Martial Arts and More.....

Some Tradition, Some Myth and Some Hollywood and the Martial Arts

2012-01-05T19:56:00.000-08:00

Yin/Yang Aspects of the Shaolin Temple's 72 Consummate and Secret Arts
By Peter Allsop

Introduction

Yin and Yang aspects of the 72 Consummate and Secret Arts of the Shaolin Temple i.e. its Secret Fighting Exercises or 'Kungs' produce two categories: Yin/Rou Soft Internal Energy Training and Yang/Gang Hard External Power Training, respectively, with the former considered superior overall. To facilitate comparisons and contrasts between 'Hard and 'Soft' Kung Fu and to help readers to appreciate differences between the two categories, an example from each follows.

Yin/Rou

'The Vermillion Palm Technique' exemplifies the prolonged, arduous, hidden intensities frequently found in Shaolin Internal (Yin) Kung Fu training.These are, typically, much less well-known than the training demands of its External counterparts.

Further Examples of Yin/Rou Shaolin 'Kungs' include:

Kuan Yin Palm;
Iron Cloth Bag/Sack and
Finger Pointing Arts

Yang/Gang

'Toad Exercise', conversely, representing Shaolin External (Yang) Kung Fu embodies training demands which, although prodigious, will, I am sure, be more familiar to most readers. This second Shaolin Secret Art or 'Kung' is more typical of External Yang Kung Fu.

Further Examples of Yang/Gang Shaolin Kungs include:

Windlass or Bucket Lifting Arts;
Iron Bullock Arts and
Stone Pointing Arts
Both Yin and Yang Kungs tend to have separate and distinct levels of progress and attainment which all students need to pass through to achieve their goals. The full list of 72 Shaolin Temple Secret Fighting Exercises or Kungs also embodies a Yin/Yang balance reflecting this principle's importance.

Internal and External

External (Yang) Kung Fu is extremely physical, its Internal (Yin) counterpart is termed 'spiritual', as invisible, internal forces are involved moving 'mysteriously', unseen within us. 'Faith' in Teacher/Teachings is required in the latter case. Further, harder-to-measure Internal progress takes longer to show and consequently more dedication and will-power are required to acquire the desired skills.
Cultural issues also need taking into account before Internal/External comparisons are made. Kung Fu has been known and trusted for millennia in China and the Far East, where Teachings are instantly and unquestioningly followed, according to 'the Way'. Western student-traditions differ-involving proof or explanations before things are accepted. To the uninitiated, Internal Kung Fu Qi-Training Theory is harder to understand and demonstrating Qi's existence 'scientifically' to beginners harder still (an existence automatically accepted in China). This may well be due to the West's comparatively short acquaintance with Kung Fu. More prolonged exposure to traditional authentic Chinese Martial Arts Training should cause this 'resistance' to disappear over time.
Supporting evidence relating to Hama Gong/Toad Exercise applied in action is presented. However, the deadly delayed-death touch of 'The Vermillion Palm Technique' means we have to turn to Chinese Martial folk-tales and film-histories for evidence of the circumstances and effects of its use.

The Vermillion Palm Technique

This is perhaps the most deadly of all the 72 Consummate and Secret Arts of the Shaolin Temple aka its Secret Fighting Exercises or 'Kungs'. The Vermillion Palm is also one of the most difficult to acquire, demanding much from the student in terms of will-power, persistence and determination. The Vermillion Palm falls into the category of Yin/Rou Internal Energy Training and is a specific exercise of the palm.

Technical Analysis

The technique has long been associated with dim-mak or 'delayed death touch'. Reputedly, if applied by a Master, whilst no external evidence of any strike being made would be initially apparent, bright red palm marks would appear on the victim's body within 3 days and death would be inevitable, after no more than 10-15 days at most, brought about by internal organ damage.
Also known as Red Cinnabar Palm and Plum Blossom Palm, the Vermillion Palm requires 15 years practice to acquire, plus a dedication never to abuse it. It should not be confused with Black Cinnabar Palm as medical treatment can help those injured thus-for the effects of The Vermillion Palm, there is no cure.

Stage 1 Concentration and Qi Gathering

Take a shallow open bowl or other similar container part-filled with fine sand and place this on a table before you. Rub your hands constantly with the sand until exhausted and repeat this practise daily. When you can rub your hands together 1 foot away from the bowl and cause the sand to move and swirl, Stage 1 is complete.

Stage 2

Replace the fine sand in the bowl with coarse and repeat the exercise until similar results are obtained. Next use rough iron-sand and grit in the same manner. Finally use small pieces of scrap iron until these respond similarly to your palm-rubbing. At this point the Art has been attained.

Overall

Learning the Vermillion Palm makes one stronger and healthier overall, improving the functions of the 5 major internal organs. However, the Qi directed to one's palms by the exercise causes damage to the internal organs of those they strike. This exercise is part of Shaolin 'Soft' Internal Kung Fu Training.

Kung Fu:Toad Exercise

Toad Exercise aka 'Hama Gong' uses weights as apparatus. This is the Shaolin Temple Secret Fighting Exercise or 'Kung' most compatible with Western Weight-Lifting and Weight-Training methods. Strengthening and developing all parts of the body, Hama Gong relies purely on External Physical Strength, Power Training and effort for results, with the aid of key visualisations.

Technical Analysis

The wrist, arms, shoulder, back and abdomen are the first-exercised body-parts, using an upright stance. Next come the legs and thighs, requiring a Horse Stance (Ma Bu) instead. Previously, circular stone weights and bamboo 'bars' were used, the latter's inbuilt flexibility encouraging development of the Kung. Nowadays, traditional metal bars collars and gym-weights suffice.

Method

Stage 1 Strength Development

Concentrating strength in the arms and wrist, students lift bar and weights overhead repeatedly (as above) until tired. Progress to the next stage when this can be performed easily.

Stage 2 Transporting Strength

Make fists with your hands and imagine you are gripping and lowering a heavy weight. You will feel strength flow into this area as you do and flow back up into your arms and shoulders when your grip is released. Rest, relax and then repeat this exercise.
Next, perform the exercise using the chest, abdomen and other body-parts in turn, as specified above. Regarding the legs and thighs, horse-stance (Ma Bu) practice whilst holding the weights should come first. Holding, using visualization, imagining the weights are still being carried, before lowering this imaginary weight, should then follow.
Appropriate use of visualization is essential to ensure transportation of strength to arms, shoulders, legs and thighs at this Stage. Each time, perform the exercise once, rest, relax and repeat it again.

Hama Gong/Toad Exercise in Application

Late, lamented, Honourable 'Longfist' Grandmaster Leong Fu, (1) Changquan 'Si Jo' (Style Founder), from Ipoh, Malaysia, famously used huge natural stones of irregular size and weight to assist development of this and related 'Kungs'. Si Jo Leong Fu was also 3 Times Undefeated World Middleweight Wrestling Champion 1959-62, before retiring (Undefeated) in 1963.
An awesome testimony of such Kungs' effectiveness, this is merely a partial picture of the strength, potency and versatility of Grandmaster Leong Fu and his teachings(2). Also a Master of the Internal Arts, Leong Fu was unmistakable in his insistence of their superiority over their External equivalents and the necessity to acquire a balanced blend of both.

Overall

Once Toad Arts/Hama Gong has been successfully achieved strength can be instantly transmitted, at will, to any of the body-parts thus trained. Masters of this Art are very difficult to attack as they can concentrate strength in any part or region, reinforcing this and preventing injury.

Conclusions

External Yang 'Hard' strength and power-building Shaolin Secret Arts tend to be easier to acquire (although the requirements to do so are still daunting indeed) and progress tends to be more obvious, more easily measured and demonstrated. Moreover, the methodology involved tends to be easier to understand and the methods used more direct. Such Kungs frequently lead to gains in physical power, strength and resilience.
Some of the Shaolin Temple Internal Secret Arts cause internal damage when applied, The Vermillion Palm being No. 1 in this List! However, as in this example, they can also lead to improvements in various aspects of internal body-functioning. In this case, improving the 5 major internal organs' quality increases health and longevity of the practitioner. Internal organ failures are major causes of sickness and death. The study and acquisition of Internal skills, always valued above their External counterparts, embraces both ability to cause and avoid such failures.

The methodology involved in acquiring Yin/Rou Kungs is more sophisticated, the methods used sometimes more indirect and learning times much more extensive. However, prolonged internal study may have 'transformational' effects on individuals who discover profound inner truths.
The 72 Consummate Secret Arts of the Shaolin Temple are still little known in the West. Internal Kung Fu, in general, similarly neglected, is rated superior overall in China, Kung Fu's birth-place and the Far East. However, it is when Yin and Yang are in balance that optimum health and Kung Fu progress may be achieved. So, in Dragon Year 2012 try to increase your Shaolin Internal Kung Fu knowledge and attainment levels, 'awaken your Inner Dragon' and help ensure balanced progress in your Martial Arts Training.

Notes

(1) Ao Tai (At'a) Changquan Grandmaster, Ever Victorious Army General and Bodyguard of Captain (later General) Charles Gordon, during the Boxer Rebellion (Tai Ping Kuo) in 19th Century China was the inspiration of Grandmaster Leong Fu.
(2) Si Jo Leong Fu, Changquan 'Longfist' Grandmaster, Three Times World Middleweight Wrestling Champion 1959-62, retiring undefeated in 1963 taught Si Gung Rex Jones (his No.1 Student World-wide). Most Esteemed Fei Lung Kwan Founder, R

Sifu Peter Allsop M.Ed. teaches Shaolin Kung Fu and Qigong in Yorkshire and Derbyshire U.K. With almost 40 years experience he is Shaolin Fists International Area Instructor for this region and Senior Student of Grandmaster Yap Leong.
Trained in the U.K. and China, Peter teaches Changquan ('Longfist') Wu Xing (5 Animals), Wu Tzu (5 Ancestors) Kung Fu and 5 Elements Qigong.
Sheffield Chinese Lion Dance Team Member, he also publishes 'Red Dragon Martial Arts Ezine'.
Explore the free resources at: http://www.sheffieldkungfu.com

Article Source: http://EzineArticles.com/?expert=Peter_Allsop

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Examples of Hollywood Version of the Martial Arts:

the deadliest blow of the martial arts....

The Legend of Pai Mei Told by Bill from "Kill Bill II"

The Five Point Exploding Heart Technique from "Kill Bill II"

(warning contains "mature" language - inappropriate for some audiences)

Martial Arts, Dojos and their Impact on the Community

2011-11-11T20:19:00.000-08:00

The success of the martial arts is dependent on keeping the small independent dojos thriving. A dojo with good community values leads to a great training experience, builds cohesiveness within families, furthers health and well being. Few other sports further such opportunities for multiple generations.

Another wonderful subtext of the martial arts community is the appreciation the oriental sensibility. It is as if one is temporarily transported to another world, another space another frame of mind. That includes music, food, environment, philosophy, health and life styles. Sometimes just exploring another culture allows one to gain insight and perspective on one's own journey.

Benefits of Martial Arts in Building Successful Children

By Owen Mc Cree

In this "day and age", like the elders would say, the time of PlayStation 3, Xbox, fast food, computers and social networks and the like, we often read articles about our kids and the effect the world has on them.

These articles range from obesity due to lack of exercise, ill-mannered teens that are just out of control, children still wetting beds after age 7, the list goes on.... One of the issues that should be on the radar of your Karate Class or Dojo is the issue of child neglect by parents. This neglect does not refer to physical neglect such as food, clothing and shelter, but rather, emotional neglect.

Emotional neglect can has many roots, but can lead to various symptoms later such as lack of cognitive ability, lack of social behaviour skills, lack of confidence etc. These symptoms can manifest separately, or one can cause the other and have a snowball effect.

One of the key enablers of growing a successful student, is identifying these symptoms and addressing some of these roots. A point should be made at every Instructor's meeting, to discuss the behaviour, interaction and conduct of certain students within the class. You need to look at those that need to be lifted up, but also at those who need to get down to earth. Your training methods should be structured to address both scenarios with a tweak here and there as necessary to tip the scales. This mental reprogramming of a child takes quite a while, depending on the damage caused by a person, event, or a combination of the two.

I have personally identified a trend in children that are dropped-off and collected after class vs. children that are brought to class with the parent/s or guardians sitting in on the class. In most cases, the children who are dropped-off, are those children that need boosting vs. those whose parents / guardians are part of the training experience, even by just being there. You do get those parents that are present at the class, but they are disconnected from what their child is doing, how he is performing because they are reading a magazine or something to pass the time. These are the boundary line children and you should consider "working the audience" when identifying that this is happening to a child. Engage with audience by saying, Hey parents, did you see that great stance" or "Hey Daniel's dad, did you teach him this or is he just that good!!"

The mission of your class or dojo needs to focussed on building people by what you do and how you do it. Character, sincerity, effort, etiquette, self-control and respect must be the foundation of learning at your dojo and be in the hearts and minds of your students.

Teaching children martial arts is like nurturing a Bonsai tree (not to steal the fame from Mr Miagi), You cannot let it grow for 10 years and then try and shape it, it requires constant attention to detail, sometimes, detail you never knew was there.

We build confidence in our children by regular, controlled kumite and karate training camps (Gashuku), Our tournaments are focussed on controlled, professional development of people with a well formed rewards and recognition system. We teach our children how to manage and deal with emotions of success and defeat in order to maintain a delicate balance.

Check out our website at http://www.tokonkarateonline.com You can register as a member and get access to much more exciting pages once they are completed. The site is still under development. Please feel free to mail us for any further information.
We are affiliated under 3 World Organizations: WKC, KFC and IAI

Article Source: http://EzineArticles.com/?expert=Owen_Mc_Cree

Some Definitions and Some History

2011-10-18T22:39:00.000-07:00

Martial Art as defined at TheFreeDictionary.com

Renbukai as defined at Definition of Renbukai from Dictionaryslang.com
"to forge the martial way association"

By the mid 1930’s a group of KARATE practitioners had formed a loose alliance, and trained together to develop full contact techniques. Most of these KARATE students had an extensive background in SHURI-TE. They used modified KENDO armor (BOGU) to give a degree of realism to their fighting. In 1940, this group was recognized as a new KARATE style, and KANBUKAN KARATE was born.

The name of KANBUKAN was changed in 1950 to RENBUKAN. Translated, RENBUKAN means, “To forge the martial arts place”. Under the name RENBUKAN the style continued to grow in popularity, especially in Tokyo. The first full contact sparring competition using the modified BOGU was held in 1954. Following the success of that inaugural tournament, annual full contact tournaments using BOGU were scheduled. Participants came from across Asia, but mostly from Japan and Korea. Foreign residents, or servicemen would occasionally enter these full contact tournaments.

In 1964 RENBUKAN became RENBUKAI. RENBUKAI means, “To forge the martial arts association”. RENBUKAI joined KYO KAI, WADO RYU, SHITO RYU, GOJU KAI and RENGO KAI in becoming the first six recognized styles in the new organization called the Federation of All-Japan Karate-Do Organizations (FAJKO). FAJKO is later re-named the All-Japan Karate-Do Federation (JKF).

Renbukai is trained around the world from Japan, Taiwan, Canada, USA, Napal, India, Nicaragua, & Costa Rica

It is a style of karate orginating from Japan and is a member of the All Japan Karate-Do Federation. Renbukai Developed Bogu (fighting gear)to make fighting as real as possible with out getting hurt.

2011-09-29T03:10:00.001-07:00

Renbukaikan on YouTube

satan1ash on YouTube

Assemble a Shinai by ebogucom on YouTube

Martial Arts Books

Glossary of Japanese Terms and Phrases

2011-09-29T02:40:00.001-07:00

courtesy Bogu Karate Canada:

A
AGE TSUKI    uppercut punch
AKA            red
ARIGATO GOZI MASHITA a very polite form of "thank you"
ASHI                                      foot
ATAMA    head

B
BO wooden staff about mid chest in length
BOGU protective armor used in full contact fighting
BOKKEN                             wooden sword used primarily for Iaido training
BUDO                                   the Way of the Martial Arts

C
CHISAI                                 small
CHOTTO MATE                   "just one moment"
CHUDAN                             center area from the waist to the shoulders

D
DAME no good: must not
DAN    level: black belt rank and above
DO (1) the way
DO (2) in armor, the body protection
DOJO    training hall or place devoted to the martial arts
DOGI                                 proper name for training uniform
DO ITASSHIMASHITE        "you're welcome"
DOMO                                  "thank you" (informal)
DOZO    please take (while offering something)

E
EGATA                                 the first kata series; contains four different forms
EMPIUCHI                          elbow strike

F
FUDO DACHI immovable stance
FURI TSUKI    flare punch

G
GEDAN BARAI                    lower area block; inside to out
GI                                          familiar name for training uniform
GOKYU                              yellow belt
GOMEN NASAI    "I am sorry"
GYAKU TSUKI                reverse punch

H
HAI                                 yes
HAJIME       begin
HAMBUN    half
HANGETSU GERI       half moon kick
HIDARI    left
HIZA GERI                        to strike with the knee
HOMBU DOJO       the head dojo, or office of a style or organization
HYAKU                             one hundred (100)

I
IKKYU    brown belt
IPPON                               in sparring, a full point
IUCHI    in sparring, a clash of techniques at the same time

J
JIYU KUMITE                  free sparring
JO                                     wooden staff about shoulder
JODAN       upper area from shoulder to above the head
JODAN UKE                    upper area block

K
KAMAE TE                    the ready position
KANTO SHO                   in tournaments, the "fighting spirit" award
KARATE                           empty hand; empty fist
KATA (1)                           a set of movements, or pattern
KATA (2)                           shoulder
KI                                      spirit or heart
KIAI    the shout used to help focus techniques
KIBA DACHI       horse stance
KIHON                             basic techniques
KOHAI                             student
KOKUTSU DACHI          back stance
KOTAI                            switch or change
KOTE    in armor, the hand protection or gloves
KUMITE                           generic term for fighting
KYOTSUKE       attention

M
MAE GERI                           front thrust kick
MAKIWARA canvas bag or wooden block used to condition hands
MATA ASHITA       "see you tomorrow"
MAWASHI GERI round house kick
MAWATE                           turn on the spot
MEN    in armor, the face protection or head gear
MIGI          right
MIKIZUKI GERI    flaring front kick
MOKU SO    "close your eyes"

N
NANJI DESU KA?           "what time is it?"
NEKO ASHI DACHI    cat's foot stance
NIKYU                                  blue belt
NIREN                                   set of two: double
NUKITE                              knife hand strike

O
OBI                                     belt
OHAYO GOZAIMASU       "good morning"
OI TSUKI                         forward punch
OKI    large
ONAGAI SHIMASU          polite form of "please"
ONAJI                                 "the same"
OSHIRO    reverse, or behind
OYASUMI NASAI    "good night"

P
PINAN                               the second kata series; contains five differant forms

R
REI (1)    respect
REI (2)    to bow
REIGI                                 etiquette or courtesy
RENBUKAI       "to forge the martial way association"
RENSHU                            to train or practice
RENZOKU DOSA       in continuous motion

S
SAGATE                             backwards
SAIGO                               "last one" or "last set in a series"
SANBON                           set of three
SANKYU                           green belt
SASAI UKE                       double block; augmented block
SAWATE                             "sit down"
SEIZA                                 formal style of sitting
SEMPAI                                assistant instructor, green belt to brown belt
SEMPAI NI REI "bow to the assistant instructor(s)"
SEN                                      one thousand
SENSEI                               instructor above black belt level
SENSEI NI REI          "bow to the instructor(s)"
SHIRO                                white
SHITSURE SHIMASU         "Please excuse my leaving (the dojo)"
SHODAN                             black belt, specifically first degree
SHOMEN       front of the dojo
SHOMEN NI REI           "bow to the front of the dojo"
SHUTO UKE    knife hand block
SOJI    the act of washing the dojo floor
SOKUTO GERI                  side thrust kick: edge of the heel kick
SONA BA                           "on the spot, without moving"
SONA MAMA SAGATE "the same as before, backwards"
SOTO UKE                    center area block, inside to out
SUKUI UKE                       lower area sweeping block, ouside to in
SUMI MASEN       "excuse me"
SUNDOME                       non-contact fighting

T
TAMASHIWARI                   the act of breaking wood
TATE                                   stand up
TETSU UCHI                    iron-fist strike
TOBIKOMI    in basics, driving the knee upwards
TORIMASEN in sparring, "my mistake, no point"
TSUKOMI TSUKI             dropping lunge reverse punch
TSUKI                                punch

U
UCHI UKE                        center area block, outside to in
URAKEN    back-hand strike
USHIRO GERI    spinning back kick
USHIRO MAWASHI GERI spinning reverse wheel kick
UTANGANI REI               "bowing to each other"

W
WAKARI MASEN                "I do not understand"
WAKARI MASU       "I do understand"
WAKARI MASUKA       "Do you understand?"
WAZA                                series or set of similar basics
WAZARI                            in sparring, one half point

Y
YAME                                 stop
YONKYU                      orange belt

Z
ZENKUTSU DACHI         forward stance
ZEN-NIHON                       "All - Japan"