V@ST AIRE PRESENTS; IRON & SILK BUDO

Music:

Member Since: 8/23/2005
Band Website: vast-aire.com
Band Members:

VAST AIRE [AIKIDO/SHORINJI KEMPO],
SWAVE SEVAH [SHOTOKAN & GOJU] ,
KARNIEGE [AIKIDO],
DOUBLE A.B[BOXING].
C-RAYZ WALZ [WHITE CRANE GUNG FU/TAEKWONDO],
UNDRSTANDING[CAPOEIRA],
SEAN [SHOALIN GUNG FU] & A FEW MORE FRIENDZ WHO KNOW HOW TO STREET FIGHT REAL WELL!!...LOL..:

THE ART OF THE STICK

....Yari is the Japanese term for spear, or more specifically, the straight spear. Yari measured anywhere from one meter to upwards of five meters. The longer versions were called nagae-yari while shorter ones were known as mochi- or tae-yari. The longest versions were carried by foot troops, while the samurai carried the shorter versions.

Yari were characterized by a straight blade that could be anywhere from a foot long, to a meter and a half long. The blades were made of the same high-quality steel that the swords and arrow-heads of samurai weapons were forged with, and yari blades were very durable. The shafts were made of wood, with metal rings spaced along the shaft to strengthen the spear during combat.
Yari were more commonly used by samurai than were swords, and foot troops (ashigaru) used them extensively as well. While it has not received the same recognition as has the katana, the spear was an invaluable weapon of war.

Shinto* Muso-ryu jo is said to be the oldest style for using a stick (jo) in combat in Japan. It was founded in the early 17th century by Muso Gonnosuke Katsuyoshi, an exponent of Tenshin Shoden Katori Shinto-ryu. Shinto Muso-ryu oral tradition maintains that Gonnosuke once fought Miyamoto Musashi, one of the most famous swordsmen of the time, with a staff (bo) in a training match and was defeated by Musashi's cross-block (jujidome) technique.

According to legend, Gonnosuke was dissatisfied with this outcome and retired to Mt. Homan, in what is now Fukuoka Prefecture, in Kyushu, where he engaged in a series of religious austerities, all the while contemplating the reasons for his defeat. Finally, he received "divine" inspiration about a new method of using a staff-like weapon, making it shorter (50 1/4") and thinner (7/8") for more rapid manipulation. He devised a number of techniques for this new weapon, which he called a stick (jo) (as opposed to staff or bo), that included the use of the thrust (tsuki) of a spear, strike (utsu) of a sword and staff and sweep (harai) of a naginata. Factual documents of the style (ryu) are quite rare. It is said that there is a record at Tsukuba Shrine, in Ibaragi Prefecture, that reports that Gonnosuke was able to defeat Musashi in a rematch. This story is not recorded elsewhere, however, outside fictional novels, and may not be factual.

There are a total of 64 techniques in Shinto Muso-ryu jo that are divided into a number of sets, each with a different character. Training is systematic and develops the exponent's technical skills and psychological abilities, from body movement and weapons handling to the proper use of timing, targeting, and distancing, and intense mental or spiritual training, all to enable the exponent to successfully use the weapon in mortal combat. Exponents begin their study of jo by learning a set of twelve basic techniques (kihon waza), which contain all of the styles essential movements. They then proceed through different sets of techniques of stick versus sword(s): omote, chudan, ran-ai, kage, samidare, gohon no midare, and okuden. A final set, the gokui hiden (also called go muso no jo), consists of techniques that are taught only to exponents who have received a menkyo kaiden, the highest level of license in the system.......

Bo Staffs: is simply a long stick that was originally used to carry buckets of water and food-it was known as ten bin. The bo is round smooth and solid. A standard bo is a tabering stick of wood 1 1/4 in. the middle and 3/4 in.at each end. The tapering gives the bo both flexibility and strength as well as making the center easy to find. Bo Staff Styles :There are several different styles and sizes of Bo Staffs. They come in aluminum,toothpick,canadian ash,crackle and acrylic styles. Some are lightweight,but very strong. They come in several lengths.

Bo Staff Techniques: The Bo Staff can be used to strike,block,and trap your opponent. This is probably one of the first weapons that mankind used to defend or hunt. Bo Staffs are loved by martial arts artists. Bo - Kobudo 0r bukido, places great emphasis on the use of the bo, an implement said to be derived from the tenbib, which was a wooden staff that was slung across the shoulders in order to transport buckets of water on each end.

The most popular type of bo is the rokushaku, which measures six feet in length and 1 1/4 inches thick at the center, tapering down to 3/4 inch at the ends. Other types of bo range in length from four to nine feet, and can be round (maru-bo), four-sided (kaku-bo), sixsided (rokkaku-bo), or eight-sided (hakkakubo). The most common bo kata are Shushi- No-Kon, Choun-No-Kon, Sakugawa-No-Kon, Tsuken-No-Kon, and Shiishi-No-Kon. Other staff-type weapons include the hanbo (threefoot wooden stick), jo (four-foot wooden stick), tetsubo (Iron staff), sansetsu-kon (three-sectioned staff), and the konsaibo, which is a wooden staff studded with iron nubs.

Its easy to see if one masters the bo staff, they will also master the basics of many other pole weapons such as the naginatta & the yari!!

Another great weapon of the stick family is the "tonfa" its most famous in karate!!..it was use to make grain on the farms....but it quickly became a good short range weapon!!!!! the police of most states in the u.s.a. use them!!!...but bushido--jujutsu and wushu--kung fu arts have there own type of "tonfa" as well this strange "Y" OR "T"shaped weapons is great to learn!!!

THE MONGOLIAN EMPIRE

STYLES UPON STYLES WITHIN STYLES

......Hapkido is the martial art of Grandmaster Choi, Yong Sul (1904-1986). Mr. Choi was born in Korea, but was abducted and brought to Japan as a young boy. Eventually, he was adopted into the household of Takeda, Sokaku, head of Daito-Ryu Aikijutsu. Mr. Choi lived and studied with Takeda, Sokaku until Sokaku's death. At the end of World War II, Mr. Choi returned to his native Korea and supported himself and his family by teaching a "new" martial art, which was based on the Daito-Ryu Aikijutsu he had learned in Japan.

This new art was Hapkido. During his return to Korea Grandmaster Chois suitcase, which contained his Menkyo Kaiden, was lost. The Menkyo Kaiden is the certificate Choi, Yong Sul received from Sokaku Takeda which indicated that the entire Martial Art had been passed on to him.

Many Japanese refuse to acknowledge Grandmaster Choi as a student of Sokaku Takeda. It is said that Sokaku Takeda kept enrollment books of all his students, but it is known that many of these books were burned in a fire. To acknowledge Mr. Choi would undermine the purely Japanese character of Daito-Ryu. Many Japanese Daito Ryu Masters minimize Mr. Choi's role, stating only that Mr. Choi attended a seminar with Grandmaster Takeda.

Many Daito Ryu Masters have admitted that Sokaku Takeda did have a group of Korean children that he trained at a mountain camp, which, according to Master Rim, is exactly where Mr. Choi trained. On the other hand, many Korean Hapkido Masters claim that Ji Han Jae is the founder of Hapkido. This is completely untrue. He did mix Tae Kwon Do with what he learned from Mr. Choi and now calls this mixture Sin Moo Hapkido. These allegations by Japanese as well as some Koreans is designed to diminish Grandmaster Choi's position as the founder of Hapkido and where he learned his skill.

OTHER KOREAN ARTS-- Korean Martial Arts: The Modern World

With the dawn of the twentieth century the ancient arts, refined by centuries of practice by dedicated monks, began to re-emerge. (Buddhist monks of China and Korea had maintained a dialogue and shared their fighting techniques with one another.) At the same time, however, Korea had been dominated by Japan from 1910 until the end of World War Two. The occupying forces forbade the practising of Korean martial arts, but did permit Koreans to study Japanese systems. Many Koreans, however, practised their own arts in secret. This lead to a further blending of arts. Notably, the Koreans were influenced by the Japanese use of linear stances and techniques.By the beginning of the Korean war of 1950, several styles of Korean arts had been created, including:Chung Do Kwan
Moo Duk Kwan
Yun Mu Kwan
Chang Moo Kwan
Oh Do Kwan
Ji Do KwanThe styles were united in 1955 as Tae Soo Do and later, Tae Kwon Do, for its similarity to Tae Kyon. Chung Do Kwan founder, Grandmaster Won Kuk Lee (born Korea, 1907), now a US citizen, explains:
In 1952, my students gave a [martial arts] demonstration for [South Korean] President Syngman Rhee... [who] referred to their martial art as "Tae Kyon." Several of the demonstrators...and others felt a new name was needed to reflect the Korean origins of the martial art but without association that Tae Kyon had as a martial art practised by gang members. The name "Tang Soo Do" means "Tang hand art" and carries with it an association with China's Tang Dynasty. The students consulted a Korean word book to come up with the name "Tae Kwon Do." (Tae Kwon Do Times, March 1997)

In the years that followed various associations sprang up in an effort to continue the re-unification and growth of Tae Kwon Do. These included The Korea Tae Kwon Do Association (KTA), The World Tae Kwon Do Federation (WTF), and The International Tae Kwon Do Federation (ITF). In 1980, The International Olympic Committee (IOC) officially recognized WTF Tae Kwon Do, which became a demonstration sport in 1988. In the year 2000, WTF Tae Kwon Do will be introduced to the Olympic Games.

O SENSEI UESHIBA or Morihei, founder of the Aikido wasIn"master" Control of various martial arts, Shinkage Ryu, Yagyu Ryu, Takeda Ryu, etc... then one period of purification in the mountains led it to the creation of the AIKIDO, universal, spiritual and peaceful art Four significant meetings in its life: Kumagusu MINAKATA brought the concepts of ecology and universalism to him. Bonji KAWATSURA taught Misogi No Gyo to him (see for example: tori fune kogi undo). Sokaku TAKEDA [ daito ryu aikijujutsu] taught to him the martial techniques of its school in bond with Bushido Onisaburo DEGUSHI , by Omoto Kyo gave him a universal spiritual approach.Starting from a vision shintoist which designs the universe like divine and of a painful experiment of the war, Ueshiba Master invented the art of the peace, where the only opponent which we have is ourself.

This art was created in the mid 1900's.... it had many names such as ueshiba ryu aiki jujutsu, aiki budo & finally in the 40's aikido. Morihei was on a spiritual quest and was transformed by three visions. The first occurred in 1925, when Morihei was forty-two years old. After defeating a high-ranking swordsman by avoiding all his cuts and thrusts (Morihei was unarmed), Morihei went into his garden. "Suddenly the earth trembled. Golden vapor welled up from the ground and engulfed me. I felt transformed into a golden image, and my body seemed as light as a feather. All at once I understood the nature of creation: the Way of a Warrior is to manifest Divine Love, a spirit that embraces and nurtures all things. Tears of gratitude and joy streamed down my cheeks. I saw the entire earth as my home, and the sun, moon, and stars as my intimate friends. All attachment to material things vanished."

The second vision took place in December of 1940. "Around two o'clock in the morning as I was performing ritual purification, I suddenly forgot every martial art technique I ever learned. All of the techniques handed down from my teachers appeared completely anew. Now they were vehicles for the cultivation of life, knowledge, virtue, and good sense, not devices to throw and pin people."

The third vision was in 1942, during the worst of the fighting of World War II and in one of the darkest periods of human history. Morihei had a vision of the Great Spirit of Peace, a path that could lead to the elimination of all strife and the reconciliation of humankind. "The Way of the Warrior has been misunderstood as a means to kill and destroy others. Those who seek competition are making a grave mistake. To smash, injure, or destroy is the worst sin a human being can commit. The real Way of a Warrior is to prevent slaughter - it is the Art of Peace, the power of love." Morihei secluded himself in the country and devoted every minute of his life thereafter to refining and spreading Aikido, the Art of Peace. Even as an old man of eighty, he could disarm any foe, down any number of attackers, and pin an opponent with a single finger. Although invincible as a warrior, he was above all a man of peace who detested fighting, war, and any kind of violence. His way was Aikido, which can be translated as "The Art of Peace." Morihei Ueshiba is referred to by the practitioners of Aikido as O Sensei, "The Great Teacher".

Karate translates, as is generally accepted, to Empty Hand in Japanese. Karate is a martial art that uses weaponless techniques such as punching and kicking to overcome the opponent. Typically, fighters wear a white Karate Uniform (Gi) and a belt that indicates their skill level and rank.

The development of Karate began in Okinawa, an island south of Japan. Okinawans travelled to China, where they learnt the Chinese martial arts. On their return to Okinawa they set about blending their own martial arts (initially simply called Te, or Hands!! with what they had learnt in China and called it To-De, Chinese Hands.

From this, 4 main styles of Karate developed - Goju Ryu, Shorin Ryu, Uechi Ryu and Shorei Ryu. Gichin Funakoshi, who trained under several Okinawan Karate masters, developed his own style of Karate that he named Shotokan.

Funakoshi introduced Shotokan to Japan in the early 20th century. Other Okinawan masters soon followed him - Chojun Miyagi with Goju Ryu and Kenwa Mabuni with Shito Ryu. From these masters many new styles were soon developed. For example Kyokushinkai by Mas Oyama, Goju Kai by Gogen Yamaguchi, Wado Ryu by Hinonori Ohtsuka.

There are now hundreds of different styles of karate across the world, but all can be traced back to the original four from Okinawa. Karate was founded in the 16th century and formalised into different styles in the early 20th century.

The Art of jujutsu has a crazy history line to follow...but i will do my best!!!....Ju Jutsu translated means the gentle art, OR THE ART OF BEING PLIANT.... But dont confuse gentle with soft. It means it works on the theory of technical maneuvers overcoming just brute strength, leverage, balance breaking, the knowledge of pressure points and bodies. Weak spots help the Ju Jutsu person beat a bigger or stronger adversary. to me its the japanese way of tao [daoism/tai chi]

Ju Jutsu can be hard and brutal if needed or it can be low key and controlling. If for example you needed to gouge an eye, strangle or choke, break a limb or knock somebody unconscious it can be done. On the other side of the coin if you need to restrain or control somebody with a lock or hold it can be done. Or if you have to perform a simple reverse or break away it can also give you this. Ju Jutsu gives you chokes, it is a multi-faceted art.........

The origins of the Martial Art we know as Ju Jutsu are very sketchy. Some say it originated in China, others India or even ancient Greece. But most will settle for the fact that the term Ju Jutsu is certainly Japanese and this is where the art flourished, particularly in the feudal times. What was to become coined Ju Jutsu was a fragmented art with no real structure. Its early name ranged from yori-kamiuchi, Ya-wara to taijutsu. Kamiuchi was an early form of grappling on the battlefields with or without weapons. Normally it was used to down an opponent making it easy for the killing stroke administered by sword or knife.

Because of the protected armour Samurais wore, bare handed strikes were not really effective, so grappling became the unarmed system to help defeat an enemy particularly when weapons were broken or lost in the heat of the battle. As long as military dominance was a focus of Japan the battlefield arts flourished but when decline of the battlefields began, the need for these warrior arts were not as important. The arts were then taught more for self-defence and many of the combative techniques were eliminated.

jujutsu belongs to a long list of arts. its is actually one part of a whole system that evolved from BUSHIDO. jujutsu was one of 18 basic arts.

# kenjutsu (swordsmanship) # battou or iaido (sword drawing) # soujutsu (spear fighting) # naginata (halberd) # kyuujutsu (archery) # kyuuba (mounted archery) # suiei/tosui (swimming) # boujutsu (staff and stickfighting) # nagamono (polearms) # torimono dougu (arresting weapons) # kakushi buki (self-protection arts) # taijutsu (unarmed combat) # shuriken (blade throwing) # houjutsu (gunnery) # jouhou kaishuu (information gathering) # chikujou (fortifications) # angou (signaling) # jinei/heihou (strategy/tactics)

As peacetime arrived, more emphasis was put on empty hand techniques than weapons. Many ryu's (schools) began to develop teaching their methods of self-defence. This is really where Ju Jutsu became more structured. The Takenouchi Ryu was one of the main ones in the period of early 15th Century. Japan was gradually moving towards the Western World Culture and as this happened the need for feudal fighting skills became less and less and finally most feel into decline or went underground. The word Ju Jutsu became associated with the old days and the feudal era that many no longer wanted or needed.

By 18th century Ju Jutsu was almost unfounded in Japan and a young man called Jigoro Kano went about trying to develop an acceptable system from the ruins of many Ju Jutsu Ryu. This resulting in the modern art of Judo. Judo was a structured system of the best of Ju Jutsu that could be practiced without serious injury and eliminating the more dangerous and combative technique. By the 19th century Judo was spreading its word right across the world.Again in the early 90's Ju Jutsu received another boost when the Gracie family introduced their Brazilian Ju Jutsu to the world.

Although different from Japanese Ju Jutsu its roots were certainly from Japan. But the system that predominantly features groundwork was refined and improved in Brazil. Today this is a massively popular art and was responsible for putting grappling back on the map as an essential skill. This was proved time and time again in the Ultimate Fighting Championships and other cage events

THE ART OF JEET KUNE DO
Jeet Kune Do is a relatively new martial art, developed by the martial arts master, Bruce Lee. Bruce Lee began his martial arts career studying Wing Chun Kung Fu under grandmaster Yip Man in Hong Kong, and then taught his art in the U.S. as Jun Fan Kung Fu.

Jeet Kune Do, Bruce Lee Lee began by taking the best and most practical aspects of Wing Chun and combining these with elements of western boxing; trapping and grappling; and influences from a variety of other martial arts. This developed into a fighting style that he named Jeet Kune Do, the "Way of the Intercepting Fist".Jeet Kune Do is not a new style of kung-fu or karate. Bruce Lee did not invent a new or composite style, nor did he modify a style to set it apart from any existing method. His concept was to free his followers from clinging to any style, pattern, or mold.

The effect Jeet Kune Do had was to expose the Chinese martial arts to the world, which subsequently created a worldwide rush by westerners to learn these martial arts. It also stimulated interest in the other martial arts including Japanese, Okinawan and Korean. No other man has had more influence on the spread of martial arts to the world than Bruce Lee.

THE TAI CHI SYSTEM OF KUNG FU

Origins of Tai Chi-- THE WIND AND THE WATER
.....The origins of tai chi go back many hundreds of years. The person who is traditionally credited as being the 'founder' of tai chi is the monk Chang San-feng, who was stationed at the Wu Tang monastery, and, depending upon sources, lived somewhere between 960AD and 1460 AD, although some scholars question his existence at all, ascribing him to a mythical figure.

tai chi cguan The theory is that Chang San-feng originated a style that combined both existing combat techniques and other movements, primarily designed to increase the flow of chi energy through the body, thus creating a form that was a physical manifestation of Taoist thinking.

Going back even further, the ancestors of tai chi can be seen in the sixth century: Bodhidharma visited the Shao-lin monastery, and developed a system of excersise for the monks, who he saw in poor physical condition from too much meditation. This was known as the Eighteen Form Lohan Excersise. Later, in the eighth century, this was developed into a 37-form 'Long Kung-Fu', which unlike other schools of Kung-fu, was based upon a 'soft' or internal approach, rather than a 'hard' external one.Looking back even further than this, we can see that in the third century, the physician Hua-tu'o created a system of excersise to aid digestion and circulation, based upon the movements of animals and birds. The effect of this system was to move every part of the body.

Tai Chi Chuan, the original combat form of Tai Chi, translated means Supreme Ultimate Fist, 'chuan' meaning a method of boxing or combat. Unlike many other martial arts, which were 'aggressive' or outward, Tai Chi Chuan's main principle was that of a 'soft' combat - absorbing the opponent's aggressive energy and using it against him. This is a principle of yin and yang, a balance of opposites where soft is used to overcome hard: the maxim "four ounces to deflect a thousand pounds" or "overcome a weight of a thousand carries by four ounces" is often used. Imagine an opponent twice your weight throwing a powerful punch - the Tai Chi Chuan adept would step back, absorb the punch by grasping the fist and pulling it past him, using his opponent's own forward energy and motion to overbalance the attacker. Or he might respond in any number of ways, always using the same principles.

Although 'soft', this was a very violent form, designed for killing and maiming (lest we forget), in an efficient and scientific way. Modern non-violent tai chi as a form on its own, rather than being a part of chuan, was developed much later, as the need for combat gradually decreased - although the tai chi practitioner is always aware that the forms that he is using are the same as those of combat, but slower. In the eighteenth century, Yang Lu-chan removed the label of 'secrecy' on the form, and started his own 'Yang' style of tai chi, becoming known at the imperial court as 'Yang the Unsurpassable'. After his death, one of his students, Chen Hsui-feng, became head of the Yang School. One of Yang Lu-chan's sons, Yang Pan-hou, had a student called Wu Quan-yu, whose son; Wu Chien-chuan became disillusioned with the Yang style and created his own 'Wu' style.

Another of Yang Lu-chan's sons, Yang Chien-hou, had three sons, one of which, Yang Chen-fu, is largely responsible for popularising the Yang style and bringing it to the West in this century. He became known as 'Yang the Invincible'

Most people believe Chen San Feng was a Shaolin monk, who first developed Tai Chi as a fighting art. While on his travels from the temple at Hunan to the Taoist retreat at Wu Tan, he is said to have witnessed a battle between a snake and a crane. He became so fascinated by the ability of the snake to defend against the straight line attack of the crane that he incorporated the circular, coiling movements of the snake with his chi kung training to create a fighting art that has survived over 700 years.

Chen San Feng's original tai Chi was a 13 posture form based on the 5 elements and 8 pathways. Over the centuries the temple style has grown into family arts such as the Yang Tai Chi and Chen Tai Chi that we now teach. The Tai Chi system also includes classical weapons training such as the Tai Chi straight sword, using elegance and finesse, precision cuts and extended thrusts. The Tai Chi broadsword is heroic and flowing, a sweeping blade, powerful but soft. The Tai Chi Iron Fan is graceful yet powerful. The beauty of the fan holds a bladed rib, soft and elegant but deadly when opened.

Though Tai Chi has evolved, the basic principles remain true to its founder; yield to the attacker, deflect the force, offer no resistance. In Tai Chi, we learn to become faster by training slowly, we learn to be hard by knowing how to be soft, we learn to clear our minds by learning to focus.

Pa Qua Chang The octagonal Palm. A circular and flowing fighting art based on the eight trigrams of the I Ching ( Book of Changes) blends the Yin and the Yang into a never-ending circle. The origins of Pa Qua are shrouded in the mystery of the Shaolin temple at Wu Tan, but its roots can be traced to Tung Hai Chuan, a traveler from Hopeh Province in the North who taught Pa Qua to the Imperial household in the early 1800's. In his travels, Tung Hai Chuan came to the aid of two Taoist priests and in return was given a divine training.
In practice, Pa Qua uses deceptive circular patterns and evasive movements, avoiding attack and moving behind one's opponent. In essence, it teaches not being there when the attack is thrown: hence the invisibility of the Shaolin monk.

Hsing-I The Mind Form fist. A product of the temple at Wu Tan contains elements of animal styles that can be traced back 1500 years but the exact origin is lost in antiquity. The first recorded Hsing-I master was the renowned General Yeuh Fei in the 12th century who is said to have learned his fighting skills from a Taoist priest. Yeuh Fei had gained notoriety in the north because of his military exploits, which created jealousy in the Imperial house. Yeuh Fei was summoned to the capitol and jailed until his death. From this legend comes the shackled stepping technique.

Unlike Tai Chi and Pa Qua, Hsing-I is direct, linear and powerful, creating a bridge between the Internal and External styles. Stepping is short, stances are solid, movement is fast and power is key. While Tai Chi teaches yielding to an attack and Pa Qua uses evasive circular movement, Hsing-I teaches us to meet force with greater force and to move through an opponent rather than to evade. this is also proof that the taoist masters understood the value of the linear forms!!

THE THAILAND ART OF MUAY THAI KICK BOXING

Muay Thai, also known as Thai boxing or Thai kickboxing, is a martial art originally from Thailand.Traditional muay Thai has a long history in Thailand as a martial art used by the military. The military style of muay Thai is called Lerdrit, while today's "sport muay Thai" slightly varies from the original art and uses kicks and punches in a ring and with gloves similar to those used in boxing. Muay Thai is also known as 'The Science of Eight Limbs' as the hands, feet, elbows and knees are all used extensively in this art. Muay Thai Techniques

The basic offensive techniques in muay Thai use hands, elbows, kicks and knees to punch and kick the opponent. To bind the opponent for both offensive and defensive purposes, small amounts of stand-up grappling are used: the clinch. Defensively, the concept of "wall of defense" is used, in which shoulders, arms and legs are used to hinder the attacker from successfully executing his techniques.

Though the high kicks at the head look spectacular during a competition, insiders of the sport claim that the elbows and the knees are the most damaging, sometimes deadly, to the fighters. muay Thai techniques became popular in other martial arts: The Thai low kick and the Thai roundhouse kick. The low kick uses a circular movement of the entire body to kick the opponent's leg with the upper part of the shin. When not correctly defended against, this technique often leads to the end of the fight, as the opponent can not stand anymore after a few low-kicks.

The Thai roundhouse kick is also unique and was adapted for its efficiency. The kick is carried out with a straight leg and the entire body rotating from the hip, which is "locked" right before the leg makes contact to the opponent. Other martial arts, such as Shotokan Karate tend to prefer "snappy" kicks, which are faster but less powerful. Furthermore, Thai boxers kick with the shin instead of the foot.

CAPOEIRA--AN AFRICAN /BRIZILIAN Martial Art!!
Born out of an ever present need to protect themselves in a hostile environment, Africans enslaved in Brazil practiced a martial art now called Capoeira. Its methods were sneaky, the results often brutal and when needed, deadly.

Capoeira was and is composed of monkey & cat like movements where participants collapse to the ground, use cartwheels, flips, handstands and many other deceptive movements to avoid strikes and injury by opponents.

some believe that the first basic movments were "copied" from wild zebra fights!! [horse back kicking}Practitioners use kicks, sweeps, head butts, gouges and punches in order to strike their opponent. All of these actions are combined to compose a devastating form of martial art which protected its ancient participants from enslavers and at times each other.

On the numerous plantations of the Brazilian countryside, enslaved Africans practiced and used these methods to combat the malicious behavior often meted out by overseers, their crews and the slave owners. Its practitioners were able to create such force through their movements and surprise tactics that it was not uncommon for victims to be knocked out suddenly or die from it's blows. Users of this martial art also placed razors between their toes or used knives to unmercifully deal with those who chose to cross their paths.

Brazilian Maroons, who were Africans who escaped slavery and formed alliances with "Native Americans", were notorious for using Capoeira against hunters, trackers and soldiers who were attempting to return them to a state of slavery. Survivors of ambushes with Maroons that involved hand-to-hand combat described scenes of mayhem, stating that the Maroons appeared from nowhere striking them with blows from angles that they could not fathom. It was not uncommon to hear of these enslavers turning tails to the wind in an attempt to escape these vicious attacks.

As a result of the deadly interactions that were occurring between Africans and the colonialists and at times injury from African participants against each other, Capoeira was banned by "slave owners" and other leading authorities. However, always creative, the community found ways to keep it alive. Capoeira was incorporated into dance movements in public and secret locations were arranged for its practice in private.

The actions of the Africans to practice their martial art whenever and however they could ensured the survival of Capoeira throughout Brazil's history of African enslavement. After the banning of slavery in 1888, Brazil continued to ban its practice and it was wildly viewed as a martial art practiced by "thugs" and "criminals". Fortunately, many African Brazilians and other Brazilians who realized its true value and history did not allow the criminalization of their martial art and continued to practice Capoeira.

Practitioners of Capoeira gather in a circle, called a roda, and those who surround the contestants sing, clap and play musical instruments such as the berimbau (string instrument) and drums. Then the contestants perform a movement called the Ginga (jinga), where they move around each other, almost like a dance, in order to disorient their opponent. After this point it is open season on both opponents, as contestants leap into an array of deceptive offensive and defensive movements against each other. As one contestants leaves the circle another immediately takes his place. This interaction between the group continues until the group decides to disband.

In conclusion, it is my intention that the role of Africans and native brizilians in Capoeira and in the evolution of martial arts should not be ignored, forgotten or denied. The bravery of its practitioners in the past to protect their freedom and in the present to maintain their traditions is a testament to the fact that true greatness can be suppressed but never destroyed

THE HISTORICAL NINJABy Dr. Masaaki Hatsumi--master of ninpo

There are many theories as to the beginnings of what we know as the art of ninjutsu today. Each Japanese historian has his or her own set of facts and beliefs, and it is difficult pinpointing a specific place, person, time, or set of circumstances that would be acceptable to all as the birth of the art. In all truthfulness, ninjutsu did not come into being as a specific well-defined art in the first place, and many centuries passed before ninjutsu was established as an independent system of knowledge in its own right. The people who were later referred to as ninja did not originally use that label for themselves. They considered themselves to be merely practitioners of political, religious, and military strategies that were cultural opposites of the conventional outlooks of the times. Ninjutsu developed as a highly illegal counter culture to the ruling samurai elite, and for this reason alone, the origins of the art were shrouded by centuries of mystery, concealment, and deliberate confusion of history.

In the legends of the founding of Japan's Imperial Family, passed on by word of mouth through the generations before recorded history, two ninja-like characters are credited with assisting the first emperor, Jimmu, in attaining a decisive victory. Jimmu was in combat against the troops of Iso Castle, and the battle was going against him. One night in a dream, the future emperor had a vision in which he was told to take the clay from Mt. Amakaga and mold it into a sacred vessel. Mt. Amakaga was a holy mountain that lay in the middle of the territory held by the Iso forces. Obtaining the raw clay became the symbol of Jimmu's intention and resolve towards succeeding in the conquest of Iso Castle. Shinetsuhiko and Otokashi served their lord Jimmu by disguising themselves as an old peasant and his wife, and the two successfully slipped into the enemy territory, packed the clay, and returned safely. Jimmu then molded and fired a platter and bowl set from clay, offered them to the gods of fortune and went on to attain the victory he so strongly believed to be his destiny. The skills of ninjutsu were said to have been passed thereafter to Tennin Nichimei, Okume Mei, and Otomo Uji for further development and expansion.

Among the ancient ninjutsu documents that I inherited from my teacher are several scrolls that tell of Chinese ex-patriots who fled their native land to seek sanctuary in the islands of Japan. Chinese warriors, scholars, and monks alike made the journey to find new lives in the wilderness of Ise and Kii south of the capitals in Nara and then Kyoto. Taoist sages like Gamon, Garyu, Kain, and Unryu, and generals from Tang China such as Cho Gyokko, Ikai, and Cho Busho brought with them the knowledge that had accumulated over the centuries in their native land. Military strategies, religious philosophies, folklore, cultural concepts, medical practices, and a generally wide scope of perspective that blended the wisdom of China with that of India, Tibet, Eastern Europe, and south-east Asia were their gifts to their newly-found followers in Japan. Remote and far flung from the Emperor's court in the capital, the cultural ancestors of the ninja lived their lives as naturalists and mystics, while the main-stream of society became increasingly structured, ranked, stylised, and eventually tightly controlled.

As the passage of time continued to unfold the fabric of Japan's history, the ninja and their ways of accomplishment, known as Ninjutsu, were always present behind the scenes of all the eras to ensure the survival and independence of their families and lands. In the regions of Iga and Koga, Ninjutsu became a special skill, refined and perfected by over seventy families, each with their own unique methods, motivations, and ideals.

Japanese history books, however, are curiously limited in their coverage and acknowledgment of the shadowy figures known as ninja. In textbooks even as recent as one generation ago, Hanzo Hattori, the head of one of the most influential ninja families in Iga and Shogun Ieyasu Tokugawa's director of ninja, was referred to as "a bushi (samurai) from the remote province of Iga". This hesitancy to openly acknowledge the ninja's role in the forging of modern Japan stems perhaps from the glorification of the samurai concept and ethic that became very popular after the Meiji Restoration (1868). The Meiji Restoration abolished the samurai class and gave all citizens the right to affect social trappings that had once been reserved for samurai only.

With this clouding of significant historical events and people, it is difficult for today's Japanese people to understand the true purpose and ideals of the ninja. Exaggerated legends left over from the Tokugawa era, in which the Shogun's ninja secret police were given supernatural powers such as the ability to disappear, walk across water, and read minds , confuse the story even more. As the world became more and more interested in the culture and then the martial arts of Japan, the distorted stories of the ninja found new audiences in the Western world over the past three decades. but make no mistake!! these were great worriors, and there legends will live forever!!!

THE SHAOLIN TEMPELS: Location, Structure, and Daily Life

There were 5 main temples at the height of the Shaolin order, though all 5 temples were rarely active at the same time.Henan: This is "the" Shaolin temple seen in Chinese kung fu movies, and the one portrayed in the ABC-TV "Kung Fu" series of the 1970s. The physical premises, located in Loyang, a small mountain town southwest of Beijing, have been restored by the Chinese government in the mid 1970s (the temple was destroyed as a result of the Boxer Rebellion of 1901, but probably not until the late 1920s), and subsequently become a tourist/martial arts Mecca. Most of the resident "monks" seen today are actors, similar to the people you would meet in Colonial Williamsburg and other historical sites. During most of its history, Henan Temple was the seat of the most senior monks in the Shaolin Order.

Fukien: Probably built around the same time as Henan Temple, but originally a mainstream Buddhist temple until the early 1600s. This temple was integrated into the Shaolin order around 1650. Larger than the Henan Temple, Fukien served as the "headquarters" during times when Henan was either destroyed or under threat. The southern styles of praying mantis, snake, dragon, and Wing Chun were all developed in Fukien Temple, or by its masters. The temple was burned during the Boxer Rebellion, and its remains were rediscovered in the early 1980s.

Kwangtung: southern school, taught many great warriors, snake temple. Temple was built in late 1700's as a Shaolin temple, built in a mountain area overlooking the ocean near the city of Canton in Canton Province. This Cantonese temple was close to (ca. 150 miles southwest) Fukien, and was home to many southern styles, including Choy Li Fut and dragon (styles often originated in one location and were modified at others). Shelled during the civil warring following the Boxer Rebellion.

Wutang: Tiger temple. Located near the town of Wutang. Built in a politically unstable area (near Manchuria and the Korean peninsula). Probably the temple most involved with temporal concerns, and consequently often besieged by one army or another. Mercenary monks, including Bok Lei, Hung Si Kuan, and Bok Mei all came from Wutang, eventually moving to Henan (and thus involving Shaolin in its biggest political incursion). Very old temple, integrated into the Shaolin order around AD 800.

O Mei Shan: (literally, "Great White Mountain"), northern, library and medical temple. This temple was located in an inaccessible area of the Szechuan province and imported monks much like research institutions do today. The temple itself was very old, probably Taoist in origin. Integrated into Shaolin order around AD 1500. Was in close contact with Tibet. Crane temple. This was a major medical "school" for four centuries, the libraries filled with tomes from East and West. The buildings were used for artillery practice by the armies of both Shang Kai Shek and Mao Tze Tung, but restored in the early 1970s. Today, the "temple" serves as the conservation service headquarters for the bamboo forests of Szechuan and research center for the pandas.

The first four temples had the brands of the tiger and dragon on the left and right forearms respectively. The O mei shan temple had the mantis and the crane on the right and left forearms.

the Structure of the Temples Description of Ranks

The Shaolin had a limited class structure with three major levels: students, disciples, and masters. At the base was the student class, which held the most individuals. Members of this group cooked all the meals, washed clothes and performed all other menial or manual labor. Their station was such in order to teach them humility and respect, but also to provide the masters with an opportunity to observe potential students before entrusting them with martial arts skills. One who entered before you and was still in your class was an older brother or sister.

The next class of the Shaolin was composed of disciples. They were students who had demonstrated that they were worthy of learning the martial arts of the temple. Upon entrance into this class, they spent from two to four years in the exclusive study of the Shaolin arts of war and medicine, having already received their basic philosophical training as students. As students they learned the principles of Shaolin ethics; as disciples, their time had come to live those ethics, posing as examples for others to follow.

Above the disciples were the masters, who were accorded status as full monks of the temple. The title of master had been bestowed upon them because they had learned completely a system of martial arts from their temple and perfected it, thus achieving technical mastery. Also, they had succeeded in learning the philosophy of the temple well enough to teach what they had learned. Indeed, this was their function in the temple. They were the dispensers of knowledge to the student classes. Among themselves, they had levels of excellence which indicated their martial arts prowess and their grasp of the Shaolin philosophy.

The title "grandmaster" is not a traditional rank, but a modified term to indicate that the master had also been a teacher of other students who had attained master rank. There was no test or formal requirement for the use of this title, and grandmasters rarely use the term in reference to themselves!!There are four traditional sash colours in Shaolin (master ranks are divided into a lower gold and higher red levels):
white sash: student
black sash: disciple
gold sash: weapons master, basic unarmed master
red sash: unarmed master, priest/monk level

THE DEADLY ART OF THE PHILIPPINES: KALI
[ESCRIMA OR ARNIS]
The origins of arnis are difficult to trace, primarily because there are nearly as many styles of Filipino stick fighting as there are islands in the Philippine archipelago more than 7000!

The races that settled in these islands came from India, Southwest Asia, China and Indonesia and Arabia. These diverse races and cultures blended their heritage's over the centuries, producing a common method for employing sharp swords, daggers and fire-hardened sticks in combat. These highly sophisticated fighting styles have grown in popularity in the international martial arts community. One of the earliest known forms was called tjakelele (Indonesian fencing). Kali is another term familiar to stick fighters around the world today. When the Philippines were invaded by the Spanish, the invaders required guns to subdue their fierce opponents. The deadly fighting skills of Filipino warriors nearly overwhelmed them, and they dubbed the native stick style escrima (skirmish).

"Kali," the mother of escrima and arnis de mano, is the preferred reference by its practitioners. Always assuming the use of the blade, whether it be the sword or knife (dagger), Kali employs many techniques, including strikes, stances and weapon handling, which have influence from China, Arab missionaries, Indonesia and Spain. This is due to immigration as well as invasion and occupation. The Philippines’ colorful history records the immigration of several cultures to the islands, all of which influenced the Filipino Martial Arts.

The Madjapahit, who settled in the Southern stretches of the islands, where influenced by Arab missionaries and became know as fierce Moslems (called "Moro Filipinos") who violently opposed foreign peoples on their native land. During the American occupation of the Philippines in the early 1900s, Moros, marked by tiger-eyes and red headbands - signifying a resolve to kill until killed - strode singly down the streets blading everything in their path, embracing the belief that every slain Christian assured their places in heaven. So tenacious was the Moros’ rampage that hundreds of reports by American soldiers surfaced, stating that the slugs of .38-caliber pistols failed to stop the advancing Moros. As a result of those reports, the .45-caliber pistol was designed and issued to American servicemen. Although the Moros’ religious fervor was a crucial element in their destruction, it was the use of their bladed weapons that allowed the bloody chaos to succeed. The art they so deftly employed was Kali.

Escrima/Kali/Arnis was subsequently outlawed, but the techniques did not disappear. The were preserved in secret, sometimes under the very noses of conquerors, in the form of dances or mock battles staged in religious plays know as moro-moro. These plays featured Filipinos, sometimes costumed as Spanish soldiers, wearing arnes, the harness worn during medieval times for armor. The blade-fighting forms and footwork were identical to those used in escrima. The word arnes so became corrupted to arnis, and the name stuck.

Historically, KALI incorporated three related methods: espada y daga (sword and dagger), which employs a long blade and short dagger; solo baston (single stick); and sinawali (to weave), which uses two sticks of equal length twirled in weaving fashion for blocking and striking (term is derived from sawali, the bamboo matting woven in the Philippines). This is a great style to learn!! very practical yet complex at the same time!! this is just another art that proves knowledge always will "mix" and live on!!

A Brief History of Shorinji Kempo

This brief history was taken from an official translation provided by the International Office of the World Shorinji Kempo Organization (WSKO).

Shorinji Kempo traces its origins more than five thousand years to ancient India. Though it experienced a long period of development in China, its present form is the result of Founder's genius. Doshin So was born in 1911, in Okayama Prefecture, the oldest son of a customs officer. Upon the death of his father, young So was sent to live with his grandfather, who was an employee of the Manchurian railroad. When he was only seventeen, however, his grandfather's death forced him to return to Japan under the patronage of his grandfather's friend Mitsuru Toyama, the founder of the ultrapatriotic Amur River Society. At that time, Japan was experiencing the the effects of worldwide depression and was as a result becoming involved in politics on the Asian mainland. In 1928, Doshin So returned to Manchuria, this time as a member of a secret organization. To facilitate his covert activities, he became a disciple of a Taoist priest who was also an executive of the Zai-jari secret society and a master of the Byakurenmonken, a branch of Kempo originating at the Shorinji. This was So's first contact with kempo, and though he began to practice it eagerly, in those days it was no more than a series of incoherent disorganized techniques.

The association of Chang Tso-lin, a Chinese warlord acting more or less as a client of the Japanese but proving too nationalistic for some of the officers of the Japanese Kwantung Army, who had him put out of the way, intensified Japanese meddling in Manchuria and China and accelerated their plans to revive the defunct Manchu (Ch'ing) Dynasty. In his role as a secret agent, So was forced to travel widely to gather information for his organization, and this gave him the opportunity to meet masters of Kempo of various kinds. As had been true of the Taoist priest under whom he had studied earlier, however, these men too knew only a handful of techniques that lacked any kind of organization.

But trip to Peking brought young So into contact with the twentieth master of the North Shorinji Giwamonken School of Kempo, whose direct disciple he immediately became. Having resigned himself to the unhappy likelihood that he would be the last of the Kempo head masters, this elderly man was overjoyed at finding an enthusiastic and skillful young follower. In a ceremony at the Shorinji Temple in 1936, Doshin So was officially designated the successor of the leader of the north Shorinji school.

In 1945, when the Russian Army entered Manchuria, Doshin So managed to escape through the help of Chinese secret society members: he was finally repatriated in 1946. The grim state of affairs in postwar Japan impressed him with the need of a restoration of morality and national pride and the creation of an entirely new human image. Regarding the Dharma spirit and the practice of Kempo as means to achieve these ends, Doshin So completely revised, expanded, and systematized the many forms of Kempo he had learned in China and thus created Shorinji Kempo as it exists today. So doshin practiced aiki jutsu and later on shaolin wushu, its very well rounded and its looks like a great mix of karate and jujutsu!!. The kosho ryu school of kempo has a similar blend of jujutsu and chinese karate or wushu.

Influences:

THERE ARE SO MANY GREAT STYLES & MASTERS...BUT I CAN ONLY NAME A FEW!!.. J.KANO [JUDO], BRUCE LEE [JEET KUNE DO], SO DOSIN [SHORINJI KEMPO], M. UESHIBA [AIKIDO], G.FUNOGOSHI [SHOTOKAN] H. GRACIE [BRIZILIAN JUJUTSU].......

KEMPO, KUNG FU OR BUJUTSU

It is estimated that in 520 BC during the Southern dynasties that Bodhidharma {from india, also known as "DA'MO"} entered China and traveled northward to the kingdom of Wei where the fabled meeting with emperor Wu of the Liang dynasty began. This meeting is recorded do to the intense conversation and discussion of Buddhism and dhyana which took place. The meeting was to no avail, his words to the worldly emperor meant nothing, and thus, sullened by his attempts, Bodhidharma left the palace of the emperor and travelled to the Honan province where we entered the Shaolin temple and began a martial history.

Bodhidharmas depression grew once he reached the famed Shaolin temple for Prajnatra's telling was true. The monks where in a raged condition physically and mentally diminished do to the excess amount of time the monks spent in meditation and little else. Many of the monks would often fall asleep in meditation while others needed assistance in the basic necessities of life - so feeble was there condition.

For an unknown period of time Bodhidharma meditated in a cave at the outskirts of the temple seeking for a way to renew the feat of Buddha's light, as well as letting the monks regain control over there lives. Upon his return Bodhidharma instructed the monks into the courtyard, from the strong to the feeble and began to explain and work with them in the art of Shih Pa Lo Han Sho, or the 18 hands of Lo Han. These techniques which are the foundation for almost all martial arts today where never originally intended to be utilized as methods of fighting but where a manner in which the monks could attain enlightenment while preserving there bodies health.

During the Sui period, approximately forty years or so after the death of Bodhidharma it is told that brigands assaulted the Shaolin monetary; one of many attacks that would occur until the early twentieth century. During this first invasion, the monks attempts at defending there temple where futile, there skills where not attuned to fighting techniques and it looked as if the temple would fall. A monk of the temple, with reference only as the "begging monk", during the last siege of the temple by the brigands attacked several of the outlaws with an array of aggressive hand and foot techniques, killing some and driving the remaining attackers away. The other monks where so inspired by the display of this single priest that they requested tutelage in this martial style as a means of protection. In later scripts this fighting art was recorded as Chuan Fa or Fist Method.

Over several decades the fighting arts of the Shaolin temple grew and where said to prosper over 400 arts in total over the next several centuries. Several decades after the fight of the begging monk, a master of Chuan Fa called Ch'ueh Taun Shang-jen was said to have rediscovered the original Shih Pa Lo Han Sho which had been lost for many years. Ch'ueh over a period of time integrated his art of Chuan Fa with that of Lo Han increasing the total number of techniques from the original eighteen to total of seventy-two.

For several years after this period Ch'ueh traveled the country side of China promoting his art in several gruelling fighting matches until he came upon a man named Li in the province of Shensi. Li, a master of Chuan Fa as well as other martial ways (including rumors of Chin Na) traveled and trained with Ch'ueh for some time developing the curriculum of Chuan Fa to form a total of one-hundred and seventy techniques.

Furthermore, they categorized these techniques into five distinctive groups distinguished by various animals who instinctive reactions best reflected the movements of this new Chuan Fa. Upon there return to the Shaolin temple of which both Li and Ch'ueh belonged they presented to the other monks wu xing quan, the five animal form and brought to the Shaolin temple a new stage in martial arts evolution.

Over the next several centuries the history of Chuan Fa and its advent to Kempo is ragged in its tales and difficult to gain accurate descriptions. What is known is that the art of Chuan Fa remained and is still practiced in China, but its teaching also found its way to Okinawian Islands and the Ryukyu kingdoms as well as Japan. In both places, the art was referred to as Kempo or Law of the fist. Between the Sui and Ming periods (an 800 year gap) it is considered that many a wandering monk traveled across Japan and Okinawa bringing with them a working knowledge of the art of Kempo which explains its wide-spread distribution.

The art of Chuan Fa which translates into Kempo would have been taught as a supplement to the daily spiritual training the monks endured. Many of the monks would often choose disciples or teach at various Buddhist temples bringing forth the word of Buddha, and the power of Chuan Fa. From there the art of Kempo could easily spread among the commoners and nobles alike!!

Another reason for the founding in Kempo can be seen in the numerous trips the Japanese and Okinawian made to China to learn the fabled art of Chuan Fa. Some people would disappear for many years, presumed dead by there families, only to resurface as a master of Kempo and other martial arts.

One such man was named Sakugawa. Sakugawa lived in the village of Shuri on the island of Okinawa and traveled to China during the 18th century to learn the martial secrets of the Chuan Fa masters. For many years Sakugawa had not been seen and many believe he had died in his journeys, but after much time he did return, much to the surprise of his kin. Sakugawa has learned the secrets of Chuan Fa and had become a master of some repute himself. Over many years of refinement the art Sakugawa had learned slowly was renamed to Shuri-te and is considered the predecessor to many forms of modern Karate.

Another member of Shuri, Shionja also traveled to China as Sakugawa did but on his return in 1784 brought with him a Chinese companion named Kushanku. Both men brought with them the art of Chuan Fa which they had studied together in China and began to demonstrate around Okinawa. Its is believed that Kushaku and Shionja had the greatest influence in Okinawian Kempo styles than any other martial artist.

Unfortunately, the evolution of Kempo in Japan is just as abrupt and mysterious although a flurry of attention to the art was brought during the reign of Hideyoshi Toyotomi's plans of conquering China.

THE ART OF KALARI PAYATTU
DAMO'S ARTS BEFORE SHAOLIN.

Kalari is Malayalam (language spoken in Kerala) word, for a special kind of gymnasium, where the martial art known as Kalari Payattu, is practiced. It had its origins in the 4th century A. D. Legends claim, that the art began with the sage Parasurama, who possessed mystical powers. He built temples and also introduced martial arts, which have influenced and shaped many other arts. The art reached its zenith in the 16th century, in the days of Thacholi Othenan - a celebrated chieftain of north Malabar.

A Kalari Payattu demonstration includes physical exercises and mock duels - armed and unarmed combat. It is not accompanied by any music or drumming, but is a silent combat, where style matters the most. Kalari Payattu is practiced by women also. Unniyarcha was a legendary heroine, who won many battles with distinction. Today, Kalari Payattu is a method of physical fitness, and an empty-handed means of self-defence. Yet, it is tied to traditional ceremonies and rituals.

Kalari Payattu consists of various techniques and stages. Among them are:. Uzhichil Uzhichil, or the massage with the Gingli oil, is used for imparting suppleness to the body, but only persons with a thorough knowledge of the nervous system, and the human body, conduct the 'uzhichil'.

Body exercises or Maippayattu includes the twists and turns of the body, leaps and jumps, and poses, designed to gain control over various parts of the human body.

Sticks of Kolthari This is the next stage where training in handling various staves of wood or canes of different lengths are imparted. The long stick is kettukari and the short one, kuruvadi. Otta - a Weapon for the 'coup de grace' The otta is an 'S' shaped staff, with a knob at one end, made of the toughest portions of the tamarind tree.These sticks, which are about 2 feet long, are specially suitable for attacks on the nervous system.

Metal weapons or Anga Thari Weapons of various metals are used in training and combat sessions, like the sword, sword and shield, two types of knives, daggers, the spear and the 'urumi'. Various exercises are performed with these weapons. Puliyankam (Sword Fight)

Wielding the sword in an efficient manner, is considered to be the peak of perfection in Kalari Payattu. Various methods in the use of the sword, as a weapon of offence and defence, are being practiced today, but the most awe-inspiring of these, is the Puliyankam, where the combatants fight like tigers, propelled by powerful fuels - extraordinary elan and agility.

The Spear Vs the Sword

In this combat, one contestant is armed with a sword and shield, and the other with a spear. Due to the length of the spear, the swordsman faces a disadvantage, but if he knows how to exploit all the weak points of the spear-man, and take advantage of all the opportunities, that come his way to get under his opponent's guard, he can easily triumph over his opponent.

Barehanded Fight or Verumkai

In unguarded moments, there are some special ways of getting out of a tight situation, by using one's hands or a piece of cloth or a rope. Locks and blows are in vogue. Attacks on the nervous system by the edge of one's palm, are enough to paralyse the opponent. Various types of blows with different effects are, therefore, practiced to perfection. Character, fitness and sheer courage - these are the demands of Kalari Payattu, which has about it a distinct spiritual and mythical aura. To succeed in this martial art, one needs plenty of fire in the belly, energy, drive and fierce commitment.

Each Kalari is run by a gurukkal (teacher) who teaches the students the esoteric physical and spiritual disciplines needed to master Kalaripayattu. There are three main styles of Kalarapayattu, northern, southern and central, stemming from these regions of Kerala. Each of them have particular aspects and fighting skills that distinguish them from each other, such as the importance of marmas (pressure-points) and the invocation of certain protective deities.

According to both Indian and Chinese historical sources, in the 4th Century AD a Buddhist monk named Bodhi Dharma took Kalarapayattu to China and from there the systems of kung-fu and karate eventually emerged. This style became more developed during the 9th century and was practiced by the warrior clan of Kerala, the Nair community, to defend the state and the king. The ancient warrior spirit was also retained throughout the centuries by the warrior chieftains of ancient Kerala known as the Mamanka Chekavers and the Lohars, the Buddhist warriors of North Kerala.

Thus, this martial art flourished until 1793 when the British East India Company banned it. However, it continued to be practiced in secret by a handful of stalwart adherents, and it is due to their perseverance to keep this tradition alive that the present-day practitioners continue to teach the mother of the worlds martial arts.

WHAT DOES "PURE" MEAN???
HERE IS A SIMPLE DEFINITION:
Having a homogeneous or uniform composition; not mixed: pure oxygen. Free from adulterants or impurities, Free of dirt, defilement, or pollution, Not diluted or mixed with other substances.....

OKAY....IN MY TRAINING I SOMETIMES HEAR PEOPLE SAYING THINGS LIKE...."THATS NOT PURE KARATE"...OR "THATS NOT PURE KUNG FU" AND IT MADE ME SAY TO MYSELF...WHAT IS PURE MARTIAL ARTS???

ALL ARTS ON THIS EARTH HAVE BEEN "SHARED" BY MANY DIFFERENT CIVILIZATIONS. AND FIGHTING IS NO DIFFERENT.....FOR EX...THE BOW AND ARROW CAN BE FOUND IN ALMOST EVERY CULTURE, THE AX, SWORD, AND SPEAR ARE THE SAME. THEY CAN BE FOUND EVERYWHERE...SO SINCE THE "ARROW" IS NOW ALL OVER THE WORLD...DIFFERENT WAYS OF USING THE ARROW ARE GOING TO BE EXPLORED....AS WELL AS THE SWORD, AX, STAFF AND SO ON.

THE JAPANESE ARE GONNA HAVE THERE WAYS OF USING THESE WEAPONS, SO ARE THE CHINESE, AND THE AFRICANS AND SO ON......DO YOU SEE WHERE IM GOING??.....IF SOMTHING WORKED IT WAS COPIED AND SHARED AND PASSED ON....SO WHAT MAKES JUJUTSU A "PURE" JAPANESE ART IF CHINESE, AFRICAN, INDIAN, AND GREEK MARTIAL ARTS HELPED IT GROW???

THATS WHY ITS SO HARD TO USE THE WORD "PURE" IN MARTIAL ARTS!!....BECAUSE DIFFERENT MASTERS WOULD PUT THERE OWN "SPIN" ON EVERY ART THEY LEARNED.WE WILL NEVER KNOW WHAT "PURE MARTIAL ARTS ARE....EACH INDIVISUAL IS UNIQUE...AND IT IS THIS QUALITY THAT WILL KEEP MARTIAL ARTS GROWING AND THATS TRUE BUDO OR PURE MARTIAL ARTS!

THE ART OF BOXING

Fighting with the fists for sport and spectacle is probably as old as sport itself. Boxing contests are found throughout antiquity. Greek boxers would wear boxing gloves (not padded) and wrappings on their arms below the elbows, but were otherwise naked when competing. There is evidence to suggest that boxing was prevalent in North Africa during 4,000 B.C.

The word "boxing" first came into use in England in the 18th century to distinguish between fighting to settle disputes, and fighting under agreed rules for sport. It is now used to describe a sport in which two contestants (boxers) wearing padded gloves face each other in a "ring" and fight an agreed number of "rounds" under recognized rules. Although men have always been the most numerous participants, there are some references to fights between women during the 18th century, and women's boxing was organized again at the end of the 20th century.

Eighteenth and early 19th-century pugilism (bare-knuckle fighting) was an important precursor of boxing in Britain. Boxing, however, probably grew most specifically out of the demonstrations held at the Fives Court and the Tennis Court in London in the early 19th century. These promotions had several features that anticipated the future sport of boxing. The boxers wore "mufflers" (padded gloves); "time" was called after a set period; and the length of the fight was predetermined. Wrestling throws were also barred. None of these features were present in bare-knuckle pugilism.

For the generation following the creation of the Queensberry Rules, bare-knuckle and glove-fights were both promoted. The bare-knuckle fights were usually held under the "New Rules" produced by the Pugilistic Benevolent Society in 1866, which had superseded the "Pugilistic Association's Revised Rules" of 1853. They were often popularly referred to as the "Rules of the London Prize-Ring."

Queensberry rules
"Boxing" as distinct from any other form of fist fighting can be dated from 1867, when John Chambers drafted new rules. There were twelve rules in all, and they specified that fights should be "a fair stand-up boxing match" in a 24-foot ring. Rounds were to be of three-minute duration with a one-minute rest period between rounds. Ten seconds were allowed for a man to get up if he had gone down during a round. New gloves of "fair-size" were to be worn and "wrestling or hugging" was specifically forbidden. These gloves' purpose was to protect the knuckles. Much like today, an average pair of boxing gloves looked like a bloated pair of mittens, were often red, and were laced up around the wrists. The rules were published under the patronage of the Marquis of Queensberry, whose name has always been associated with them. The first fighter to win a world title under these rules was "Gentleman Jim" Corbett, who defeated John L. Sullivan in 1892 at the Pelican Athletic Club in New Orleans.

The success of boxers has always been associated with their size. In the early years of pugilism, however, there was only one "Champion," who always tended to be one of the heaviest. The term "light weight" was in use from the early 19th century, and fights were sometimes arranged between the lighter men, but there was no specific Championship for them. The terms lightweight, welterweight, middleweight and heavyweight became common during the late 19th century, but there was no universally recognized definitions of weight class. Throughout the 20th century, new weight classes were added, extending the range down to strawweight and up to superheavyweight but with varying agreement over their definitions.

In the early days of pugilism, all fighters were "professional" in the sense that few would fight for "love" rather than money. No distinct "amateur" sport existed until 1867, when amateur championships under Marquess of Queensberry Rules were held at Lillie Bridge in London for Lightweights, Middleweights and Heavyweights. By this date, the old professional bare-knuckle "Prize Ring" was in terminal decline. It had always been against the law, but in the early part of the century it survived because it had widespread popular support and because there were many influential men who supported it. By 1867, however, the results of fights were increasingly suspect, and sometimes boxers even failed to turn up for fights. Less money came into the sport and bare-knuckle pugilism slowly died out.

Conversely, the amateur side of the sport flourished, not only in schools, universities and in the armed forces, but also in the working-class areas of the expanding urban centers. With the gradual acceptance of Marquess of Queensberry Rules, two distinct branches of boxing emerged, professional and amateur, and each produced its own local, national and international governing bodies and its own variation of the rules.

IS IT THE ART..OR THE ARTIST???

ARE YOU A GOOD FIGHTER BECAUSE OF YOUR ART??...OR YOUR TRAINING??... ITS YOUR TRAINING!!!...AN ART CAN BE GREAT...BUT IF YOUR BODY CANT RESPOND TO THE NEED...YOUR GOING TO MAKE YOUR ART LOOK BAD!!!
WHY IS THE MASTER OF THE JO [SHORT STICK] GOOD WITH HIS STICK FIGHTING??...BECAUSE HE OR SHE TRAINED!!!!...ITS NOT SOME MAGICAL GIFT THAT FELL FROM THE SKY...LOL...THEY PUT IN THE TIME AND HARD WORK!!...THATS WHAT THE REAL MEANING OF "KUNG FU" IS!!!
IF YOU ARE GOOD AT ANYTHING...ITS BECAUSE YOU PUT IN THE TIME!!! NOW...SOME OF US MIGHT LEARN FASTER THAN OTHERS...BUT YOU STILL HAVE TO PUT IN THE TIME!!!!...IT IS NEVER THE ART...IT IS ALWAYS THE ARTIST!!!!
YOU WON THAT FIGHT BECAUSE YOU WORKED HARD AT YOUR COMBAT SKILLS!!....NO MATTER WHAT STYLE...KARATE, JUJUTSU, BOXING, MUAY THAI ETC....IF YOU PUT THE TIME IN YOU WILL SEE RESULTS!!

THERE IS NO SHORT CUT IN MARTIAL ARTS...YOU WILL ONLY BE LYING TO YOURSELF

ALL TECHNIQUES SHOULD BE DONE AT THE "RIGHT PLACE AND TIME"

BJJ IS A GREAT JUJUTSU SYSTEM....BUT YOU DONT WANT TO GO TO THE GROUND ALL THE TIME!! WHAT IF YOUR FIGHTING MANY PEOPLE?? OR WHAT IF THE GROUND HAS A LOT OF GLASS?.... ETC

....TKD IS GREAT,,,AND TEACHES A GREAT KICKING FORM...BUT YOU MIGHT HAVE TO WIN A FIGHT WITH A JOINT LOCK OR A THROW?? OR YOU MIGHT BE IN A POSITION WHERE YOU CANT LIFT YOUR FEET. OR DO SPINING BACK KICKS?

...BOXING IS GREAT...BUT YOU DONT KNOW HOW TO KICK OR HOW TO USE DIFFERENT HAND STRIKES...AND THERE'S NO GRABING OR TRAPING KNOWLEDGE??

.....GRAPPLEING IS GREAT...BUT IF YOU DONT HAVE KNOWLEDGE ON HOW TO GET FROM POINT A TO B...CHANCES ARE YOUR GOING TO GET KNOCKED OUT TRYING TO APPLY GRABS ON A GREAT STRIKER!

THATS WHY YOU MUST ALWAYS GOBACK TO THE BASIC FIGHTING SCIENCE!

THE 4 BASIC WAYS TO FIGHT:
1, STRIKEING
2, HOLDING
3, THROWING
4, ALL OF THE ABOVE WITH WEAPONS!ALL FOUR MUST BECOME ONE

PEACE TO ALL WHO TRAIN HARD!!

Sounds Like:

THE DAOIST 5 ANIMAL PLAY

Hua Tuo, also named Yuan Hua of Hao County in Anhui province, was the first famous Chinese Surgeon. He is the first in the world to develop the use of anesthesia, and further the limited Chinese knowledge of anatomy. When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung

this great Chinese physician , who lived from 145-208 A.D and died at the age of 98 years old, was an extraordinary healer, taught that through imitating the movement of the tiger, deer, bear, monkey and crane, the Five Animal Qi Gong brings us back to our free human nature. Symbolically, the animals are related to the five elements, colors, sounds, seasons, internal organs, sensory organs and emotions. It is an integrative, comprehensive practice that promotes health, vibrancy and longevity.

The Hua Tuo system of Five Animals is practiced through simple forms of movements, meditation and spontaneous play of the animals. Internally the practice opens the Qi channels and cultivates Jing, Qi, Shen (essence, vital energy, and spirit). Externally it improves the function of bones, joints, tendons, muscles, circulation, hair and skin.

Many stories have been passed down from generation to generation, as to how Hua to cure difficult diseases. He became known as the "Magical Doctor". His principle of resisting the onset of disease by working and doing exercises was also a major contribution to traditional Chinese medicine.

One day, Hua Tuo 's outstanding disciple Wu Pu came to visit him and found his teacher was still quite healthy and energetic and much younger looking than many of his contemporaries. When he asked for the reason, Hua Tuo showed him the Frolics. It is belived that Damo aka Bodhidharma aka Daruma mixed hua's 5 animal science with the east indian arts Kalaripayattu and yoga!! this was a major contribution to the development of martial arts.

Hua Tuo had several disciples, including Wu Pu, Fan E, and Li Dangzhi, all of whom were excellent physicians. They also practiced qi gong, acupuncture, herbal medicine, and other things learned from Hua Tuo. It is said that Wu Pu wrote an herb guide and that Fan lived to be over 100, thanks to the exercises he practiced regularly.

KYUSHO-JITSU AND DIM MAK

The meaning of physical movements found in traditional forms/katas (pre-arranged sequences of martial movements) is the once hidden arts of kyusho-jitsu (pressure point strikes) and tuite (joint manipulations). Pressure point fighting was not taught to Americans after World War II. The knowledge shared in seminars is applicable to any martial arts style.

Kyusho-jutsu translates to mean pressure point fighting science or art. In general terms, a pressure point is a place where energy can be transmitted most effectively into a nerve or cluster of nerves. It is usually a place where there is a small branch of nerve connecting two or more major nerve pathways, or a place where major nerves join together (a nerve cluster or plexus). This means that when such an area is struck, the pain signal resisters on more than one nerve pathway. Pain entered into a pressure point on the arm for example, might be carried to the brain on all three major nerves of the arm the radial nerve, medial and ulnar nerves. This is why Kyusho-jutsu requires less power to be affective; the brain receives the signal, which is amplified by the multiple nerve routes.

The pressure points used in Kyusho-jutsu are the same points used in acupuncture. Acupuncture regards a pressure point as a gate where the flow of vital energy (chi or ki) can be manipulated. The acupuncturist uses these gates to increase or decrease the flow of energy in order to restore a healthful balance within the body. The Kyusho-jutsu fighter uses these same points to disrupt the flow of energy in order to defeat an opponent.

Since the original intent of the founders of Kyusho-jutsu were forced to use these methods against armed assailants, their techniques were intended to kill. In modern Kyusho-jutsu our goal is to defend ourselves and not to kill; therefore our techniques are used to quickly incapacitate our opponents with a knock out blow or a joint attack. Together with the techniques of Tuite (the art of grasping or seizing the vital points) Kyusho Jutsu techniques can enable a skilled practitioner to execute highly effective self-defense, even in advanced age, and irregardless of physical size and strength. I think this is a very important aspect of fighting.the more you know about the body the more dangerous you become!

The Dim Mak or "Death Touch", as it is typically referred, is a part of several Chinese Martial Arts., kyusho-jitsu belongs to karate [Okinawan kempo] and dim mak belongs to Chinese wushu or KUNG FU White Eyebrow and Eagle Claw, for example, teach "Dim Mak" striking techniques as integral parts of their systems. These styles are not particularly popular or wide-spread because knowledgeable "Dim Mak" masters take only a few students and only after a long screening process. These are dangerous techniques and the moral integrity of the student is of the utmost importance. Tai Chi Praying Mantis and Choy Li Fut also teach "Dim Mak" which is referred to as pressure point training by some. These techniques are reserved only for students of good character who have reached high levels in these styles.

The effectiveness of "Dim Mak" strikes is in direct relation to Chinese Medicine's theory of blood circulation and energy balance. Circulation and energy must be balanced congruently throughout the entire body. The Chinese refer to the blood as being like a river--if its flow is not balanced it will flood, causing too much water in some places while there is too little in others. According to this theory, the body's energy source controls the balance of blood circulation. If circulation is not balanced the body can become damaged in those areas of incongruence.

Another theory of Chinese Medicine is that each of the 12 energy meridians corresponds to a specific time period or "hour" of the Chinese "12-hour" day. If, indeed, the "Dim Mak" practitioner strikes the correct point/meridian at the correct time he could cause greater injury to his opponent. But simply knowing the location of a certain "Dim Mak" point is not quite enough for the average person to perform "Dim Mak" successfully. One must know the exact location, depth and measurement of each pressure point. "Dim Mak" experts are trained in the internal aspects of these kinds of strikes and are very adept in focusing their own energy into the opponent via the "Dim Mak" strikes.

"Dim Mak" experts also practice extensively on external conditioning of the hands and fingertips in order to be able to strike as deeply as is necessary for each "Dim Mak" technique. In Choy Li Fut there are four principle hand techniques implemented for "Dim Mak" strikes-- Phoenix Eye Fist (Fong-Ngan Chui), Crane Beak (Hok-Juei), Arrow Finger (Jin-Ji) and Leopard Fist (Tsop-Chui).

Traditional "Dim Mak" training includes acupuncture and medicinal methods to counteract the damage inflicted by "Dim Mak" strikes. Each of the 12 meridians employs a different antidote and there are specific healing formulas that correspond to the exact time of day that the damage was done.
Do not take "Dim Mak" training lightly. True "Dim Mak" training is difficult to find and should be considered only as a life-saving defense.

ORIGINS OF THE SUMO ..

....As with many forms of wrestling around the world, the roots of Sumo are lost in prehistory. Sumo is mentioned in some of the earliest texts in Japan, under its earlier name Sumai, from the 8th century A.D. However, these early forms would not be Sumo as it is known today, as in many cases the wrestling had relatively few rules and unarmed fights to the death were still referred to as 'Sumo'.

.....In addition to its use as a trial of strength in combat, it has also been associated with Shinto ritual, and even today certain shrines carry out forms of ritual dance where a human ceremonially wrestles with a kami (a Shinto 'spirit' or 'god'). It was an important ritual at the imperial court. Representatives of each province were ordered to attend the contest at the court and fought. They needed to pay for their travels by themselves. The contest was called Sumai no sechie (Party of Sumai). Over the rest of Japanese recorded history Sumo's popularity has changed according to the whims of its rulers and the need for its use as a training tool in periods of civil strife. The form of wrestling combat probably changed gradually into one where the main aim in victory was to throw your opponent. The concept of pushing him out of a limited defined area came some time later.

It is believed that a ring, defined by more than the area given to the wrestlers by spectators, came into being in the 16th century as a result of a tournament organized by the then principal warlord in Japan, Oda Nobunaga, but at this point wrestlers would wear loose loincloths, rather than the much stiffer mawashi of today. During the Edo period, wrestlers would wear a fringed kesho-mawashi during the bout, as opposed to the merely ceremonial role they hold today. Much of the rest of the development came in the early Edo period to give the sport its current form.

It is worth noting that nations adjacent to Japan, having shared some cultural traditions, also feature styles of traditional wrestling that bear some resemblance to Sumo. Notable examples include Mongolia, the birthplace of Asashoryu (the current Yokozuna), and Korea, where a similar sport called Ssireum is popular.

SHUAI CHIAO

The origins of Shuai-Chiao are as old as these of Chinese civilization itself. Since time immemorial, man has fought, and his most basic fighting instinct has always been to grapple. This is evidenced by ancient artwork from cultures around the world, depicting combat through some sort of grappling.

Chin Dynasty (246 BC ~ 207 BC)

Shuai-Chiao Artwork in Ancient Record The earliest recorded dynasty, the Chin (or Qin) Dynasty lasted from 246 BC to 207 BC. It was also the shortest Chinese Dynasty, lasting only during the reign of one monarch - the legendary Chin Shih-Huang Di. Chin Shih-Huang was known for his remarkable cruelty and ironhanded rule. He ordered the first burning of books, the construction of the Great Wall (which protected China's Northern borders from the invasion of barbarians), and the legalist school of Chinese philosophy.Chin Shih-Huang kept his military strong, and combat training was emphasized during his short reign.

Yuan Dynasty (1277 ~ 1367)

The Mongol hordes were the great Asian Conquerors of early history, leaving their mark on cultures from Eastern Europe to the Pacific Ocean. These great conquerors had a nomadic lifestyle that promoted combat skills for all males. Their tribal games revolved around the so-called 3 Masculine Sports: Horsemanship, archery, and wrestling.

Mongolian Wrestling, also known as Boke, or Bokh in the Mongol tongue, is a rugged hand-to-hand sport, relying more on raw physical power than a wide variety of techniques. Historically, Mongolian Wrestling is reputed to have influenced Chinese wrestling with its power techniques.

The basic premise behind Bokh is to force an opponent to touch any part of their body other than the feet to the ground, placing them in a position of inferiority. This kind of training served the Mongol hordes well in their conquests, earning them a reputation as fierce soldiers on foot and on horseback. It was this type of military might that allowed Ganghis Khan to Conquer China at the end of the Sung Dynasty in 1127.

Ming Dynasty (1277 ~ 1367)

The Ming Dynasty was the re-establishment of Chinese Sovereignty, following the Mongol conquest. During this time, some of China's martial arts began to flourish abroad, and Shuai-Chiao also made its presence felt overseas.See the resemblance modern Sumo with this old Shuai-Chiao Artwork Chen Yuan-Ping is credited for bringing Shuai-Chiao to Japan. His intimate knowledge of Shuai-Chiao's joint locks, controls, takedowns, and throws formed the basis of what became Jiu-Jitsu, which later evolved into Judo and Aikido.

In the modern era, there were two great masters who brought Shuai-Chiao's legacy into the forefront of Chinese combat arts. Shuai Chiao places emphasis on destroying opponent's balance by utilizing various body parts such as feet and legs as fulcrums.Shuai Chiao practicioners strive to unbalance their opponents without losing their own balance. With prolonged training and practice, weak and smaller persons can overcome larger and stronger opponents.

SWORDS AND DAGGERS .

......The katana is the Japanese backsword or longsword ( dait) of the type specifically in use after the 1400s (following the use of the tachi), although many Japanese use this word generically as a catch-all word for sword. Katana (pronounced [ka-ta-na]) is the kun'yomi (Japanese reading) of the kanji ; the on'yomi (Chinese reading) is t. In Mandarin, it is pronounced do (though this does not specifically refer to the katana, but any single edged sword). While the word has no separate plural form in Japanese, it has been adopted as a loan word by the English language, where it is commonly pluralised as katanas.

It refers to a specific type of curved, single-edged sword traditionally used by the Japanese samurai. The weapon was typically paired with the wakizashi, a similarly made but shorter sword both worn by the members of the buke (bushi) warrior class, it could also be worn with the tanto, an even smaller similarly shaped blade. The two weapons together were called the daisho, and represented the social power and personal honor of the samurai (buke retainers to the daimyo). The long blade was used for open combat, while the shorter blade was considered a side arm, and also more suited for stabbing, close combat (such as indoors), and seppuku, a form of ritual suicide. (In fact, seppuku was a right reserved for samurai in order to preserve their honor by taking their own life should the need arise.)

The scabbard for a katana is referred to as a saya, and the handguard piece, often intricately designed as individual works of art especially in later years of the Edo period, was called the tsuba. Other aspects of the koshirae (mountings), such as the menuki (decorative grip swells), habaki (blade collar and scabbard wedge), fuchi and kashira (handle collar and cap), kozuka (small utility knife handle), kogai (decorative skewer-like implement), saya lacquer, and tsukamaki (professional handle wrap), received similar levels of artistry.

It is primarily used for cutting, although its curvature is generally gentle enough to allow for effective thrusting as well. Though it is intended for and was predominantly used with a two-handed grip, many extant historical Japanese sword arts include at least one or two single-handed techniques. It is traditionally worn edge up. While the practical arts for using the sword for its original purpose are now somewhat obsolete, kenjutsu and iaijutsu have turned into gendai budo modern martial arts for a modern time. The art of drawing the katana and attacking one's enemies is iaido (also known as battjutsu/battodo), and kendo is an art of fencing with a shinai (bamboo sword) protected by helmet and armour.

Old koryu sword schools do still exist (for example, Kashima Shinto-ryu, Kashima Shin-ryu, and Tenshin Shoden Katori Shinto-ryu, among others). Perhaps one of the more famous types of Japanese fencing was "Nitto Ryu" or the use of both the katana and wakizashi in tandem; a technique most famously used by Miyamoto Musashi, though the extensive popularization of this technique in anime, literature, and pop culture has strongly skewed modern perspective on its importance and prevalence.

In China, dao is known as one of the four major weapons, along with the spear, staff, and the sword, and referred to as "The Courage of All Soldiers". Towards the end of the Han Dynasty, the single-edged dao became increasingly favored over the jian, since the dao was a much more effective cavalry weapon. The initial daos only had a slight curve.

The Mongols invaded in the early 13th century in the process of conquering the largest land empire in history. The Yuan dynasty of the Mongols influenced China and other nations considerably, particularly in the tools and tactics of war. A favored weapon of the Mongol cavalry was the saber: this simple, one handed, curved blade had been used by the Turkic and Tungusic tribes of Central Asia since the 8th century at least. Its effectiveness for mounted warfare and dispersion across the entirety of the Mongol empire had lasting effects. It spawned descendants across the continents that in turn produced even more kinds of curved swords over the years. The Persian shamshir, the Indian tulwar, the Afghani pulwar, the Turkish kilij, the Arabian saif, the Mameluke "scimitar", and the European sabre (adopted via Hungary's Magyar horsemen) and cutlass are all progeny of this Mongol curved blade.

the owkinawan sai is another great weapon form the blade world!! it was use to parry sword attacks. the old karate masters would carry 3 of them so one could be thrown in the heat of combat. the old samurai used this weapon also, and made there old version called the jutte. the chinese also have there own type of sai blade!!

THE FIRST SHOGUN WAS AN AFRICAN MAN
SAKANOUYE NO TAMURAMARO: SEI-I TAI-SHOGUN

Although the island nation of Japan is assumed by many to have been historically composed of an essentially homogenous population, the accumulated evidence places the matter in a vastly different light. A Japanese proverb states that: "For a Samurai to be brave, he must have a bit of Black blood." Another recording of the proverb is: "Half the blood in one's veins must be Black to make a good Samurai." Sakanouye Tamura Maro, a Black man, became the first Shogun of Japan.

In China, an Africoid presence is visible from remote antiquity. The Shang, for example, China's first dynasts, are described as having "black and oily skin." The famous Chinese sage Lao-Tze was "black in complexion." Funan is the name given by Chinese historians to the earliest kingdom of Southeast Asia.

Their records expressly state that, "For the complexion of men, they consider black the most beautiful. In all the kingdoms of the southern region, it is the same."

The first kingdom in Vietnam was the Kingdom of Lin-yi. Its inhabitants possessed "black skin, eyes deep in the orbit, nose turned up, hair frizzy at a period when they were not yet subject to foreign domination and preserved the purity of this type."

The fate of the Black kingdoms and the Black people of Far East Asia must be tied to increased pressure from non-Africoid peoples pushing down from northern Asia. Indeed, the subject of what might be called "Black and Yellow racial and cultural relations in both ancient and modern times" is so critical that it must be developed as a special area of study. It is of particular importance to African and African-oriented scholars and historians.

SAKANOUYE NO TAMURAMARO: SEI-I TAI-SHOGUN OF EARLY JAPAN
Of all the black people of early Japan, the most picturesque single figure was Sakanouye no Tamuramaro, a warrior symbolized in Japanese history as a "paragon of military virtues," and a man who has captured the attention of some of the most distinguished scholars of twentieth century America.

Perhaps the first such scholar to make note of Tamuramaro was Alexander Francis Chamberlain (1865-1914). An anthropologist, Chamberlain was born in Kenninghall, Norfolk, England, and was brought to America as a child. In April 1911 the Journal of Race Development published an essay by Chamberlain entitled "The Contribution of the Negro to Human Civilization." While discussing the African presence in early Asia, Chamberlain stated in an exceptionally frank and matter of fact manner:

"And we can cross the whole of Asia and find the Negro again, for when, in far-off Japan, the ancestors of the modern Japanese were making their way northward against the Ainu, the aborigines of that country, the leader of their armies was Sakanouye Tamuramaro, a famous general and a Negro."

Dr. W.E.B. DuBois (1868-1963), perhaps the greatest scholar in American history, in his book, The Negro (first published in 1915), placed Sakanouye Tamuramaro within a list of some of the most distinguished Black rulers and warriors in antiquity. In 1922, Carter G. Woodson (1875-1950) and Charles Harris Wesley (1891-?) in a chapter called "Africans in History with Others," in their book The Negro in Our History, quoted Chamberlain on Tamuramaro verbatim. In the November 1940 issue of the Negro History Bulletin (founded by Dr. Woodson), artist and illustrator Lois Maillou Jones (1905-1998) contributed a brief article entitled "Sakanouye Tamura Maro." In the article Jones pointed out that:

"The probable number of Negroes who reached the shores of Asia my be estimated somewhat by the wide area over which they were found on that continent. Historians tell us that at one time Negroes were found in all of the countries of southern Asia bordering the Indian Ocean and along the east coast as far as Japan. There are many interesting stories told by those who reached that distant land which at that time they called `Cipango.'

One of the most prominent characters in Japanese history was a Negro warrior called Sakanouye Tamura Maro."
Very similar themes were expressed in 1946 "In the Orient," the first section in Distinguished Negroes Abroad, a book by Beatrice J. Fleming and Marion J. Pryde in which was contained a small chapter dedicated to "The Negro General of Japan--Sakanouye Tamurarmaro."

In 1940 the great Joel Augustus Rogers (1883-1966), who probably did more to popularize African history than any scholar of the twentieth century, devoted several pages of the first volume of his Sex and Race to the Black presence in early Japan. He cites the studies of a number of accomplished scholars and anthropologists, and even goes as far as to raise the question of "were the first Japanese Negroes?" In the words of Rogers:
"There is a very evident Negro strain in a certain element of the Japanese population, particularly those in the south. Imbert says, "The Negro element in Japan is recognizable by the Negroid aspect of certain inhabitants with dark and often blackish skin, frizzly or curly hair....The Negritos are the oldest race of the Far East. It has been proved that they once lived in Eastern and Southern China as well as in Japan where the Negrito element is recognizable still in the population."

Adwoa Asantewaa B. Munroe referenced Tamuramaro in the 1981 publication What We Should Know About African Religion, History and Culture, and wrote that "He was an African warrior. He was prominent during the rule of the Japanese Emperor Kwammu, who reigned from 782- 806 A.D." In 1989 Dr. Mark Hyman authored a booklet entitled Black Shogun of Japan in which he stated that "The fact remains that Sakanouye Tamuramaro was an African. He was Japanese. He was a great fighting general. He was a Japanese Shogun."

However the most comprehensive assessment to date of the Black presence in early Japan and the life of Sakanouye no Tamuramaro is the work of art historian.... Dr. James E. Brunson. Brunson is the author of Black Jade: The African Presence in the Ancient East and several other important texts. In a 1991 publication entitled The World of Sakanouye No Tamuramaro Brunson accurately noted that "In order to fully understand the world of Sakanouye Tamuramaro we must focus on all aspects of the African presence in the Far East."

Sakanouye no Tamuramaro is regarded as an outstanding military commander of the early Heian royal court. The Heian Period (794-1185 C.E.) derives its name from Heian-Kyo, which means "the Capital of Peace and Tranquility," and was the original name for Japan's early capital city--Kyoto. It was during the Heian Period that the term Samurai was first used. According to Papinot, the "word comes from the very word samuaru, or better saburau, which signifies: to be on one's guard, to guard; it applied especially to the soldiers who were on guard at the Imperial palace."

The samurai have been called the knights or warrior class of Medieval Japan and the history of the samurai is very much the history of Japan itself. For hundreds of years, to the restoration of the Meiji emperor in 1868, the samurai were the flower of Japan and are still idolized by many Japanese. The samurai received a pension from their feudal lord, and had the privilege of wearing two swords. They intermarried in their own caste and the privilege of samurai was transmitted to all the children, although the heir alone received a pension.

"In as sense the originator of what was subsequently to develop into the renowned samurai class, he provided in his own person a worthy model for the professional warrior on which to fashion himself and his character. In battle, a veritable war-god; in peace the gentlest of manly gentlemen, and the simplest and unassuming of men."

Throughout his career, Tamuramaro was rewarded for his services with high civil as well as military positions. In 797 he was named "barbarian-subduing generalissimo" (Sei-i Tai-Shogun), and in 801-802 he again campaigned in northern Japan, establishing fortresses at Izawa and Shiwa and effectively subjugating the Ainu.

In 810 he helped to suppress an attempt to restore the retired emperor Heizei to the throne. In 811, the year of his death, he was appointed great counselor (dainagon) and minister of war (hyobukyo).

Sakanouye no Tamuramaro "was buried in the village of Kurisu, near Kyoto and it is believed that it is his tomb which is known under the name of Shogun-zuka. Tamuramaro is the founder of the famous temple Kiyomizu-dera. He is the ancestor of the Tamura daimyo of Mutsu." Tamuramaro "was not only the first to bear the title of Sei-i-tai-Shogun, but he was also the first of the warrior statesmen of Japan."

In later ages he was revered by military men as a model commander and as the first recipient of the title shogun--the highest rank to which a warrior could aspire."
Source: African Presence in Early Asia, edited by Runoko Rashidi and Ivan Van Sertima

So now the samurai movie “Ghost Dog” has a much deeper meaning, Im a black Aikidoka myself, and to know that my people helped shaped Asia’s ideas is amazing after all, Africans are the first people of Asia, its only natural that THE FIRST SHOGUN WOULD BE BLACK! These facts are very important! The people need to know the truth! So Jujutsu is just as much African, as it is Japanese.

THIS IS AN OLD SUMO PAINTING, NOW LOOK AT THE 2 MEN, ONE OF THEM IS VERY DARK!

HERE IS ANOTHER OLD KUNG FU PAINTING OF BLACK,BROWN AND YELLOW MEN LEARNING KUNG FU TOGETHER LIKE A FAMILY. THEY SAY A PICTURE IS WORTH A THOUSAND WORDS!...WELL HERE IT IS!!!

ALL COLORS COME FROM THE SO CALLED "BLACK MAN" IF YOU PUT ALL COLORS TOGETHER YOU WILL ALWAYS END UP WITH BROWN!!! THIS IS A FACT...THIS IS TRUTH..THIS IS SCIENCE!. AND TRUE ASIA [africa, india and china] WAS THE BEGINING OF LIFE

THE ASIATIC BROWN RED AND YELLOW MEN ARE BLACK PEOPLE!

In accordance with the oral traditions of China, the founders of Chinese civilization were Huangdi and Fu Xi. These legendary rulers like Dai Hao, were all buried in zhiu (burial mounds). The presence of this mound culture in China supports the traditions of burial of elects in mound tombs. The skeletal remains from southern China are predominately negroid. (Chang 1964, p.370) The people practiced single burials.

In northern China the blacks founded many civilizations. The three major empires of China were the Xia Dynasty (c.2205-1766 B.C), Shang/ Yin Dynasty (c.1700-1050 B.C) and the Zhou Dynasty.The Zhou dynasty was the first dynasty founded by the Mongoloid people in China called Hua (Who-aa). The founders of Xia and Shang came from the Fertile African Crescent by way of Iran. According to Chinese legends the first man Pan Gu, used a hammer 18,000 years ago to make man.

The Chinese legends designate various culture heroes as the inventors of various aspects of Chinese civilization. The Chinese term for emperor is Di. Huang Di (Yellow Emperor), is the Chinese culture hero credited with introducing boats, carts 'chariots, the bow and arrow, ceramics, wooded houses and writing. Chinese civilization began along the Yellow river . Here the soil was fertile and black Chinese farmers grew millet 4000 years ago, and later soybeans. They also raised pigs and cattle. By 3500 B.C., the blacks in China were raising silkworms and making silk.

The culture hero Huang Di is a direct link of Africa. His name was pronounced in old Chinese Yuhai Huandi or Hu Nak Kunte. He was supposed to have arrived in China from the west in 2282 B.C., and settled along the banks of the Loh river in Shanxi. This transliteration of Huandgi, to Hu Nak Kunte is interesting because Kunte is a common clan name among the Manding speakers.

The Africans or blacks that founded civilization in China were often called li min "black headed people" by the Zhou dynasts. This term has affinity to the Sumero-Akkadian term sag- gig-ga "black headed people". These li min are associated with the Chinese cultural hero Yao.
The Annals of the Bamboo Books, makes it clear that Yao "he united and harmonized the myriad states [of his dominion], and the [li min] black headed people were reformed by his cordial agreement". We also read that Shun, the successor of Yao, distinguished by his reputation as an obedient devoted son, noted to : "Ki [that] the Black headed people are suffering the distress of hunger". To help relieve the people Shun gave his throne over to Yu, the founder of the Shang Dynasty. Yu, in the Annals of the Bamboo Books, is reported to have noted that "...when a sovereign gives response to the people, he is kind, and the Black headed people cherish him in their heart".
We know very little about the sounds of ancient Chinese because Ancient Chinese was different from Old Chinese and Middle Chinese and the modern Chinese dialects. (Ramsey 1987, pp.137-138) This results from the fact that the Chinese dynasties were founded by diverse ethnic groups e.g., Xia and Shang li (i.e., Black Shang) were founded by Dravidian and Manding speakers. Shang-Yin was founded by classical mongoloids, and the Zhou by the contemporary Chinese. ) This explains the difference in pronunciation for Ancient Chinese spoken by the Xia and Shang peoples and Old and Middle Chinese or a variant there of, which was probably spoken by the Zhou people.

The Shang characters compare favorably to the ancient Proto- Saharan script used by the Harappans in the Indus Valley and the Manding script used in the ancient Sahara and Crete . Winters (1985c) outlined the spread of the Proto-Saharan script to Harappa, and throughout Saharan Africa and Asia by the Dravidians and Manding.

Evidence of Chinese writing first appears around 2000 B.C. as pottery marks. The shell-and-bone characters represented writing they were not pictures. The Shang symbols compare favorably with ancient Manding symbols. Although their are different contemporary pronunciations for these symbols they have the same meaning and shape. This suggest a genetic relationship between these scripts because we know that the present pronunciation of the Chinese symbols probably has little relationship to the ancient pronunciation of Chinese spoken in Xia and Shang times when these characters were first used. This cognation of scripts supports the proposed Dravidian and Manding migration and settlement of ancient China during Xia times.
The identification of the first hero of China, Hu Nak Kunte as a member of the Kunte clan of the Manding speakers of Africa is supported by the close relationship between the Manding languages and Chinese. Even though we do not know the ancient pronunciation of many Chinese signs many Chinese and Manding words share analogy and suggest a Manding substratum for Chinese. Chinese and Manding share many typological features. These features include reduplication for emphasis and the use of suffixes to form words.

Africans launched Chinese civilization
By Nsaka Sesepkekiu
Whenever we hear the term "Chinese" we often associate the word with short slanted eyed people who can fight kung fu. With the recent celebration of establishment of the People's Republic of China, I wish not only to congratulate them but also to add some insight into their history.

The original, first, native, primitive inhabitants of China were black Africans who arrived there about 100,000 years ago and dominated the region until a few thousand years ago when the Mongol advance into that region began. These Africans who fled the Mongol onslaught can still be found in South East Asia and the Pacific Islands misnomered Nigritos or "small black men." The Agta of the Philippines is one such example. Indeed archeology, forensic and otherwise confirm that China's first two dynasties, the Xia and the Ch'ang/Sh'ang, were largely Black African with an Australoid, called "Madras Indian" or "Chamar" in Trinidad, present in small percentages. These Africans would carry an art of fighting developed in the Horn of Africa into China which today we call martial arts: Tai Chi, Kung fu and Tae Kwon Do. Even the oracle of the I-Ching came with a later African group, the Akkadians of Babylon.

Around 500 BCE an African living in India called Gautama would establish a religion called Buddhism which would come to dominate Chinese thought. Any one who is in doubt should consult Geoffrey Higgins's Anacalypsis, Albert Churchward's Origin and development of Religions, Gerald Massey's Egypt the Light of the World, Riunoko Rashidi's African Presence in Early Asia and J A Roger's Sex and Race Vol 1. Many Africans survived the Mongol invasion into the twentieth century only to be exterminated by Chairman Mao's program of Cultural cleansing. Under this program millions of Africans and Afro-Asians were killed from 1951-1956. Contribute we still did, giving the People's Republic of China its first Chief Minister in the name of Eugene Chen, a Trinidadian of George Street, Port-of-Spain, who was of an African mother and a Chinese father.

For further reading on this individual one should consult J A Rogers' World's Great Men of Color Vol I. So next time the word China or Chinese is mentioned remember that Africans played a pivotal role in launching what is called Chinese civilization.

I would like to show you a African man named Nelson Mandela, look at his face! this is a man that is 100% african, but look at his eyes!!! and his cheek bones!!!...if he was yellow skined with straight hair, he would be called chinese,japanese,owkinawan etc....but he is not!! HE'S AFRICAN!

NO DISRESPECT TO ANYBODY, THIS IS NOT ABOUT PUTTING ANYBODY DOWN, THIS IS ABOUT THE TRUTH!
AND "AMERICAN WORLD HIS-STORY" MUST BE RE-WRITTEN! THE TRUTH MUST BE TOLD! FOR TOO LONG WE HAVE BEEN BLIND! AND DUMB! THE WAY WE LOOK AT HUMANITY HAS TO CHANGE! PEACE TO ALL PEOPLE OF THE EARTH! NO MATTER WHAT YOUR COLOR IS, YOUR HEART AND MIND MAKES YOU WHO YOU REALLY ARE.

THE AFRICAN / CHINESE MEDICINE MEN

"A swirling watery chaos from which the cosmic order was produced. In the begining there was only Nu." ...ancient african thought
THIS IS VERY VERY CLOSE TO THE CHINESE IDEA TAO OR DAO.
So now we have a huge conection with nubians and asians. I guess things dont always look as they seem, but how can we fight D.N.A.? MEDICINE PLAYS A HUGE PART IN THIS STORY!!!
THE AFRICAN ROOTS OF TRADITIONAL CHINESE MEDICINEBY. TARIQ SAWANDI, M.H.Before discussing the principles of Traditional Chinese Medicine, I think it would be interesting to the readers and students of African holistic medicine to know of the African influence of ancient Chinese healing theory.

The African role in early Asian civilization has been submerged and distorted for centuries. Asia's African roots are well summarized in "African Presence in Early Asia" by Ivan Van Sertima/Runoko Rashidi, and "African Presence in Early China" by James Brunson. The original oriental people were Black and many of them still are Black - in southern China and Asia. The earliest occupants of Asia were "small black (pygmies)" who came to the region as early as 50,000 years ago.

In "The Children of the Sun", George Parker writes "....it appears that the entire continent of Asia was originally the home of many black races and that theses races were the pioneers in establishing the wonderful civilizations that have flourished throughout this vast continent." Reports of major kingdoms ruled by Blacks are frequent in Chinese documents.

Chinese historians described the Fou Nanese people of China as "small and black". The Ainus, Japan's oldest known inhabitants have traditions which tell of a race of dark dwarfs which inhabited Japan before they did. Historians Cheikh Anta Diop and Albert Churchward saw the Ainus as originating in Egypt! There is archaeological support for this. In addition, ancient Egypt and Mesopotamia records the "Anu" (Ainu). The Anu are the same people who occupied Egypt for thousands of years. These same people are recorded to have made large migrations to the Asian continent taking with them thousands of years of African-Egyptian knowledge and influence.

This explains the existence of man-made pyramids in China and Japan! China's pyramids are located near Siang Fu city in the Shensi province. The Chinese do not know how they got there, but it is believed that Africans of the Nile Valley were the builders. (J. Perry: The Growth of Civilization, p. 106, 107).

African Development of Ancient Chinese Medicine

Ancient Chinese medicine dates back to the Shang Dynasty founded by the African-Mongolian King T'ang, or Ta. (1500-1000 B.C.). The Shang (or Chiang) and Chou dynasties were credited with bringing together the elements of Chinese medical theory. The Shang were given the name of Nakhi (Na-Black, Khi-man).

Under this Black dynasty, the Chinese established the basic forms of a graceful calligraphy that has lasted to the present day. The first Chinese emperor, the legendary Fu-Hsi (2953-2838 B.C.) was a woolly haired Black man. He is said to have originated the I Ching, or The Book of Change, which is the oldest most revered system of prophecy. It is known to have influenced the most distinguished philosophers of Chinese medicine and thought.

Many of the great concepts of Chinese medical science which was compiled during the Shang period were later developed during the Han Dynasty (168 B.C. to 8 A.D.). During this period, medicine reflected the philosophical ideas associated in the earlier Chou and Shang period. The Han began to fuse Shang medical concepts with outlooks from the philosophical ideas of Confucius (551-479 B.C.). Toward that end, they generated a scheme which explained all phenomena in relation to the whole. Under this system, all natural phenomena including the human body and the organs were organized within the system of "Yin" and Yang" and the "five elements", or what is also called the "five phases" theory.

Han Dynasty physicians created great classic works, such as the Pen-ts'ao and the Nei Ching, or Yellow Emperor's Classic of Internal Medicine (3rd Century B.C.), drawing its inspiration from more ancient sources rooted in Afro-centric thought.

The Nei Ching, The Yellow Emperor's Classic of Internal Medicine, a medical book reportedly written in the second century, B.C. before the birth of Hippocrates, the co-called father of Western medicine. According to Chinese legend, the Nei Ching was created through a dialogue between the legendary ruler Huang-Ti and his court physician, Chi Po. From the Nei Ching, thousands of books have been written about Chinese medicine.

Given these considerations, Chinese medicine echoes the logic of the Ancient Egyptians, which viewed the universe as process-oriented in which there are no boundaries between rest and motion, time and space, mind and matter, sickness and health. The Chinese looked at reality as a unified field, an interwoven pattern of inseparable links in a circular chain called the Tao. From the Tao flowed all things and events in nature: seasons, color, sound, organs, tissue, emotion, climate, matter and energy.

According to the Tao Te Ching, out of the One came the duality of Yin and Yang, and the immaterial breath (Chi), from which all physical matter and energy was created. This idea by Chinese philosopher, Lao Tzu was borrowed from the earlier ancient Egyptian concept of "Nu" (formless water)", the duality of Shu and Tefnut, and the Nahab Kau (Tree of Life).

Yin/Yang Theory and the Concept of Chi

Chinese medicine places primary emphasis on the balance of "Chi" (Qi, or Ki), or Life energy constantly flowing throughout the body. There are 12 major meridians, or pathways for chi, and each is associated with a major vital organ or vital function. These meridians form an invisible network that carries chi to every tissue in the body. In health, it is properly balanced, but if it becomes unbalanced, the result is disease. It is the job of the Chinese doctor to restore the balance using diet, acupuncture, and herbal formulas.

The Life energy comes in two, but complementary parts: Yin and Yang. The Yin nature includes the earth, moon, night, fall and winter, cold, wetness, the feet, the female sex, tissue growth and a passive temperament. The Yang counterparts are the heavens, the sun, day, spring and summer, heat, dryness, light, the head, the male sex, tissue breakdown, and an aggressive temperament. All individuals have both male and female polarities which consist of the combinations of Yin and Yang, requiring the Chinese doctor to tailor treatments to the individual's needs.

The Chinese Five-element system was heavily influenced by the ancient Egyptian's four-element conception. Each element relates to one season, one color and two organ systems, and they interact in subtle, and complicated ways through the energy of chi.

An important part of the Chinese doctor's evaluation is the overall relationship between the Yin and Yang balance in the patient's body. This is "Chi". Furthermore, we must bear in mind that Yin and Yang are complementary and not contradictory. There is no such thing as "good" and the other "bad". Rather, one seeks to find a harmony between the two energies. The ancient Egyptians first put forward this idea, explained in terms of "Shu" and "Tefnut", the dual complementary energy that flows in the universe. It was later adopted by the founders of Chinese medicine to distinguish between the Yin and Yang qualities of a person's character, or the constitution of one's illness.

The application of Yin and Yang is an important step in the process of making a traditional diagnosis and treatment.

OLD CHINESE MAP OF THE WORLD

PRESS THE NINJA!!