Shinto ryu is one of the disciplines practised under the umbrella organisation of the European Martial Arts Academy. Its name means ”nature’s way” or “spirit of nature” – shinto meaning “nature” or “shrine” and ryu meaning “the way”. It is by understanding its name that we gain an insight into how the system works, by developing self-defence skills in a “natural way”.
Shinto ryu is a street defence strategy encompassing the “hard” (forceful self-defence) and “soft” (acceptance and deflection) elements of various martial arts styles. It has developed into a unique self-defence system suitable for all, irrespective of age, fitness or gender. Shinto ryu teaches practitioners skills they can adapt to any situation: hard techniques might be required in response to aggression or physical violence, yet Shinto ryu’s softer techniques might be more appropriate in an unsolicited or threatening situation.
Philosophy:
The philosophy of this art does not manifest itself in seeking harm. Instead, it strives to equip practitioners with techniques that allow them to walk away from difficult situations. Defusing techniques are of utmost importance, but it needs confidence to utilise these techniques effectively.
In Practice:
Shinto ryu is a modern discipline. Practical techniques are taught based on a “star” movement, which allows one to defend oneself from any conceivable angle – be it standing or seated. Reality is the key to this form of self-defence. Practitioners are taught how to respond to different real-world situations, such as being threatened on public transport, for example, in cars, at work and many other environments. Shinto ryu also teaches one how to improvise with objects one is likely to have at hand, such as using a chair or small table as a barrier, as part of a self-defence strategy.
The use of a shinai (bamboo stick) has also been incorporated, but not in the same way as in the art of Kendo. It is used to replicate a potential weapon such as a piece of wood, iron bar or pole that may be at hand, so that the practitioner can learn to strike and defend effectively.
Thursday, April 26, 2007
Wednesday, April 25, 2007
Iaido - general background
Iaido is the art of drawing the sword and striking an armed opponent at lightning speed. It is the art of strategy, achieving precision in all aspects of mental and physical ability, including accurate footwork, balanced posture and crititcal timing. Live blades are razor-sharp and experienced practitioners are the only ones permitted to use them. The risk involved is thought to be worthwhile because this is the only way to achieve the ultimate in awareness and concentration, and to unify the mind and the body together in total harmony.
Although Iaido may be classed as a separate martial art, it is closely related and complementary to Kendo. Kendo practice requires 2 people fencing each other armed with shinhai (bamboo swords) and wearing armour, whereas Iaido is practised on an individual basis wearing a gi, juban, hakama and obi. Practitioners use a real or an imitation sword, called an iaito. The aim of the exercise is to perform a set of movements (kata), in which the sword is drawn, an imaginary opponent is cut, and then the sword is resheathed. The ultimate purpose of Iaido, however, is to master the ability to overcome the enemy without the sword being drawn in the first place – in other words, to conquer the enemy “spiritually”, with the sword still in the sheath, and so resolve problems without having to even resort to violence. There is one quote that explains this way of thinking: “The mind is not disturbed by the self being beaten up but by the self beating up others.”
History:
Iaido derives from the ancient way of the Samurai warrior (bushi), and the forerunner of the art we know today, Iaijutsu, was used in earnest on the battlefield, whereas Iaido was designed to practise “the way of the sword”.
Evidence suggests that the bokken used today in Iaido has been used as a weapon since around 400 AD. The bokken is a solid wooden stick with the same shape, weight and approximate length as a sword, and is usually made of red or white oak. Bokken technique was followed by the art of tachikaki (drawing the sword from its scabbard). The blade (tachi or katana), was long and straight and the Japanese warrior would carry it on his left side. A shorter blade was used for quick-draw techniques known as batto.
Although Iaido may be classed as a separate martial art, it is closely related and complementary to Kendo. Kendo practice requires 2 people fencing each other armed with shinhai (bamboo swords) and wearing armour, whereas Iaido is practised on an individual basis wearing a gi, juban, hakama and obi. Practitioners use a real or an imitation sword, called an iaito. The aim of the exercise is to perform a set of movements (kata), in which the sword is drawn, an imaginary opponent is cut, and then the sword is resheathed. The ultimate purpose of Iaido, however, is to master the ability to overcome the enemy without the sword being drawn in the first place – in other words, to conquer the enemy “spiritually”, with the sword still in the sheath, and so resolve problems without having to even resort to violence. There is one quote that explains this way of thinking: “The mind is not disturbed by the self being beaten up but by the self beating up others.”
History:
Iaido derives from the ancient way of the Samurai warrior (bushi), and the forerunner of the art we know today, Iaijutsu, was used in earnest on the battlefield, whereas Iaido was designed to practise “the way of the sword”.
Evidence suggests that the bokken used today in Iaido has been used as a weapon since around 400 AD. The bokken is a solid wooden stick with the same shape, weight and approximate length as a sword, and is usually made of red or white oak. Bokken technique was followed by the art of tachikaki (drawing the sword from its scabbard). The blade (tachi or katana), was long and straight and the Japanese warrior would carry it on his left side. A shorter blade was used for quick-draw techniques known as batto.
Kendo - general background
On first impressions, Kendo appears to be very aggressive and physical, with the dynamics of a fast-striking actiong and high-pitched screams. Yet it is an art that places great emphasis on the development of high level of skill in concentration, timing, awareness, physical agility, footwork, body movement and inherent respect. Kendo was derived from the ancient art of Japanese Samurai swordsmanship. Armour is worn for protection and sword, made of 4 sections of bamboo is bound together to make what is known as sinhai.
History:
Kenjutsu is an ancient martial art, dating back to before 1590, followed by Kendo, which had more intellectual and philosophical characteristics. Kenjutsu became modern Kendo, which has developed a sport-oriented nature that still embodies many of the traditional values.
While Kendo is very much a modern art that has been influenced by Kenjutsu, its roots can be traced back as far as AD 789, through the history of the art of the sword which is linked inextricably to the history of ancient Japan. It was at this time that Komutachi, the sword exercise, was introduced as in instruction for the sons of the kuge (noblemen) in the city of Nara, then the capital of Japan.
Aim of Kendo:
The aim of Kendo is for kendoka to react intuitively, with fluency and elegance. Speed and body movement are of the utmost importance in the delivery of a skillful technique. Yet the aim is not to be the first one to score a point or to win in the Kendo practice, but to work together, striving towards good technique, giving and taking along the way. Only in competitions should this philosophical aim be different.
On first learning Kendo, or any other martial, it is very important to tread slowly. It is very essential to tread slowly because it is easy when people wear armour so suddenly to feel they can dive in regardless, without appreciating the need for continual practice to develop the skills to a standard acceptable in the art. It is important not only to demonstrate proficiency in the art but to ensure safe practice, both for an individual and his/her partner.
Kendo places great emphasis on moral values, discipline and self control. Kendo should not be seen as a sport to be participated in for a few years, but as a lifetime’s study. Mental and physical controls are of paramount importance, since the balance of the 2 leads to harmony, not only in the art itself, but in the general well-being. It is for this reason that there are 4 deep-rooted mental hurdles that a kendoka ought to overcome: fear, doubt, surprise and confusion. Collectively, these are known as “the 4 poisons of Kendo”.
History:
Kenjutsu is an ancient martial art, dating back to before 1590, followed by Kendo, which had more intellectual and philosophical characteristics. Kenjutsu became modern Kendo, which has developed a sport-oriented nature that still embodies many of the traditional values.
While Kendo is very much a modern art that has been influenced by Kenjutsu, its roots can be traced back as far as AD 789, through the history of the art of the sword which is linked inextricably to the history of ancient Japan. It was at this time that Komutachi, the sword exercise, was introduced as in instruction for the sons of the kuge (noblemen) in the city of Nara, then the capital of Japan.
Aim of Kendo:
The aim of Kendo is for kendoka to react intuitively, with fluency and elegance. Speed and body movement are of the utmost importance in the delivery of a skillful technique. Yet the aim is not to be the first one to score a point or to win in the Kendo practice, but to work together, striving towards good technique, giving and taking along the way. Only in competitions should this philosophical aim be different.
On first learning Kendo, or any other martial, it is very important to tread slowly. It is very essential to tread slowly because it is easy when people wear armour so suddenly to feel they can dive in regardless, without appreciating the need for continual practice to develop the skills to a standard acceptable in the art. It is important not only to demonstrate proficiency in the art but to ensure safe practice, both for an individual and his/her partner.
Kendo places great emphasis on moral values, discipline and self control. Kendo should not be seen as a sport to be participated in for a few years, but as a lifetime’s study. Mental and physical controls are of paramount importance, since the balance of the 2 leads to harmony, not only in the art itself, but in the general well-being. It is for this reason that there are 4 deep-rooted mental hurdles that a kendoka ought to overcome: fear, doubt, surprise and confusion. Collectively, these are known as “the 4 poisons of Kendo”.
Tai Chi Chuan - general background
Philosophy:
The initial aim of Tai chi chuan is to teach the practitioners to relax. Relax does not mean to flop loosely around, but rather to use the body as efficiently as possible, with no muscular tension. The foremost requirement is good posture with relaxed shoulders, an upright back and firmly rooted stance. Tai chi chuan incorporates Chi kung exercises, which encourage deep breathing, improved blood circulation and greater efficiency of the body’s systems. On a mental level, the quiet concentration, required for Tai chi chuan brings a serene state of mind, in which the everyday stresses of life can be placed in their proper perspective. This leads to a more tolerant, even state of mind, and a calm mind is able to respond more quickly and effectively to challenges in any situation.
In Practice:
At this level, the art is accessible to anyone. Age, health or infirmity is not barrier to reaping some of the rewards that Tai chi chuan has to offer. However, to reach the higher levels it is necessary to study the art in its wider context. Practising the martial aspects of Tai chi chuan involves more complex form of Chi kung, body strengthening, practising with another person and various supplementary exercises. Such training is more demanding than basic form practice, but it does bring greater benefits in terms of mental and physical health, as well as providing an excellent self-defence method. At the higher stages the theoretical aspects of the art also become more apparent.
As a martial art, Tai chi chuan works on a number of levels, but the principal aim is to teach practitioners to relax and become fluid in their movements. This allows for smoother actions and quicker response times. The objective is for self-defence to become a reflexive action rather than a repetition of technique. There is a variety of sensitivity exercises which allow the practitioner to adapt instantly to an opponent and to react in the most appropriate manner. Incoming force will, typically, be diverted, however slightly, and the corresponding opening in the opponent’s defence exploited. The level of response can range from applying holds and locks, to immobilising an opponent, through to highly damaging strikes against nerve centres and acupuncture points (dim mak).
Power training consists of chi kung to develop internal strength, as well as methods to strengthen the tendons and ligaments. The ability to issue power (fa jing) from close range is a basic feature of Tai chi chuan. This involves incorporating the whole body into one unit behind an attack. Tai chi chuan includes punches, kicks, locks, open hand techniques and throws in its repertoire, as well as traditional Chinese weapons – sword, broadsword, staff and spear.
Today, while traditional practitioners of Tai chi chuan are still in evidence, the majority practise the art in order to both maintain and improve their health and to provide an increasingly necessary antidote to the stresses and strains of modern day life.
The initial aim of Tai chi chuan is to teach the practitioners to relax. Relax does not mean to flop loosely around, but rather to use the body as efficiently as possible, with no muscular tension. The foremost requirement is good posture with relaxed shoulders, an upright back and firmly rooted stance. Tai chi chuan incorporates Chi kung exercises, which encourage deep breathing, improved blood circulation and greater efficiency of the body’s systems. On a mental level, the quiet concentration, required for Tai chi chuan brings a serene state of mind, in which the everyday stresses of life can be placed in their proper perspective. This leads to a more tolerant, even state of mind, and a calm mind is able to respond more quickly and effectively to challenges in any situation.
In Practice:
At this level, the art is accessible to anyone. Age, health or infirmity is not barrier to reaping some of the rewards that Tai chi chuan has to offer. However, to reach the higher levels it is necessary to study the art in its wider context. Practising the martial aspects of Tai chi chuan involves more complex form of Chi kung, body strengthening, practising with another person and various supplementary exercises. Such training is more demanding than basic form practice, but it does bring greater benefits in terms of mental and physical health, as well as providing an excellent self-defence method. At the higher stages the theoretical aspects of the art also become more apparent.
As a martial art, Tai chi chuan works on a number of levels, but the principal aim is to teach practitioners to relax and become fluid in their movements. This allows for smoother actions and quicker response times. The objective is for self-defence to become a reflexive action rather than a repetition of technique. There is a variety of sensitivity exercises which allow the practitioner to adapt instantly to an opponent and to react in the most appropriate manner. Incoming force will, typically, be diverted, however slightly, and the corresponding opening in the opponent’s defence exploited. The level of response can range from applying holds and locks, to immobilising an opponent, through to highly damaging strikes against nerve centres and acupuncture points (dim mak).
Power training consists of chi kung to develop internal strength, as well as methods to strengthen the tendons and ligaments. The ability to issue power (fa jing) from close range is a basic feature of Tai chi chuan. This involves incorporating the whole body into one unit behind an attack. Tai chi chuan includes punches, kicks, locks, open hand techniques and throws in its repertoire, as well as traditional Chinese weapons – sword, broadsword, staff and spear.
Today, while traditional practitioners of Tai chi chuan are still in evidence, the majority practise the art in order to both maintain and improve their health and to provide an increasingly necessary antidote to the stresses and strains of modern day life.
Kick boxing - general background
Kick boxing is a relatively modern martial arts system, who syllabus derived by combining several fighting techniques from a variety of the more traditional disciplines, including Kung fu, Kyokushinkai Karate, Muay Thai, Kyokky shinkai and Tae kwon do.
History:
Martial arts boomed during the early 1970s and interest was greatly increased by their emphasis on competition fighting. Chinese styles of fighting began to take a more westernised form in the UK, and even more so in the United States, where the first real freestyle systems were beginning to be created. Indeed, many people claim that Kick boxing originated in the US during the 1970s. This, they say, was due to various American Karate practitioners becoming frustrated with the limitations of tournament competitive scoring. While Karate and the other disciplines were viewed as being entrenched with theories and set kata, and were performed in a controlled environment, practitioners wanted to see how effective their moves would be in a more realistic environment. Great emphasis began to be placed on specialised techniques, such as kicks and punches, being delivered with full force. Although full contact Karate was already established, concerns were expressed for the safety of competitors.
Development:
There is a close affinity between Kick boxing and Muay Thai. While it is believed that the Americans had created this concept in their attempt to find a sport that could refine full contact competition, it is believed that the development of Kick boxing was borne out of the World Kick boxing Association finding common ground between Eastern and Western fighting cultures.
It is also believed that Joe Cawley, Don and Judy Quinn, along with Howard Hansen, a Shorin ryn Karate black belt, were the initial promoters of Kick boxing and worked together for improved recognition. Hansen took Kick boxing a stage further by introducing fights in a boxing ring rather than the usual Karate tournament bouts. He became known as a ring matchmaker, staging a variety of successful events with stars such as Bill “Superfoot” Wallis.
New rules evolved and were introduced into Kick boxing, most notably weight divisions – from fly weight to heavy weight – similar to those in traditional boxing. A down side to the discipline in those early days was criticism of a high risk injury. This led to improvement in the safety rules, such as contestants wearing protective clothing to cushion the impacts of the blows.
History:
Martial arts boomed during the early 1970s and interest was greatly increased by their emphasis on competition fighting. Chinese styles of fighting began to take a more westernised form in the UK, and even more so in the United States, where the first real freestyle systems were beginning to be created. Indeed, many people claim that Kick boxing originated in the US during the 1970s. This, they say, was due to various American Karate practitioners becoming frustrated with the limitations of tournament competitive scoring. While Karate and the other disciplines were viewed as being entrenched with theories and set kata, and were performed in a controlled environment, practitioners wanted to see how effective their moves would be in a more realistic environment. Great emphasis began to be placed on specialised techniques, such as kicks and punches, being delivered with full force. Although full contact Karate was already established, concerns were expressed for the safety of competitors.
Development:
There is a close affinity between Kick boxing and Muay Thai. While it is believed that the Americans had created this concept in their attempt to find a sport that could refine full contact competition, it is believed that the development of Kick boxing was borne out of the World Kick boxing Association finding common ground between Eastern and Western fighting cultures.
It is also believed that Joe Cawley, Don and Judy Quinn, along with Howard Hansen, a Shorin ryn Karate black belt, were the initial promoters of Kick boxing and worked together for improved recognition. Hansen took Kick boxing a stage further by introducing fights in a boxing ring rather than the usual Karate tournament bouts. He became known as a ring matchmaker, staging a variety of successful events with stars such as Bill “Superfoot” Wallis.
New rules evolved and were introduced into Kick boxing, most notably weight divisions – from fly weight to heavy weight – similar to those in traditional boxing. A down side to the discipline in those early days was criticism of a high risk injury. This led to improvement in the safety rules, such as contestants wearing protective clothing to cushion the impacts of the blows.
Kung Fu (Mok-Gar) - general background
History:
Shaolin Mok-gar kuen is one of the original family disciplines of Kung fu, from Southern China, and is well known for its kicking techniques. Practitioners are not restricted just to kicking, however, since the use of a full range of weapons is also a part of the system. The resulting flexibility of attack and defence epitomises the original concept of Chinese martial arts: to express oneself fully in the attempt to triumph in combat. When engaging in combat, the objective is to win, so practitioners believe that to place any restrictions on one particular movement would be to put themselves at a disadvantage.
Training:
One of the unique training drills found in Mok-gar kuen is that of the darn gee kicking technique. In Kung fu, each school has its own method of teaching the kicks using various mechanical facilities. Irrespective of the method, the aim is the same: to increase the freedom of leg movements, enhance speed, improve accuracy, and to develop and harden the soles of the feet.
During the course of training, the darn gee helps practitioners to improve their accuracy, hardness, speed, stamina and strength techniques. This unique training drill is a stage that all Mok-gar practitioners must experience if they wish to develop a high standard within this style. The 108 movements which form the basis of the Mok-gar style can be used in various ways, from just a single punch, which may be all that is needed to win a fight, to multiple jumping kicks.
When experienced students progress, they become exposed to learning a soft form of Kung fu, known as Tai chi. Sifu Chan, who came to England to develop the system which incorporated the use of weapons, taught the Wu style of Tai chi, based on the Taoist symbol of yin and yang. Tai chi teaches us to be aware of as well as to react to any form of attack, and to be ever-changing and formless. To learn and combine these 2 systems of Kung fu can often prove to be a challenging task, but once acquired, the knowledge and experience can be invaluable to one.
Shaolin Mok-gar kuen is one of the original family disciplines of Kung fu, from Southern China, and is well known for its kicking techniques. Practitioners are not restricted just to kicking, however, since the use of a full range of weapons is also a part of the system. The resulting flexibility of attack and defence epitomises the original concept of Chinese martial arts: to express oneself fully in the attempt to triumph in combat. When engaging in combat, the objective is to win, so practitioners believe that to place any restrictions on one particular movement would be to put themselves at a disadvantage.
Training:
One of the unique training drills found in Mok-gar kuen is that of the darn gee kicking technique. In Kung fu, each school has its own method of teaching the kicks using various mechanical facilities. Irrespective of the method, the aim is the same: to increase the freedom of leg movements, enhance speed, improve accuracy, and to develop and harden the soles of the feet.
During the course of training, the darn gee helps practitioners to improve their accuracy, hardness, speed, stamina and strength techniques. This unique training drill is a stage that all Mok-gar practitioners must experience if they wish to develop a high standard within this style. The 108 movements which form the basis of the Mok-gar style can be used in various ways, from just a single punch, which may be all that is needed to win a fight, to multiple jumping kicks.
When experienced students progress, they become exposed to learning a soft form of Kung fu, known as Tai chi. Sifu Chan, who came to England to develop the system which incorporated the use of weapons, taught the Wu style of Tai chi, based on the Taoist symbol of yin and yang. Tai chi teaches us to be aware of as well as to react to any form of attack, and to be ever-changing and formless. To learn and combine these 2 systems of Kung fu can often prove to be a challenging task, but once acquired, the knowledge and experience can be invaluable to one.
Kung Fu (Wing Chun) - general background
History:
Wing chun kuen is one of the crucial styles of Chinese martial arts, whose origins are found in Southern China. Compared with other martial arts, it is relatively a newcomer. The term Wing chun is attributed to a woman called Yim Wing chun, who was the protégé of a Buddhist nun called Ng Mui. Wing chun is known as a soft style, but is in fact a blend of hard and soft techniques. With reference to the hard concept, in simple terms this means meeting force with force, whereas the soft term refers to more evasive manoeuvres and techniques.
Loosely translated, Wing chun means “beautiful spring time” and kuen means “fist” or “fist fighting style”. However, many people refer to the style as being “Wing chun”. This blending of hard and soft is due to the fact that it was developed by a woman and refined mainly by men. It is also claimed that Ng Mui once observed a battle between a snake and a crane. From her observations, sprang ideas on how to create this art. Mimicking animal movements is particularly common in Chinese martial arts.
Principle:
Wing chun is centred on the Taoist principle of “take the middle road”. In essence, this says that we should not go to the extremes and that success is based on balance. If we are on the middle road we can see both the left and the right paths, but if we venture too far out to one side we may lose sight of the other. This can also be interpreted as the concept of the hard and soft principles – or yin and yang. Yin (feminine side) focuses on diverting the flow of energy; yang (masculine side) seeks to resist any opposing energy flow. Yang is primarily seen in the explosive quality of the striking moves.
“Sticky hands”:
One of the most important techniques in Wing chun is known as “sticky hands”. Since Wing chun is a close-quarter system, it is potentially dangerous for the practitioners themselves, who are at risk of being hit, grabbed or kicked. This realisation has led to a particular method called “double sticky hands”.
To the uninitiated, this technique is best described as a hurt boxer trying to “spoil” his opponent’s moves by clinging to his arms. The aim is to prevent an opponent from striking freely, giving the Wing chun practitioner the opportunity to control, trap and break free to strike. The real skill lies in both parties wanting to achieve the same goal and this has led to exceptional techniques, in which either one or both parties can train blindfolded. A skillful practitioner can eventually predict and nullify the danger.
The main areas that “sticky hands” seeks to develop fall into the categories of sensitivity, power and general fitness. Sensitivity covers certain aspects such as the centre-line concept, reaction to direction change, striking when the hand is freed, going with the power and not resisting force, continuous techniques (fluidity), and balance in the vertical and horizontal planes. Power involves guiding, aggression and explosion, control and balancing techniques.
Wing chun kuen is one of the crucial styles of Chinese martial arts, whose origins are found in Southern China. Compared with other martial arts, it is relatively a newcomer. The term Wing chun is attributed to a woman called Yim Wing chun, who was the protégé of a Buddhist nun called Ng Mui. Wing chun is known as a soft style, but is in fact a blend of hard and soft techniques. With reference to the hard concept, in simple terms this means meeting force with force, whereas the soft term refers to more evasive manoeuvres and techniques.
Loosely translated, Wing chun means “beautiful spring time” and kuen means “fist” or “fist fighting style”. However, many people refer to the style as being “Wing chun”. This blending of hard and soft is due to the fact that it was developed by a woman and refined mainly by men. It is also claimed that Ng Mui once observed a battle between a snake and a crane. From her observations, sprang ideas on how to create this art. Mimicking animal movements is particularly common in Chinese martial arts.
Principle:
Wing chun is centred on the Taoist principle of “take the middle road”. In essence, this says that we should not go to the extremes and that success is based on balance. If we are on the middle road we can see both the left and the right paths, but if we venture too far out to one side we may lose sight of the other. This can also be interpreted as the concept of the hard and soft principles – or yin and yang. Yin (feminine side) focuses on diverting the flow of energy; yang (masculine side) seeks to resist any opposing energy flow. Yang is primarily seen in the explosive quality of the striking moves.
“Sticky hands”:
One of the most important techniques in Wing chun is known as “sticky hands”. Since Wing chun is a close-quarter system, it is potentially dangerous for the practitioners themselves, who are at risk of being hit, grabbed or kicked. This realisation has led to a particular method called “double sticky hands”.
To the uninitiated, this technique is best described as a hurt boxer trying to “spoil” his opponent’s moves by clinging to his arms. The aim is to prevent an opponent from striking freely, giving the Wing chun practitioner the opportunity to control, trap and break free to strike. The real skill lies in both parties wanting to achieve the same goal and this has led to exceptional techniques, in which either one or both parties can train blindfolded. A skillful practitioner can eventually predict and nullify the danger.
The main areas that “sticky hands” seeks to develop fall into the categories of sensitivity, power and general fitness. Sensitivity covers certain aspects such as the centre-line concept, reaction to direction change, striking when the hand is freed, going with the power and not resisting force, continuous techniques (fluidity), and balance in the vertical and horizontal planes. Power involves guiding, aggression and explosion, control and balancing techniques.
Thursday, April 19, 2007
Judo - general background
History:
Professor Jiguro Kano, the founder of Judo, graduated from the Imperial University of Tokyo, Japan, in 1881. He attended several Ju-jitsu schools, seeking to develop a system of physical exercise. He adopted the best principles of each ju-jitsu system and called it Judo. Literally translated, it means "gentle way". Kano's interpretation, however, was “maximum efficiency”.
It is worth bearing in mind that Kano did not create Judo to be a public competition sport, and he felt strongly that it was a personal art to train the body and the mind. He insisted that its mastery required and appreciation of the inherent philosophy that supports all aspects of Judo. With this in mind, it is interesting to know the oath that all Judo students at the Kodukan dojo (the name given by Kano to his dojo) must make on admission: “Once I have entered the Kodukan dojo, I will not end my study without reasonable cause; I will not dishonour the dojo; unless I am given permission, I will not disclose the secrets that I have been taught; unless I am given permission, I will not teach Judo; pupil first, teacher second, I will always follow the rules of the dojo.”
Competition:
Judo today is one of the most wide-spread martial arts in the world, with reputedly more than 8 million students. Practitioners are referred to as judoka and competitions (Shiai) are conducted under the supervision of a referee and a judge. Contests and training take place in the judojo (hall). Free-style combat in Judo is known as randori; the submitting opponent is known as the uke, and the winning partner is referred to as the tori in Judo.
More than just a sport:
Judo is not purely about physical skill. Its aim is to teach good attitude and behaviour and to instill a sense of decorum in its judoka: best summed up in 2 terms used to describe the mental attitude expected from a judoka: hontai, demonstrating the state of permanent alertness and bonno, demonstrating a disciplined mind, serene and calm, controlling the body and being able to react to any situation.
Professor Jiguro Kano, the founder of Judo, graduated from the Imperial University of Tokyo, Japan, in 1881. He attended several Ju-jitsu schools, seeking to develop a system of physical exercise. He adopted the best principles of each ju-jitsu system and called it Judo. Literally translated, it means "gentle way". Kano's interpretation, however, was “maximum efficiency”.
It is worth bearing in mind that Kano did not create Judo to be a public competition sport, and he felt strongly that it was a personal art to train the body and the mind. He insisted that its mastery required and appreciation of the inherent philosophy that supports all aspects of Judo. With this in mind, it is interesting to know the oath that all Judo students at the Kodukan dojo (the name given by Kano to his dojo) must make on admission: “Once I have entered the Kodukan dojo, I will not end my study without reasonable cause; I will not dishonour the dojo; unless I am given permission, I will not disclose the secrets that I have been taught; unless I am given permission, I will not teach Judo; pupil first, teacher second, I will always follow the rules of the dojo.”
Competition:
Judo today is one of the most wide-spread martial arts in the world, with reputedly more than 8 million students. Practitioners are referred to as judoka and competitions (Shiai) are conducted under the supervision of a referee and a judge. Contests and training take place in the judojo (hall). Free-style combat in Judo is known as randori; the submitting opponent is known as the uke, and the winning partner is referred to as the tori in Judo.
More than just a sport:
Judo is not purely about physical skill. Its aim is to teach good attitude and behaviour and to instill a sense of decorum in its judoka: best summed up in 2 terms used to describe the mental attitude expected from a judoka: hontai, demonstrating the state of permanent alertness and bonno, demonstrating a disciplined mind, serene and calm, controlling the body and being able to react to any situation.
Wednesday, April 18, 2007
Ju-jitsu - general background
History:
The art of Ju-jitsu is interpreted as being the "science of softness". Translated literally, ju means gentle or soft and jitsu means art. While referred to as "a gentle art", some of the techniques are nevertheless extremely dynamic in their delivery and would appear to be anything but soft.
There are many stories regarding the origins of Ju-jitsu, dating as far back as the 8th century, with historical lines indicating roots even before the time of Christ. While some claim that Ju-jitsu originated in China, the ancient chronicles of Japan describe how, in AD 712, Tatemi Kazuchi threw Tatemi Nokami, like throwing a leaf. Reference is also made in the Nihon Sho-ki chronicles to the Emperor Shuinjin holding a martial arts tournament to celebrate the 7th year of his reign in 23 BC. One of the bouts resulted in the death of a participant, a Sumo wrestler, who was thrown to the ground and kicked by Nomino Sukume. These accounts provide evidence of early “empty hand” techniques in Japan. There is also reference to Ju-jitsu developing as an art from the work of a Buddhist monk, dating back to the 13th century. These ancient techniques were known as kumi-tachi (or yawara), which is described in the Konjaku-monogatari, a Buddhist work dating back to that time.
Philosophy:
The central philosophy behind Ju-jitsu is to conquer an opponent by any and all means – as long as only minimal force is used. Consequently, this precept demands from its followers a strict conformity to various disciplines – both mental and physical.
Physical fitness has been a fundamental prerequisite for practitioners of Ju-jitsu. A characteristic of this art involves strict moral and dietary regimes, which are seen as being necessary if one is to reach the highest level of perfection. It is therefore not surprising that, historically, many Ju-jitsu masters withdrew to religious institutions, such as Buddhist or Shinto shrines.
Although the basic principle behind modern Ju-jitsu as a self defence art is to conquer an opponent using minimal force, the older art of Ju-jitsu focused on literally annihilating the enemy, which led to the development of many dangerous and fatal techniques.
Ju-jitsu today:
The traditional art of Ju-jitsu is still carried on today by a minority of practitioners, who wish to keep alive the warrior spirit of the fatal fighting techniques of the art. They do not enter competitions and their only goal is the continuation of the mental, spiritual and physical aspects of the art.
The art of Ju-jitsu is interpreted as being the "science of softness". Translated literally, ju means gentle or soft and jitsu means art. While referred to as "a gentle art", some of the techniques are nevertheless extremely dynamic in their delivery and would appear to be anything but soft.
There are many stories regarding the origins of Ju-jitsu, dating as far back as the 8th century, with historical lines indicating roots even before the time of Christ. While some claim that Ju-jitsu originated in China, the ancient chronicles of Japan describe how, in AD 712, Tatemi Kazuchi threw Tatemi Nokami, like throwing a leaf. Reference is also made in the Nihon Sho-ki chronicles to the Emperor Shuinjin holding a martial arts tournament to celebrate the 7th year of his reign in 23 BC. One of the bouts resulted in the death of a participant, a Sumo wrestler, who was thrown to the ground and kicked by Nomino Sukume. These accounts provide evidence of early “empty hand” techniques in Japan. There is also reference to Ju-jitsu developing as an art from the work of a Buddhist monk, dating back to the 13th century. These ancient techniques were known as kumi-tachi (or yawara), which is described in the Konjaku-monogatari, a Buddhist work dating back to that time.
Philosophy:
The central philosophy behind Ju-jitsu is to conquer an opponent by any and all means – as long as only minimal force is used. Consequently, this precept demands from its followers a strict conformity to various disciplines – both mental and physical.
Physical fitness has been a fundamental prerequisite for practitioners of Ju-jitsu. A characteristic of this art involves strict moral and dietary regimes, which are seen as being necessary if one is to reach the highest level of perfection. It is therefore not surprising that, historically, many Ju-jitsu masters withdrew to religious institutions, such as Buddhist or Shinto shrines.
Although the basic principle behind modern Ju-jitsu as a self defence art is to conquer an opponent using minimal force, the older art of Ju-jitsu focused on literally annihilating the enemy, which led to the development of many dangerous and fatal techniques.
Ju-jitsu today:
The traditional art of Ju-jitsu is still carried on today by a minority of practitioners, who wish to keep alive the warrior spirit of the fatal fighting techniques of the art. They do not enter competitions and their only goal is the continuation of the mental, spiritual and physical aspects of the art.
Aikido - general background
History:
Aikido in its present form is a relatively recent innovation within the martial arts tradition. It was developed in Japan in the early 20th century by Morihei Ueshiba (1883 - 1969), who was introduced to the classical martial arts as a boy by his father, Yoroku. He is known to have studied some martial arts, such as various styles of Ju-jitsu as well as Kenjutsu and the art of the spear.
Philosophy:
If we are attacked by a force and we apply force ourselves, a collision of energies ensues which results in disharmony. Thus, accordingly the stronger force wins. If, however, we meet the force with an absorbing movement and then exhaust it to the point of imbalance before applying a force of our own (the Aikido way), we are in fact restoring harmony or redressing an imbalance. This is the basic logic and underlying philosophy of Aikido.
Training:
Aikido is a discipline that seeks not to meet violence with violence, but instead looks towards harmonising with and restraining and opponent. Aikido is, in many ways, unique among the martial arts, in that the majority of techniques are based on the aggressor making the first move. Therefore, Aikido techniques are usually aimed at joint immobilisation and throws which utilise an opponent's energy, momentum and aggression. Many body movements have been taken from Japanese sword and spear fighting arts, and the use of the bokken (a replica sword) and jo (a stick) is intended to build the practitioner's understanding and skill.
Aikido teaches one-on-one and multiple attack defence. It incorporates knife-taking, sword-taking and stick-taking, and even defence from a kneeling position. Differences in size, weight, strength or age negated as we learn to use our inner ki (flow of energy). Weapon training with a bokken and jo indicates the ancestry of the discipline as well as helping to improve our body movements.
It should be emphasised that Aikido is a budo (literally a martial way). We practise each technique with total commitment, as if our life depended on its success, for only in this way is it possible to bring about the true spirit of budo. This is not to say that training has to be hard or violent. It is possible to be physically soft and still generate the power to control a confrontational encounter.
Styles of Aikido:
In reality, there are several major styles of Aikido today. As Ueshiba was continually refining and modifying the art he had created, some of his students at various stages left to pursue their own ideals. Thus, Master Gozo Shioda created the yoshinkan style, characterised by short and sharp movements and powerful joint applications; Kenji Tomiki developed sport Aikido, as it is widely known, characterised by competitions in which rubber knives are used; Minoru Mochizuki successfully amalgamated Aikido with other martial arts within the International Martial Arts Federation; and Koichi Tohei created shin-shin toitsu Aikido, which concentrates on the ki aspect of Aikido. All of these men trained with and listened to Ueshiba and yet each came away with a different idea of the discipline.
Aikido in its present form is a relatively recent innovation within the martial arts tradition. It was developed in Japan in the early 20th century by Morihei Ueshiba (1883 - 1969), who was introduced to the classical martial arts as a boy by his father, Yoroku. He is known to have studied some martial arts, such as various styles of Ju-jitsu as well as Kenjutsu and the art of the spear.
Philosophy:
If we are attacked by a force and we apply force ourselves, a collision of energies ensues which results in disharmony. Thus, accordingly the stronger force wins. If, however, we meet the force with an absorbing movement and then exhaust it to the point of imbalance before applying a force of our own (the Aikido way), we are in fact restoring harmony or redressing an imbalance. This is the basic logic and underlying philosophy of Aikido.
Training:
Aikido is a discipline that seeks not to meet violence with violence, but instead looks towards harmonising with and restraining and opponent. Aikido is, in many ways, unique among the martial arts, in that the majority of techniques are based on the aggressor making the first move. Therefore, Aikido techniques are usually aimed at joint immobilisation and throws which utilise an opponent's energy, momentum and aggression. Many body movements have been taken from Japanese sword and spear fighting arts, and the use of the bokken (a replica sword) and jo (a stick) is intended to build the practitioner's understanding and skill.
Aikido teaches one-on-one and multiple attack defence. It incorporates knife-taking, sword-taking and stick-taking, and even defence from a kneeling position. Differences in size, weight, strength or age negated as we learn to use our inner ki (flow of energy). Weapon training with a bokken and jo indicates the ancestry of the discipline as well as helping to improve our body movements.
It should be emphasised that Aikido is a budo (literally a martial way). We practise each technique with total commitment, as if our life depended on its success, for only in this way is it possible to bring about the true spirit of budo. This is not to say that training has to be hard or violent. It is possible to be physically soft and still generate the power to control a confrontational encounter.
Styles of Aikido:
In reality, there are several major styles of Aikido today. As Ueshiba was continually refining and modifying the art he had created, some of his students at various stages left to pursue their own ideals. Thus, Master Gozo Shioda created the yoshinkan style, characterised by short and sharp movements and powerful joint applications; Kenji Tomiki developed sport Aikido, as it is widely known, characterised by competitions in which rubber knives are used; Minoru Mochizuki successfully amalgamated Aikido with other martial arts within the International Martial Arts Federation; and Koichi Tohei created shin-shin toitsu Aikido, which concentrates on the ki aspect of Aikido. All of these men trained with and listened to Ueshiba and yet each came away with a different idea of the discipline.
Shotokan Karate - general background
History:
Shotokan is both a young and an ancient martial art. It is ancient because its roots are deeply entrenched in the past, and young because, as it is expressed today, it is an art that is less than a 100 years old. Shotokan is characterised by its long and low stances, its powerful techniques and its dynamic forms.
The founder of Shotokan, Gichin Funakoshi, was an Okinawan. He trained in the oldest of the Okinawan te (hand) systems as a young man and in the early 20th century brought what he had learned in the island of Okinawa to mainland Japan, where he demonstrated his art before the Emperor. He originally intended to return to Okinawa but was persuaded to to remain and continue teaching in Japan. Funakoshi's pen name was Shoto (waving pines) and kan (hall). Hence Shotokan can be translated to mean "Shoto's hall of the way of the empty hand".
While Funakoshi was the originator of Shotokan, it was really his son, Yoshitaka Funakoshi, who developed it into the form we know today. It rapidly grew in popularity, supported, encouraged and regulated by the powerful Japan Karate Association. Before long, it was to be found all over the world.
Triads:
Shotokan is built on what are known as triads, which are both real organisations and metaphors for something much deeper within the human psyche. There exists the physical triad of kihon (basics), kumite (sparring) and kata (forms), which require dedicated training and the constant perfecting of technique. This is followed by the moral triad of justice, mercy and compassion and finally by the ethical triad of duty, honour and loyalty.
If we put all of the 9 triad principles together (9 symbolises perfection) we achieve the whole, rounded person. When these principles are practised in a martial art, they illustrate one of the fundamental concepts of Shotokan, as advocated by the founder, Gichin Funakoshi. His aim was to focus on the development of the human character as a whole being, rather than on winning and losing.
Significance:
While Shotokan is a wonderful form of relaxation or sport for many people, for those who practise it seriously it has a much deeper and wider significance. This deeper realisation, however, can only come after years of dedicated practice. While this is a dimension of the art that emerges rather slowly, Shotokan can still be enjoyed at all levels by hundreds of thousands of people throughout the world.
Shotokan is both a young and an ancient martial art. It is ancient because its roots are deeply entrenched in the past, and young because, as it is expressed today, it is an art that is less than a 100 years old. Shotokan is characterised by its long and low stances, its powerful techniques and its dynamic forms.
The founder of Shotokan, Gichin Funakoshi, was an Okinawan. He trained in the oldest of the Okinawan te (hand) systems as a young man and in the early 20th century brought what he had learned in the island of Okinawa to mainland Japan, where he demonstrated his art before the Emperor. He originally intended to return to Okinawa but was persuaded to to remain and continue teaching in Japan. Funakoshi's pen name was Shoto (waving pines) and kan (hall). Hence Shotokan can be translated to mean "Shoto's hall of the way of the empty hand".
While Funakoshi was the originator of Shotokan, it was really his son, Yoshitaka Funakoshi, who developed it into the form we know today. It rapidly grew in popularity, supported, encouraged and regulated by the powerful Japan Karate Association. Before long, it was to be found all over the world.
Triads:
Shotokan is built on what are known as triads, which are both real organisations and metaphors for something much deeper within the human psyche. There exists the physical triad of kihon (basics), kumite (sparring) and kata (forms), which require dedicated training and the constant perfecting of technique. This is followed by the moral triad of justice, mercy and compassion and finally by the ethical triad of duty, honour and loyalty.
If we put all of the 9 triad principles together (9 symbolises perfection) we achieve the whole, rounded person. When these principles are practised in a martial art, they illustrate one of the fundamental concepts of Shotokan, as advocated by the founder, Gichin Funakoshi. His aim was to focus on the development of the human character as a whole being, rather than on winning and losing.
Significance:
While Shotokan is a wonderful form of relaxation or sport for many people, for those who practise it seriously it has a much deeper and wider significance. This deeper realisation, however, can only come after years of dedicated practice. While this is a dimension of the art that emerges rather slowly, Shotokan can still be enjoyed at all levels by hundreds of thousands of people throughout the world.
Wado Ryu Karate - general background
History:
Hironori Ohtsuka (1892 - 1982) was the founder of the Wado Ryu system of Karate. He commenced training in shindo yoshin ryu jujitsu at the age of 6, and at the age of 30, he began training under the supervision of Gichin Funakoshi (the founder of Karate-do) before founding the Wado Ryu system in 1939. Wado Ryu is one of the 4 main Japanese styles of Karate that are taught around the world. In 1939, Ohtsuka organised the All Japan Karate Do Federation Wado Ki and the Worldwide Headquarters for the Wado Ryu System. In 1967, he was the first katateka to be awarded the 5th order of merit of the sacred treasure of the Emperor of Japan as an acknowledgement of his achievements. Following his death in 1982, Hironori Ohtsuka's son, Jiro, became the chief instructor of the Wado Ryu system. Today, there are a number of senior, well-respected representatives of Wado Ryu in Japan, who are also leaders of their own federations or associations.
Characteristics of Wado Ryu:
To practitioners of Wado Ryu, the main philosophy is to better their attitude both within and outside the art. This is one of the main aims of the martial art which emphasises the development of respect, discipline and understanding in a mental as well as physical capacity. This aim affects our attitude towards ourselves and others in our home life, work and social activities. To show aggression outwardly, even during training sessions, is greatly discouraged. The name Wado Ryu, approximately translated, means "the peaceful way".
Another characteristic of Wado Ryu is that unnecessarily large movements are kept to a minimum. Importance is placed on the speed and efficiency of movements with which each technique is performed, rather than the strength or physical effort outwardly shown. Exponents of Wado Ryu place great emphasis on the coordination of body movement with each particular technique. This principle is found in many other martial arts, such as ju-jitsu, aikido and kendo. This coordination is stressed at all stages of learning, from the execution of basic techniques to the application of advanced, free-fighting combinations.
Hironori Ohtsuka (1892 - 1982) was the founder of the Wado Ryu system of Karate. He commenced training in shindo yoshin ryu jujitsu at the age of 6, and at the age of 30, he began training under the supervision of Gichin Funakoshi (the founder of Karate-do) before founding the Wado Ryu system in 1939. Wado Ryu is one of the 4 main Japanese styles of Karate that are taught around the world. In 1939, Ohtsuka organised the All Japan Karate Do Federation Wado Ki and the Worldwide Headquarters for the Wado Ryu System. In 1967, he was the first katateka to be awarded the 5th order of merit of the sacred treasure of the Emperor of Japan as an acknowledgement of his achievements. Following his death in 1982, Hironori Ohtsuka's son, Jiro, became the chief instructor of the Wado Ryu system. Today, there are a number of senior, well-respected representatives of Wado Ryu in Japan, who are also leaders of their own federations or associations.
Characteristics of Wado Ryu:
To practitioners of Wado Ryu, the main philosophy is to better their attitude both within and outside the art. This is one of the main aims of the martial art which emphasises the development of respect, discipline and understanding in a mental as well as physical capacity. This aim affects our attitude towards ourselves and others in our home life, work and social activities. To show aggression outwardly, even during training sessions, is greatly discouraged. The name Wado Ryu, approximately translated, means "the peaceful way".
Another characteristic of Wado Ryu is that unnecessarily large movements are kept to a minimum. Importance is placed on the speed and efficiency of movements with which each technique is performed, rather than the strength or physical effort outwardly shown. Exponents of Wado Ryu place great emphasis on the coordination of body movement with each particular technique. This principle is found in many other martial arts, such as ju-jitsu, aikido and kendo. This coordination is stressed at all stages of learning, from the execution of basic techniques to the application of advanced, free-fighting combinations.
Sunday, April 1, 2007
Karate - general background
Karate, or Karate-do, loosely translates empty hand ("kara" means empty and "te" means hand). This art is indeed predominantly concerned with fighting with bare hands and feet. The basic principle is to turn the body into an effective weapon to defend and attack when and where it is appropriate.
History:
Karate is one of the most widely practised of the oriental martial arts. It evolved during one of the Japanese occupations of the island of Okinawa, part of the Ryukyu chain of islands, in the 15th century. Its roots, however, can be traced back much further than this - all the way back to ancient India. Many people hold the view that what we regard today as the oriental martial arts have their roots in India. In fact, when we look at such disciplines as yoga and the breathing techniques that originated in India, there does seem to be a great similarity between those and many of the modern martial arts systems.
Zen Buddhist monks took the Indian fighting techniques to China from as early as the 5th century BC. Bodhidharma, an Indian monk, travelled at the end of the 5th century AD from India to China, where he became an instructor at the Shaolin monastery. He taught a combination of empty hand fighting systems and yoga. This became the well-known Shaolin Kong Fu - the system on which many Chinese martial arts systems are based.
In 1470, the Japanese had occupied the island of Okinawa. The law of the land dictated that anybody found carrying weapons would be put to death. In order to protect themselves from local bandits, who largely ignored the prohibition on weapons, Zen Buddhist monks developed the empty hand system known as "te", importing new techniques from China. Eventually the new art was translated as "t'ang" (China hand), but was familiarly known as "Okinawa-te" (Okinawa hand). It was not until the 20th century that t'ang became known as Karate-do. The suffix do was added by Gichin Funakoshi's son Yoshitaka Funakoshi, in friendly opposition to his father's Okinawa-te style. Practice and demonstrations until that time had been extremely violent. Punches were not pulled and full contact was an integral part of the Okinawa-te style. Yoshitaka Funakoshi transformed the techniques of Okinawa-te into a gentler system, seeking not to deliver blows fully, but to focus strikes at skin level. The do suffix expressed the move away from the aim of the warrior and towards physical and spiritual development.
Styles:
There are numerous styles of karate practised. Wado Ryu and Shotokan are just 2 of them. Other popular systems include Shinto Ryu, developed in 1948, and now one of the main systems in the world. It is also important to realise that the various styles of Karate are the results of the personal ideas of many individuals about how each basic technique should be carried out or applied. The different techniques within the styles of Karate also dictate whether strength, speed, hand or leg techniques are emphasised.
Competitive Karate:
Karate has been a self defense system and a form of physical exercise. The competitive and sporting elements have a further part to play in the individual's enjoyment of this activity. It is because of the possibility of participation in competition that many people take up this art.
Competition is not the only reason for engaging in this art. It is possible to learn Karate without participating in competitions, however for some people, competition provides motivation and stimulation for training. The sense of achievement that comes from just taking part can be carried over into everyday life.
History:
Karate is one of the most widely practised of the oriental martial arts. It evolved during one of the Japanese occupations of the island of Okinawa, part of the Ryukyu chain of islands, in the 15th century. Its roots, however, can be traced back much further than this - all the way back to ancient India. Many people hold the view that what we regard today as the oriental martial arts have their roots in India. In fact, when we look at such disciplines as yoga and the breathing techniques that originated in India, there does seem to be a great similarity between those and many of the modern martial arts systems.
Zen Buddhist monks took the Indian fighting techniques to China from as early as the 5th century BC. Bodhidharma, an Indian monk, travelled at the end of the 5th century AD from India to China, where he became an instructor at the Shaolin monastery. He taught a combination of empty hand fighting systems and yoga. This became the well-known Shaolin Kong Fu - the system on which many Chinese martial arts systems are based.
In 1470, the Japanese had occupied the island of Okinawa. The law of the land dictated that anybody found carrying weapons would be put to death. In order to protect themselves from local bandits, who largely ignored the prohibition on weapons, Zen Buddhist monks developed the empty hand system known as "te", importing new techniques from China. Eventually the new art was translated as "t'ang" (China hand), but was familiarly known as "Okinawa-te" (Okinawa hand). It was not until the 20th century that t'ang became known as Karate-do. The suffix do was added by Gichin Funakoshi's son Yoshitaka Funakoshi, in friendly opposition to his father's Okinawa-te style. Practice and demonstrations until that time had been extremely violent. Punches were not pulled and full contact was an integral part of the Okinawa-te style. Yoshitaka Funakoshi transformed the techniques of Okinawa-te into a gentler system, seeking not to deliver blows fully, but to focus strikes at skin level. The do suffix expressed the move away from the aim of the warrior and towards physical and spiritual development.
Styles:
There are numerous styles of karate practised. Wado Ryu and Shotokan are just 2 of them. Other popular systems include Shinto Ryu, developed in 1948, and now one of the main systems in the world. It is also important to realise that the various styles of Karate are the results of the personal ideas of many individuals about how each basic technique should be carried out or applied. The different techniques within the styles of Karate also dictate whether strength, speed, hand or leg techniques are emphasised.
Competitive Karate:
Karate has been a self defense system and a form of physical exercise. The competitive and sporting elements have a further part to play in the individual's enjoyment of this activity. It is because of the possibility of participation in competition that many people take up this art.
Competition is not the only reason for engaging in this art. It is possible to learn Karate without participating in competitions, however for some people, competition provides motivation and stimulation for training. The sense of achievement that comes from just taking part can be carried over into everyday life.
Taekwondo - general background
Taekwondo is derived from several martial arts with the main influence being tae-kyon - Korean kick fighting. "Tae" means to kick. "Kwon" means to strike using the hand, in most cases the fist. "Do" refers to the way of the art, like in the examples of Hapkido, Karate-do, Ninjado etc. Thus, the foundation of the art is the use of the hands and feet to overcome an attacker swiftly.
History:
Taekwondo was originally developed in Korea in the 1950s, when a group of leading martial arts exponents came together to unify their respective disciplines under a single fighting system. The inauguration took place in South Korea on April 11, 1955, with Major-General Choi Hong Hi, a 9th dan black belt, being credited as the founder. However, its roots date back nearly 2000 years ago when it was born from an art known as hwarang do, meaning "the way of the flowering manhood".
The hwarang were young noblemen, influenced by Confucian teachings, who formed a patriotic society during the unification of Korea, in the Silla dynasty, around 600AD. The Silla kingdom was the smallest of 3 within the Korean peninsula and was constantly under attack from its two stronger neighbours. It was these constant invasions that led the Silla nobility to develop a fighting system to protect their kingdom.
Towards the end of the 10th century, following the unification of Korea, learning Taekwondo became compulsory for all young men. However, in about the 16th century, the military traditions of the country fell out of general favour and the practice of Taekwondo was kept alive only by Buddhist monks. Following the Japanese occupation in 1909, the suppression of any form of martial art only served to further its decline. The few remaining dedicated practitioners emigrated to China and Japan and hence, the art survived.
Following liberation in 1945, many Korean exiles returned to their homeland and reintroduced an improved version of Taekwondo. The Korean government, as part of its canpaign to reassert national identity after years of Japanese occupation, supported the practice of Taekwondo by officially sponsoring it. This led to a more formal approach to the teaching and grading of the discipline.
Taekwondo spread worldwide from Korea in the 1960s and the first world Taekwondo championship took place in Seoul, South Korea, in 1973. Since 1988, Taekwondo has been listed as an Olympic sport.
Competitive fighting:
Competitive fighting in Taekwondo is purely optional. For those who participate, competitions are split into 3 sections - sparring, patterns and destruction.
Sparring involves 2 practitioners practising fighting techniques to develop their timing, focus and speed. It is performed in a controlled environment so that no unnecessary injuries occur. In competition, the aim is to score points through the delivery of correct techniques to target areas.
Patterns are a set of series of combination techniques performed in a sequential order against an imaginery opponent. This is similar to Karate, which refers to patterns as kata, or Kung fu, which uses set movements called forms.
Destruction refers to breaking techniques in which practitioners learn to break, for an example, a piece of wood about 0.5 to 1 cm thick. The aim is to ensure that the power and skill of the technique are truly effective. It is also designed to focus the mind.
History:
Taekwondo was originally developed in Korea in the 1950s, when a group of leading martial arts exponents came together to unify their respective disciplines under a single fighting system. The inauguration took place in South Korea on April 11, 1955, with Major-General Choi Hong Hi, a 9th dan black belt, being credited as the founder. However, its roots date back nearly 2000 years ago when it was born from an art known as hwarang do, meaning "the way of the flowering manhood".
The hwarang were young noblemen, influenced by Confucian teachings, who formed a patriotic society during the unification of Korea, in the Silla dynasty, around 600AD. The Silla kingdom was the smallest of 3 within the Korean peninsula and was constantly under attack from its two stronger neighbours. It was these constant invasions that led the Silla nobility to develop a fighting system to protect their kingdom.
Towards the end of the 10th century, following the unification of Korea, learning Taekwondo became compulsory for all young men. However, in about the 16th century, the military traditions of the country fell out of general favour and the practice of Taekwondo was kept alive only by Buddhist monks. Following the Japanese occupation in 1909, the suppression of any form of martial art only served to further its decline. The few remaining dedicated practitioners emigrated to China and Japan and hence, the art survived.
Following liberation in 1945, many Korean exiles returned to their homeland and reintroduced an improved version of Taekwondo. The Korean government, as part of its canpaign to reassert national identity after years of Japanese occupation, supported the practice of Taekwondo by officially sponsoring it. This led to a more formal approach to the teaching and grading of the discipline.
Taekwondo spread worldwide from Korea in the 1960s and the first world Taekwondo championship took place in Seoul, South Korea, in 1973. Since 1988, Taekwondo has been listed as an Olympic sport.
Competitive fighting:
Competitive fighting in Taekwondo is purely optional. For those who participate, competitions are split into 3 sections - sparring, patterns and destruction.
Sparring involves 2 practitioners practising fighting techniques to develop their timing, focus and speed. It is performed in a controlled environment so that no unnecessary injuries occur. In competition, the aim is to score points through the delivery of correct techniques to target areas.
Patterns are a set of series of combination techniques performed in a sequential order against an imaginery opponent. This is similar to Karate, which refers to patterns as kata, or Kung fu, which uses set movements called forms.
Destruction refers to breaking techniques in which practitioners learn to break, for an example, a piece of wood about 0.5 to 1 cm thick. The aim is to ensure that the power and skill of the technique are truly effective. It is also designed to focus the mind.
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