
16.20) Kung Fu/Wu Shu |
16.21) Kyudo |
|
16.22) Lua |
16.23) Muay Thai |
16.24) Ninjutsu |
|
16.25) Pa Kua Chang |
16.1) Aikido
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 son, Kisshomaru 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 aid by Gozo Shioda,
* "Tomiki aikido" named after its founder, Kenji Tomiki.
16.2) Capoeira
Intro:
This is a very acrobatic, very energetic Brazilian martial art.
Origin:
Brazil
History:
In the 1500's, black slaves from Africa were used in Brazil to build the 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. Their feet were manacled for most of the time, so the art uses a lot of standing on the hands feet up, and some moves are directed to fighting mounted enemies.
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:
Capoeria 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 non-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", 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.
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", 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.
Angola: a more closed, harder style.
Iuna: a totally athletic and artistic form of the art, where the couple inside the "roda" play together, as opposed to one against the other.
16.3) Cha Yon Ryu
Intro:
An eclectic, fairly new martial art.
History:
The Cha Yon Ryu ("Natural Way") system was founded in 1968 by Kim Soo of Houston, Texas, who remains Director of the system. Grand Master Kim, who holds upper dan rankings in both tae kwon do and hapkido chose to incorporate into the Cha Yon Ryu system techniques and forms from several different martial arts.
Description:
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 Ch'uan Fa Kung Fu. Hapkido is the martial art from which are drawn defenses against chokes, grabs and armed attacks, as well as various throwing and falling techniques.
Training:
The Dojang Hun (Training Hall Oath)
Seek perfection of character
Live the way of truth
Endeavor
Be faithful
Respect your seniors
Refrain from violent behavior
Sub-Styles:
None
16.4) Coung Nhu
(pronounced "Kung New")
Intro:
Another eclectic, fairly new martial art.
Origin:
Vietnam
History:
Founded in 1965 by Ngo Dong, the first US school opened in Gainesville FL in 1971. Master Dong currently resides in Florida; there are Cuong Nhu schools in various places throughout the US and the world. For more information or the location of a school near you, the Cuong Nhu Oriental Martial Arts Association can be reached at (904) 378-3466.
Description:
Cuong Nhu is an integrated martial art blending hard aspects (Cuong in Vietnamese) from Shotokan Karate, Wing Chun Kung Fu, and American Boxing, with influences from the soft (Nhu in Vietnamese) arts of Judo, Aikido, and Tai Chi, 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 and philosophy.
Training:
[More info needed]
Sub-Styles:
None(?)
*** Escrima - see "Kali/Escrima/Arnis"
16.5) HapKiDo
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 resides in NY, and Im, Hyon Soo who 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 onls a liSited subset of techinques.
There is generally an emphasis on physical conditioning and excercise, including "ki" exercises.
Sub-Styles:
[more info needed]
16.6 HSING YI CHUAN (Xing Yi Quan)
Intro:
Hsing Yi Ch'uan is one of the three orthodox "internal" styles of Chinese martial art (the other two being T'ai Chi Ch'uan and Pa Kua Chang). "Hsing" refers to form and "Yi" to the mind or intent. "Ch'uan" literally means fist and denotes a method of unarmed combat. Hsing Yi Ch'uan 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:
Shan Hsi Province, China.
History:
The exact origins of Hsing Yi Ch'uan are unknown. The creation of the Art is traditionally attributed to the famous general and patriot Yueh Fei (1103-1141) of the Sung Dynasty. There is, however, no historical data to support this claim. The style was originally called "Hsin Yi Liu He Ch'uan" (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 ch'i or vital energy; the ch'i 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 Chi Lung Feng (also known as Chi Chi Ke) of Shan Hsi Province as being the first to teach the art of Hsin Yi Liu He Ch'uan. Chi Lung Feng 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, Chi Lung Feng 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.
Chi Lung Feng had two very famous students. One was from from He Bei province and was named Ts'ao Chi Wu. The other was from He Nan Province and was named Ma Hsueh Li. It was at this point in history that the Hsin Yi Liu He Ch'uan (now also refered to as Hsing Yi Ch'uan) divided into three related yet separate styles, the Shan Hsi, He Nan and He Bei schools. After spending 12 years studying Hsin Yi Ch'uan with Chi Lung Feng, Ts'ao Chi Wu 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). Ts'ao passsed on his art to two brothers, Tai Lung Pang and Tai Lin Pang.
Tai Lung Pang passed his Art on to Li Luo Neng (also known as Li Neng Jan). Li holds the distinction of being the greatest Hsing Yi Boxer in the styles' history and one of the top Chinese boxers of all time. Li Luo Neng taught his art in his native Shan Hsi Province and also taught a great number of students in He Bei Province (his duties as a bodyguard involved escorting various members of wealthy families to and from He Bei). Two of Li's most famous Shan Hsi students were Sung Shi Jung and Che Yi Chai. His most famous He Bei student was the formidable Kuo Yun Shen (who reportedly defeated all comers with his "Beng Ch'uan," a straight punch to the body). Kuo Yun Shen passed on his art to Wang Fu Yuan, Liu Ch'i Lan and Sun Lu Tang among others; Liu Ch'i Lan passed on the Art to the most famous practitioners of this century, including Li Ts'un Yi and Chang Chan Kuei (also known as Chang Chao Tung). There are many practitioners of all three sub-systems active today, and Hsing Yi Ch'uan 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 He Bei and Shan Hsi styles. The Ten animal style is closest to the original Hsin Yi Liu He Ch'uan in form and practice. The movem nts 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 Hsing Yi Ch'uan 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 hsiang chiao). 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 Hsing Yi Ch'uan 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.
Hsing Yi 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 Hsing Yi Ch'uan is that the mind controls and leads the movement of the body.
Training:
Training in He Nan (Ten Animal) Hsin Yi Liu He Ch'uan 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 Hsing Yi Ch'uan (Shan Hsi and He Bei) traditionally begin training with stance keeping (Chan Chuang). The fundamental posture is called "San Ti" (Three Bodies) or "San Ts'ai" (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 Hsing). 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 He Nan styles).
Sub-styles:
As mentioned above, Hsing Yi Ch'uan is divided into three related yet distinct styles: He Nan Hsin Yi Liu He Ch'uan and Shan Hsi/He Bei Hsing Yi Ch'uan. He Nan Hsin Yi Liu He Ch'uan 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.
He Bei style Five Element Hsing Yi Ch'uan emphasizes larger and more extended postures, strict and precise movements and powerful palm and fist strikes.
Shan Hsi style Five Element Hsing Yi Ch'uan 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 (Shan Hsi Hsing Yi places a greater emphasis on evasiveness than the other styles).
16.7) Hwa Rang Do
Intro:
Translated, Hwa Rang Do means "the way of flowering manhood".
Origin:
Korea
History:
Hwa Rang Do history is sometimes traced back to around 540 A.D. when King Chinhung came to power in Silla, a small kingdom on the southern tip of the Korean peninsula. He created the Hwa Rang warrior, and had them taught martial arts by Buddhist priests. Some sources claim that the art was then handed down (taking refuge in Buddhist temples for a long period of time) to modern times.
However, the connections between the martial arts practiced by the Hwa Rang warriors and what is now called Hwa Rang Do are tenuous at best. Modern Hwa Rang Do seems more likely to be a combination of several other Korean arts, Hapkido prominent among them.
Lee, Joo Bang and his brother Joo Sang began teaching Hwa Rang Do in the 1960s and are the most senior Masters of the art. It has been reported by other Korean martial artists that the Lee brothers studied Hapkido under Choi, Yong Sul for a time prior to that.
Description:
Hwa Rang Do is a fairly complete art encompassing throws, joint locks, strikes, and kicks. Its description would closely parallel Hapkido's.
Training:
[more info needed]
Sub-styles:
None
16.8) Iaido
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.
16.9) Judo
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.
16.10) Jujutsu
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, Hontai Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu.
A more modern addition to this list is "Gracie Jujutsu", so named because of its development by the Gracie family of Brazil. Gracie Jujutsu (or GJJ as it has come to be known on rec.martial-arts) has a heavy emphasis on grappling/groundfighting. The Gracies have come into public promenence...
16.11) Kajukembo
Intro:
An eclectic martial art that is a blend of Karate, Judo, Kempo, and Boxing, from which arts it takes its name.
History:
Kajukembo was synthesized in the Palomas settlements of Hawaii during the years 1949-1952. Five practitioners of their respective martial arts developed Kajukembo to complement each others styles to allow effective fighting at all ranges and speeds. The man credited with the founding of Kajukembo is Siju Adriano D. Emperado who practiced kempo and escrima. It was decided that kempo would be the scafolding around which Kajukembo was built. The arts drawn upon to found Kajukembo 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 Kajukembo's Quins (known as the Palomas sets (forms or kata)), Natural laws (self-defense), Tricks (close-quarters fighting), and grab arts (escapes).
Description:
Kajukembo 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, Kajukembo 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 Kajukembo. At higher levels there is meditative and chi training, but the author cannot comment further at his level of experience.
Kajukembo 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 (contacs inh crnprlln. Actnraatcwrta noatoon) fftem reataig ,mount of tigen 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 <adschaaf@mtu.edu>).
16.12) Kali/Escrima/Arnis
Intro:
Kali, Escrima, and Arnis are all terms for the native fighting arts of the Philippines, specifically the arts that use weapons. Arnis is a Northern Term, Escrima more Central, and Kali is from the South. In this view, the terms just refer to indigenous weapons fighting systems. Arnis would be the term used in Northern Luzon, Escrima from Manila through the central islands, and Kali on Mindanao. People who use this definition 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:
Kali is an older art than Escrima or Arnis, and more comprehensive.
Escrima and Arnis were developed as streamlined, simplified ways to teach people to fight the Spanish invaders. Hence, Kali is more of a "warrior's art" while Escrima and Arnis are "soldier's arts". Kali is usually considered to have 12 areas of combat, with Escrima containing 8 or 9 of them, and Arnis 4 to 6.
Description:
The "full" coverage alluded to above usually contains the following:
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
< hLoGi=gJwSaIoYs>/I>12 Healing arts
A further distinction that some people make is to say that Kali is, at its heart, a blade art, while Escrima and Arnis are designed to work with sticks. This is a matter of some contention among practitioners of the various styles and schools.
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, but Kali in particular, stress the importance of disarming an opponent in combat. This is not usually done gently, but by destroying an attacking weapon (break the hand, and the stick will fall.)
Sub-Styles:
None; Kali, Escrima, and Arnis are themselves sub-styles of Silat.
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