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.
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