The themes in this book—drawn from Chinese history, culture, and martial arts experience—are entwined in a fictional narrative to animate events envisaged to have occurred during the mid-eighteenth century. From the outset, a thin veil separates fact from fiction. Our story starts with a discovery. While conducting research at the Vatican Library on the Jesuit missions in China, two scholars find a folder of papers written in Chinese among documents belonging to Giuseppe Castiglione (1688–1766), a painter at the royal court in Beijing. The papers turn out to be written by a fellow court painter, Yang Mingbin (c. 1664–1765). Yang’s handwritten essays provide revelations vital for understanding the ingenuity of Chinese martial arts. Yang’s text is organized under sixty-four subheadings. The author elucidates theory and practice methods in a fashion unlike any other writings on this subject. This is a rare early text written during a transitional period for martial arts. It is the time when the Qing Dynasty (1644 to 1912) was at its peak of cultural splendor and expanding its borders by military expeditions. Cannons and smaller firearms show the Western influence, but traditional martial arts were ubiquitous in the village, province, and national levels. Master Yang offers fascinating reading on all aspects of the Chinese fighting traditions. He places great emphasis on the importance of the “martial arts family” and the role of secrecy in lethal arts. The arts are also adapted for health and entertainment. All reflect an infusion of philosophy and practices from Buddhism, Daoism, and Confucianism. How one thinks affects how one practices martial arts. Yang describes the qualities associated with different skill levels, from beginner to most advanced. As he does this, we learn secrets that set forth key ways for improving defensive and offensive applications. These topics include body alignment, coordination, spontaneity, naturalness, balance, distancing, relaxation, and power. The same principles apply to bare-hand and weapons practice, as well as martial arts for health. Yang’s learning methodology for studying martial arts can be useful in other areas, as in his work as a master painter at court.
China can easily boast of its great martial traditions, which many would say is the richest in the world. There are a variety of styles from the north to the south that encompass an extensive repertoire of open-hand and weapon techniques. The ten chapters in this anthology illustrated this wide spectrum. Mark Wiley’s interview with Hou Faxiang presents a fundamental healing modality famous in China — qigong, the nourishing and practical use of internal energy. Its theory and practice is entwined in many martial art styles.In chapters two and three, Robert W. Smith, introduces us to two Shaolin style masters whom he met during his stay in Taiwan. Since Han Qingtang was the top notch expert in joint-locking techniques, Smith managed to photograph seven of Han’s fundamental techniques. General Gao Fangxian was likewise a practical martial artist with an overwhelming presence, even when smiling. In a technical section he shows the might of Northern Shaolin.Southern Hung Gar is the topic for the next two chapters. Allan Ondash focuses on special kicking methods usually done simultaneously with hand usage, making the kicks difficult for a defender to notice being executed. His chapter is followed by Mark Jensen’s interview with Kwok Wing Lam detailing Iron Palm history and training. Yang Jwingming is known worldwide for his knowledge and personal skills in Chinese martial arts, primarily Long Fist and taijiquan. I conducted a lengthly two-part interview that provides information about Master Yang’s early years in Taiwan through his martial arts career in the United States. Stephen Berwick is well-known as one of the first Americans to become a highly respected practitioner and scholar of Chen Style Taijiquan. The interview conducted by Richard Florence shows the roadwork Berwick took to make his dreams come true—to be part of the longstanding Chen Family art. The ninth chapter by Dr. Donald Cheung presents the unique “cow herding stick” as taught by Xiao Mingkui, a Praying Mantis and Chen Taiji practitioner. The final chapter by Jake Burroughs looks at how the head is used in various striking techniques as found in many styles. We hope you will enjoy the material in this anthology, the personal stories of dedicated masters, and the rare photographs of their history and techniques.
Asian Martial Arts: Constructive Thoughts & Practical Applications represents an international gathering of friends who happen to be highly qualified martial art scholars and practitioners. This martial arts book is a collection of articles from practitioners who have come together in celebration of the 20-plus years that Journal of Asian Martial Arts has inspired scholarship to higher academic standards while encouraging all aspects of responsible practice. Each article was written specifically for Asian Martial Arts, with topics representing the rich variety found in the Asian martial traditions.
The Chinese double-edged straight sword (jian), the “gentleman of weapons,” is the focus of this e-book. There are a growing number of people interested in this fascinating weapon, its history, and its use. For your convenience, this anthology assembles the best articles on this subject as published in the Journal of Asian Martial Arts. Chapters 1 and 2 were written by Dr. Richard Pegg, a scholar of Asian studies and art curator with over thirty years of studies in the martial arts. With sound academic and practical experience in swordsmanship, Dr. Pegg writes here on ancient Chinese bronze swords and also on the parallels of Chinese calligraphy and swordplay. The analysis and presentation of the calligraphic illustrations give insight into the physical execution of sword movement. These superb presentations provide a perspective that is useful for understanding the technical and historical significance of the sword arts in China. In the next chapter, Tony Yang, Andy Lianto, and Robert Figler give an excellent overview of the fundamentals of training with the straight sword. This article outlines some of the most famous sword forms in history, Liu Yunqiao’s lineage, solo and two-person practice, as well as details on fundamental techniques and their combinations. For all intents and purposes, the practice and perfection of these fundamentals make one a master of the sword. Over 140 photos are used just in this chapter to illustrate the techniques. Stephan Berwick’s chapter details the history and practice of a famous straight sword system, the Qingping (Green Duckweed). The study meshes Chinese- and English-sourced research and a revealing interview with Lu Junhai—the grandmaster of this unique sword system. The interview is conducted by America’s senior Qingping disciples, Reza Momenan and Hon Lee. If you are a serious practitioner of the Chinese double-edged straight sword and have an interest in its history and techniques, you’ll enjoy each chapter included in this anthology. May it be a handy reference work for information as well as a source of inspiration for actual sword practice.
There are simularities and differences between the European and Japanese medieval warrior traditions that reflect the social evolutions within those cultures. Over the years publishing the Journal of Asian Martial Arts, we published articles that presented the main themes found in this unique area of comparitive studies. The most important of these writings are assembled in this anthology for your convience. Chapters 1 and 2 are by Dr. Willy Pieter, a leading scholar with a thorough grasp of European and Japanese martial art traditions. His first chapter examines the feudal system and how aspects of social organization helped form the warrior ethic, resulting in a mix of scientific and intuitive elements. In the second chapter Dr. Pieter illustrates how the perception of the human body and mind are culturally different in the East and West. Westerners have a long tradition of dualism, which separates the body and mind, while the Eastern approach has been wholistic. The author discusses scientific and medical histories for insight, particularly Chinese and European influences on Japan. In the third chapter John Michael Greer presents the esoteric side of a European sword tradition as found in the writings of Dutch fencing master Gerard Thibault (ca. 1574–1627). He notes that Asian and Western combat systems havebeen understood in sharply different ways over the last century or so. Asian combatives came to be associated with Eastern spiritual traditions and seemed to be very different than any Western combative system. However, this short chapter shows that there is actually much in common. In the final chapter Matthew Galas compares and contrasts the sword arts in Germany with the classical Japanese martial traditions. The period covered by this inquiry reaches from approximately 1350 until 1600. The focus is on general principles and combat philosophy. The study reveals that German sword techniques were as effective as their counterparts in feudal Japan. The content in this anthology is usefull for anyone interested in either or both European and Japanese martial art traditions exemplified during their medieval periods. Enjoy reading this special anthology dedicated to two leading warrior traditions.
As a digital edition, this two-volume anthology offers not only a handy historical overview of taijiquan history, but most chapters focus on actual practice. Guidance is provided through Carol Derrickson’s discussions on taijiquan classic writings as well as from other highly experienced instructors in their own chapters. Dr. Linda Lehrhaupt’s chapter inspires one to practice by explaining how mental changes occur in a student during initial weeks of classes. Although most taiji classes are offered by individuals in their own schools, a number of classes are also offered in academic settings. Andrew Peck gives a fine example of how taiji is taught in a university setting. Other authors present subtle aspects of practice—be it eye movement, circles that exist even in movements that appear to be liner, benefits derived from solo and group practice, or the too often elusive element of relaxation. All these chapters will prove valuable to anyone wishing to improve their quality of practice and thus to reap more health benefits taiji has to offer. The same embodied principles can be utilized in martial applications. Peter Lim wrote two chapters. In one he details general taiji principles that are put into the practice, while in the other chapter he looks specifically at how the principles can be applied in combat. His chapters provide a solid foundation for better understanding tuishou, the two-person push-hands practice that Herman Kaus and Hal Mosher (with the help of Allen Pittman) discuss. Greg Wolfson (with the help of Scott Rodell) writes about push-hands and sanshou—a high-level two-person practice of combative training. Russ Mason’s short but pertinent chapter samples two favorite techniques: wardoff and diagonal flying. The chapters by Donald Mainfort and Joel Stein are relatively unique in that they look at the variety of taiji forms—contrasting the original Chen Style with the Yang Style, and the large and medium frames—helping us better understand how and why routines differ, and which may be better suited for particular individuals. As a result, we can also see why movements from different styles can blend into anyone’s practice. Comprised of articles previously published in the Journal of Asian Martial Arts—we are highly optimistic that you will find something on each page of this anthology to be of great use in your understanding and practice.
A praying mantis insect faces any danger regardless of its opponent’s size and strength. If you’ve seen their parade of innate fearlessness, it is easy to see why they have inspired the creation of a Chinese martial art style. This anthology assembles the work of four highly qualified authors who present rare information about praying mantis boxing. In the first chapter, Dr. Martin Eisen interviews Gin-foon Mark, a noted fifth-generation master of Guangxi Province Bamboo Grove Praying Mantis. Mark discusses training in Chinese temples and compares it with the common training methods found today. The goals, training, and results are very different. The classical methods include developing the senses for fighting, and medical applications. Dr. Daniel Amos studied praying mantis boxing in Hong Kong. When a person starts to study a martial art, he or she is actually joining a social group to do so. The social structures of Hong Kong martial arts temple cults provide Chinese shunted aside by the dominant status system with an alternative, albeit secondary, system of status achievement. Here, the author presents details of his study and the social setting. The essence of China’s varied martial styles has often been preserved in writings. At the heart of this heritage are “character formulas”: a short list of characters that is used to establish the most elemental characteristics of a particular martial style. In the third chapter, Dwight Edwards provides an analysis of “The Twelve Character Formula of Seven Star Praying Mantis Boxing.” In the following chapter, Ilya Profatilov shares the results of years of researching the mantis systems in China. Old manuscripts describe the origins, theory, and curriculum of praying mantis boxing. Additionally, oral folk traditions, legends, fantastic stories, and songs are utlized. Referencing such sources, the author details the history of this realistic combat system, showing that it preserves its original techniques and classical forms. In the final chapter Profatilov discusses a favored close-range technique he recounts from his tutalage under Master Lin Tangfang (1920-2009) in a small village in Shandong Province. He uses the past to inspire his practice, as we hope this anthology will stimulate further research and practice to all readers.
When we think of martial arts in “old China,” we get visions of violent convulsions of dynastic change, devastating rebellions, civil wars, and banditry. Throughout the centuries there was a need for masters who possessed highly effective martial skills for positions in the military, protection services, and law enforcement. Out of this historical reality emerged a national treasure we call taijiquan. Chen-style taijiquan formulated during the days of military strategist Qi Jiguang (1528–1587), and its founder is considered to be militia battalion commander Chen Wangting (1600–1680). The art evolved. Its mystique remains fundamentally a true fighting art, including bare-handed forms and applications, plus an arsenal of weapons that includes the spear, straight sword, broadsword, and halberd. Then there are the associated training methods used to master this complete system, such as qigong, push-hands, and standing post. All of these practices are infused with knowledge associated with the physical and mental aspects of the human condition. Chen style encompasses a complete martial system. It has a deserved reputation for its combative efficiency, but also as a health-nurturing modality. The vastness of the Chen-style curriculum is way beyond the scope of most people to fully learn, so practitioners focus on what they can handle. Usually a solo routine is sufficient. Since all taiji styles stem from the original Chen family system, the Chens certainly share in the credit for taiji’s popularity in general, especially as an exercise purely for health benefits. Regardless of taiji style—be it Chen, Yang, Wu, Sun, Hao, or other—any serious taiji practitioner or scholar should have some understanding of the Chen family roots to get a vision of the whole tree. This two-volume anthology brings much of the rich heritage conveniently together for your reading. In this second volume, there is a special emphasis on nurturing the internal aspects for health as well as for combative skills. You will find clear explanations outlining each step in the learning process toward mastering Chen-style taiji. Chapters included here clarify what proper training entails and why much time and effort (gongfu) are necessary to gain results. In addition to the detailed history and penetrating philosophy you’ll find here, perhaps of greater importance are the clear explanations outlining each step in the learning process toward mastering Chen-style taiji. Only a very high-level teacher can understand what methods of instruction work best. Students don’t know; that’s why they should follow a teacher’s instructions as closely as possible. Chapters included here clarify what proper training entails and why much time and effort (gongfu) are necessary to gain results. As echoed among practitioners in taiji’s birthplace: “If you drink water from Chen Village, your feet know how to kick.” This two-volume edition brings you to the village for traditional instruction.
What martial arts are associated with Thailand, Vietnam, Cambodia, and Myanmar (Burma)? What makes them unique when compared with other Asian martial systems? This anthology is a convienent collection that focuses on the martial arts of these areas, such as the familiar art of Muay Thai, and lesser-known arts of Than Quyen of Vietnam, Burmese bando, and Cambodian leth wei. In chapter one, the David Allan brings readers inside the Lumphini Stadium in Bangkok to witness the fighters’ kickboxing skills and etiquette through text and photographs. He also records how musicians play and the locals participate in each event, with emotional exuberance of cheering, and betting. Jeremy Skaggs wanted to go to Thailand to train with some of the top Muay Thai fighters. His chapter allows readers to relive his experience through text and superb photography. He reports on his travel to Thailand, daily training routines, daily life there, and a night at the Lumphini Stadium. Chapter three by Jason Tran presents the origin and functions of That Son Than Quyen’s “spirit forms” as inspired by real and mythic animals. This is accomplished by contrasting Than Quyen with Chinese imitation styles, tracing the development of Vietnam religion and superstitions, and exploring the impact of geographic and cultural elements. In the next chapter Scott Mallon recounts excursions he made into Myanmar and Cambodia to learn about their indigenous martial arts firsthand. He reports on the Muay Thai-like systems and their similarities and difference, along with the special cultural atmospheres where these arts are found. Excellent photo coverage highlight the martial artists. Loh Han Loong’s chapter goes beyond the common views of Thai boxing by critically examining the way Muay Thai is portrayed in nonacademic sources, such as articles and websites. The manner in which Muay Thai is framed in popular culture is not simply the result of historical facts, but is a way of creating the Thai nation myth and the uniqueness of Thai culture. The lengthy final chapter by Dr. Winborne focuses on the bando system. His chapter explores ancient Burmese fighting traditions and their evolution to modern-day martial arts practices. Bando is a seamless amalgam of striking methods, grappling techniques, weapons approaches, and healing strategies from the Southeast Asian country currently known as Myanmar. This comprehensive self-defense system is reviewed and analyzed based on documented viewpoints of prominent masters and practitioners. The philosophy and principles that undergird the bando system are discussed as well. This anthology offers a concise overview of the history, cultures, and combative systems associated with the geographic areas of Cambodia, Myanmar, Vietman, and Thailand. Familiar or not with these martial traditions, readers will be find the chapters informative and photography delightful.
When people discuss Korean martial arts, they rarely mention taekyon. They are usually totally unfamiliar with the name because there hasn’t been much written about it. The four chapters in this anthology give an excellent overview of taekyon as a system noted for it’s dance-like qualities and combative style, especially for leg techniques. Taekyon stands unique as it represents most closely to a pure Korean martial tradition. Chapter one by Stanley Henning gives a detailed overview of martial arts in Korea. From the beginning, Korean martial arts were intertwined with those of China. Even the historical references to Korean martial arts are all in Chinese. The author concludes that traditional Korean martial arts are but a vague memory, with taekyon being the sole survivor. In the next chapter, Robert Young skillfully presents what is known about taekyon. With over 150 years of verifiable history, taekyon is the most thoroughly documented of Korean martial arts. Its skills and techniques greatly differ from those of other modern Korean styles. It is the only plausible candidate for the descendant of ancient subak. This well-researched chapter includes theory and techniques and lineage chart. Dr. Willy Pieter expands upon the historical development of Korean martial sports as presented by Young. There is an emphasis on the hwarang (“flower boy”) and their presence in Korean culture and martial traditions in particular. The etymology of Korean martial systems are questioned. The final chapter by Yung Ouyang offers a fuller picture of what taekyon represents as a moving art. Traditionally, taekyon was a game as well as a martial art, so many did not credit taekyon for its combative elements. It has largely been ignored by those interested in the fighting arts. It is gaining recognition as a legitimate heir to the traditional Korean martial arts, but is also undergoing influences from Japanese traditions and Western sports. Taekyon deserves to be recognized for its uniqueness among the martial arts of Asia. This anthology will serve as solid reference for all interested in the Korean combative traditions, and especially taekyon for its aesthetic appeal as a form of dance and graceful yet powerful combative method.
A needle may draw a thread through printed pages to bind a book. In this little memoir, I feel like a needle that drew a common thread though a segment of martial art history. This book details three interrelated activities: (1) martial art studies, (2) involvement as founder of Via Media Publishing, producing a quarterly journal and books, and (3) teaching martial arts. Publishers, writers, researchers and serious martial art practitioners will benefit with the detailed overview of Via Media and its publications. Via Media produced the Journal of Asian Martial Arts, known for its high academic and aesthetic standards. Its contents reflect the history of two decades and provides rich information for practitioners and scholars, making The Best Fighta valuable reference work. In addition to reading, the primary way to learn a martial art is through instruction. In reading about my studies and teaching experience, readers can relate to their own involvement in martial arts. What is important here is the portrayal of my instructors, their teaching methods, and reasons for being involved in martial arts. Their accounts should offer insights and inspiration for others who study and practice any martial art.
The famed samurai sword (nihonto) represents the pinnacle of bladed weaponry in the Japanese warrior’s arsenal. This book addresses the sword’s intrinsic historic, monetary, military, and artistic values. The seven chapters for this particular anthology were selected from materials published in the Journal of Asian Martial Arts. Tharp’s chapter details aspects of the nihonto that make it unique in the world as a valued objet d’art, protected by law codes specifically written to preserve these cultural relics even when made by contemporary master smiths. DiCristofano writes on sword sketchings, which allow the human eye to view details of the sword blade often unnoticed because of the subtlety inherent in the work. Hoshino’s chapter presents a overview of various blade types. His focus on blades leads to the next chapter by Richard Babin on how to make a scabbard. “Test cutting” provides proof of the practicalily of the sword and swordsman’s technique. Peter Ward utilized an ancient diagram of main targets for body cuts and modern technology to actually view the inner structures of the blade’s path along these targets. Peritz’s chapter presents the Ainu, an indigenous group in Japan. They incorporated blades made by Japanese smiths according to their own taste. Goedkoop’s chapter deals with another medium, as the master craftsman creates wooden replicas of Japanese swords. As you read other books and articles about Japanese swords, or practice kendo or iaido, or see highly polished blades in a museum, the chapters here will enhance your knowledge and appreciation of nihonto and their intrinsic value.
This fictional work presents some of the daily occurrences of a career policeman, from rookie cop to the position of chief. His personal story illuminates aspects of law enforcement that will resonate in readers who value peace at home and on the streets. Warning: many of the stories are humorous. We begin in late summer, 1968. Braden Vicentin, a long-haired seventeen-year old from the east coast, heads to Arizona to start college and quickly realizes he has touched down in a foreign land. The history, food, language, and customs all play a part in causing the culture shock he experiences. He endeavors, adapting to the new social environment and to the expectations placed on him in academia. Over time, Braden falls in love with Tessie, a local girl who’s hispanic upbringing only adds to her charm. Their bonds grow stronger. Upon graduation, Braden is faced with many questions, most important is whether to remain in Arizona or to pursue work elsewhere. His heart decides. He remains in Arizona to be close to Tessie and finds work in the city’s police department. Just how Braden gets hired is a story in itself. Then comes years on night shift, walking the beat, patrolling in a squad car, and answering the “siren song”—the alluring call for help that is also potentially harmful or dangerous for any law enforcement officer. Yes, there are accounts of cops, robbers, drunks, and bikers. There are also accounts of compassion for the public, comradery among fellow officers, and love of family. READER’S COMMENT “I enjoyed reading Crossfire Southwest immensely. It brought back memories of experiences over my past thirty-three years in Law Enforcement. DeMarco’s writing captures some great behind-the-scene adventures that don’t typically get publicized. Terrific short stories that are a very easy read.” — Daniel Spizarny, Chief, Erie Police Department, Erie, PA
Most of what are referred to as Korean martial art styles are actually derived from Japanese/Okinawan karate systems or find their roots in Chinese boxing. The Korean peninsula has existed as a fragile territory between China and Japan and thus shared many cultural elements from their neighbors. To what degree has the Japanese and Chinese arts influenced those practiced in Korea over the centuries? Can we distinguish any original Korean martial art style? Chapters in this anthology are derived from the Journal of Asian Martial Arts specifically in response to such questions as asked above. The authors provide great detail on the military/martial manuals that recorded both battlefield arts and personal combative arts and use these sources to give a picture of the martial traditions practiced in Korea for hundreds of years. In chapter one, Stanley Henning provides an excellent overview of martial arts in Korea since the earliest dynasties. These include bare-hand arts as well as those with weaponry. His overview illuminates the time and place of highly influential military manuals as discussed in the chapter by Manuel Adrogué. John Della Pia’s two chapters focus on a particular manual—the Muye Dobo Tongji (1790)—providing details of open-hand and weapons training, in particular with the unique Korean “native sword.” Two chapters provide the theory and practice of qigong methods for health and martial effectiveness. Dr. Patrick Massey et al. offer results on the use of breathing methods affecting lung capacity. Sean Bradley’s chapter goes deeply into the medical theories that parallel the practice of Sinmoo Hapkido’s qigong methods. The final two chapters focus on practical fighting applications from Hapkido. Marc Tedeschi’s chapter provides sound advice for self-defense against multiple opponents. In addition to detailing principles that give any defender a helpful advantage, Tedeschi shows nineteen examples of techniques against two, three, and four opponents that include pressure point striking, throws, arm bars, locks, and a variety of kicks. In the closing chapter, Sean Bradley discusses a few of his favorite techniques, where he learned them, and why they are memorable. Rich in historical details and practical advice, this anthology will prove to be a prized reference work to all interested in the Korean martial traditions.
The chapters in this anthology present an encompassing perspective of how some Chinese martial art styles—and most significantly taijiquan—developed and evolved along with deep rooted traditions of spirituality and the quest for health and longevity. Much in this volume deals with Daoist theories and practices, particularly its influences ranging from human energetics (qigong) and other physical exercises (daoyin), to practical combative arts.
Combative forms of movement meet all the criteria required to be called “arts”. Additionally, items associated with martial art theory and practice can be shown in a variety media and appreciated as objets d’art in their own right. This anthology presents the aesthetic side of the martial arts as they are found in numerous examples of material culture and items of fine art. An often neglected but incredibly rich area for seeing martial themes represented in art are museum collections. Five of the fourteen chapters in this book deal with museum collections. In many museums you can find interesting items that reflect aspects derived from a martial tradition. Weaponry is the most obvious category. You may also discover items in other categories that are directly related, such as painted scrolls and training equipment. Other fascinating items can be hidden in plain sight. It seems martial themes can be found in any museum category, including collections of statuary, ceramics, prints, paintings, jewelry, and calligraphy. For example, there are paintings of famous generals and battles, fearsome statues of temple guardian warriors, and philosophical insights in brush writings. While contemplating a particular collection from the interest of martial traditions, one museum curator said she had never previously thought of the collection from this perspective. — It’s enlightening. Objects that exhibit martial themes are made by artists and craftspeople. Only some of these items go into museums. Others are found in personal collections, stores, research institutes, art galleries, universities, practice halls, and elsewhere. Aid in recognizing martial themes in objects is one objective of this book, regardless of where these objects may be found. Who are the real martial art heros? What symbols were created to represent the warriors’ bravery and ethical codes? This anthology—comprised of fourteen chapters conveniently gathered here for your ease of reading—assists anyone interested in discovering the artistic representations of martial traditions. In doing so, we hope that readers who appreciate the contents of this book will be inspired to discover and appreciate the artifacts associated with the martial side of the world’s cultural heritage.
Many know of the legends concerning the Shaolin Temple as the font of Asian martial arts. However, this was not the only temple with deep associations with combatives. This anthology dives deep into the historic significance of the relationship between temples, monks, and martial arts. As a transporter of culture, it seems logical that the Indian monk Bodhidharma brought more than just Buddhist texts to the Shaolin Temple. India has a wonderful tradition of martial and healing arts that he would have shared at the temple. His rich story throws light on how and why monks throughout Asia have often blended martial arts with their spiritual lives. Asian countries have unique histories and societies, but also share important elements. A major thread is religion and the mixing with ancient native shamanism and mysticism. We find a blend of Buddhism, Daoism, Confucianism, Hinduism, and Islam in Asian cultures, which are strongly based in monastic centers. The spread of religious thought is coupled with the spread of knowledge about martial arts. It is part of human nature to find sources to enforce the spiritual, mental, and physical condition. Temples and martial arts are certainly valued for these reasons. In the first chapter, Michael Spiesbach details the story of Bodhi-dharma. His piece couples nicely with Stanley Henning’s observations from a visit to the Shaolin Temple. Dr. Charles Holcombe details the historic connections Daoism has with martial arts, while Mark Hawthorne discusses the recent state of Daoism and its prospects for the future. Jerry Shine’s chapter on the sohei shows the influence these warrior monks had in Japanese history. Ken Jeremiah’s chapter looks at the extreme asceticism Japanese monks and warriors practiced to reach their individual goals. Mark Wiley’s chapter deals with mystical elements as sources of power in Indonesian martial arts. In the final chapter, Mark Kelland brings the religious and martial traditions into our present everyday lives.
What would you like to obtain from your research and practice of an Okinawan martial art? For an academic, it would be to obtain historical and cultural facts and details. For a practitioner, it would be to gain expertise in the combative skills. If you’re interested in both, this first of a three-volume anthology is assembled for your convenience to facilitate your endeavors. These volumes assemble a wealth of material originally published during the two decades when the Journal of Asian Martial Arts was in print. Hundreds of pages and photographs present the richness of Okinawan martial traditions, from the original combatives to those influenced by Chinese and mainland Japanese martial art styles. The variety of topics shown in the table of contents indicate the depth and breath in the chapters, along with the authors who are well-known for their meticulous research and practical skills in specific arts. These three volumes dive deep into the history and culture of Okinawan martial arts. You’ll find coverage of the actual artifacts—the material culture related to weaponry and training methods. Instructions from the masters details both open-hand techniques as well as with weapons. The chapters offer insights into “the lives of many masters over the past few centuries, giving the raison d’être for these unique fighting arts—their reason for being. Many streams of arts have contributed to the martial traditions found on the small island: Naha-te, Shuri-te, Fukien White Crane, Shorin, Goju, Motobu, Shotokan, Isshin, Kyokushin, Pwang Gai Noon, Shito, Uechi, and the list continues … Along with the various styles come the associated training methods, such as conditioning exercises with weights and creatively designed apparatus, such as the punching post (makiwara), or stone lever and stone padlockshaped weights. Some become battle-hardened by active and passive breaking of objects (tameshiwari), including wooden boards, baseball bats, rocks, and ice. The extensive use of weaponry is found in many Okinawan styles, often associated with their farming and fishing occupations. Such a blend of history and culture make the Okinawan fighting traditions a fascinating field of study. Besides being such vital sources of information, these three volumes will prove enjoyable reading and permanent at-hand reference sources in your library.
What would you like to obtain from your research and practice of an Okinawan martial art? For an academic, it would be to obtain historical and cultural facts and details. For a practitioner, it would be to gain expertise in the combative skills. If you’re interested in both, this first of a three-volume anthology is assembled for your convenience to facilitate your endeavors. These volumes assemble a wealth of material originally published during the two decades when the Journal of Asian Martial Arts was in print. Hundreds of pages and photographs present the richness of Okinawan martial traditions, from the original combatives to those influenced by Chinese and mainland Japanese martial art styles. The variety of topics shown in the table of contents indicate the depth and breath in the chapters, along with the authors who are well-known for their meticulous research and practical skills in specific arts. These three volumes dive deep into the history and culture of Okinawan martial arts. You’ll find coverage of the actual artifacts—the material culture related to weaponry and training methods. Instructions from the masters details both open-hand techniques as well as with weapons. The chapters offer insights into “the lives of many masters over the past few centuries, giving the raison d’être for these unique fighting arts—their reason for being. Many streams of arts have contributed to the martial traditions found on the small island: Naha-te, Shuri-te, Fukien White Crane, Shorin, Goju, Motobu, Shotokan, Isshin, Kyokushin, Pwang Gai Noon, Shito, Uechi, and the list continues … Along with the various styles come the associated training methods, such as conditioning exercises with weights and creatively designed apparatus, such as the punching post (makiwara), or stone lever and stone padlockshaped weights. Some become battle-hardened by active and passive breaking of objects (tameshiwari), including wooden boards, baseball bats, rocks, and ice. The extensive use of weaponry is found in many Okinawan styles, often associated with their farming and fishing occupations. Such a blend of history and culture make the Okinawan fighting traditions a fascinating field of study. Besides being such vital sources of information, these three volumes will prove enjoyable reading and permanent at-hand reference sources in your library.
Criminals, police, military forces, and civilians practice martial arts which often utilize weapons. One major difference is weather or not the weapons are handled according to legal guidelines. This special anthology includes insightful writings that focus on aspects of martial arts as they are practiced and used by different people on both sides of the law. Certainly most practicing a martial art are doing so primarily for their health or as a sport. Perhaps they have an interest in self-defense, but often their practice methods are not realistic enough to be truely effective. For this reason, Friman and Polland’s first chapter deals with the concern for realistic methods for training martial artists, particularly those involved in law enforcement. In the following chapter on “The Art of Regulation,” Dr. Friman argues that the martial arts are more likely to face government regulation when authorities perceive them as posing challenges to the state’s monopoly over the means to create and maintain order. In the quest for maintaining order, Alex Levitas shows in the next chapter that martial arts weapons are widely used by police forces in many countries. Applications are illustrated by photographs credited to noted law enforcement pioneers in this area, including Terrence Winston, Robert Fabrey, Roy Bedard, and Robert Koga. Two chapters by Noah Nunberg examine the practical legal aspects of using martial arts techniques while training in the martial arts studio or in defending oneself on the street. Assault and battery are examined in depth as to potential criminal and civil liabilities that may arise. Specific cases and hypothetical situations are referred to for reference and insight. Dr. Román and Dr. García write about the scope and legal framework of penitentiary self-defense. This kind of self-defense is defined by the unique characteristics of a confinement context and a very specific regulation aimed at preserving the integrity of prisoners and penitentiary staff, as well as prison facilities. A technical section is also included. In the system known as Comprehensive Penitentiary Defense, Dr. Román presents techniques which professionals in this field must master and know how to apply when they face any hazardous situation. These techniques go from peaceful conflict resolution, assertiveness, or body language to joint control, immobilization, or pressures. In the face of regulating martial art practice and weapons useage, the final chapter by Peter Hobart inspects the right to bear arms. Existing criminal laws and recent weapons bans have made it increasingly problematic for legitimate martial artists to own, use, and transport the tools of their trade. This survey of existing state and national weapons laws is intended to help make martial arts practitioners aware of these legal issues. All who read this book—whether involved in professions of law enforcement, military branches, or as a martial arts instructor or practitioner—will find each chapter of vital importance. We hope you will enjoy this anthology as it provides excellent coverage of aspects of the martial arts that are rarely discussed but have profound practicality.
In retrospect, all martial arts are mixed, but MMA has taken on a mystique of its own in the newest wave of combative experimentation. This book presents an encompassing perspective of this phenomenon in eight chapters written by experts in the field. In their individual chapters they provide analyses of the techniques utilized during many of the leading competitive events, mainly the Ultimate Fighting Championships (UFC), and give practical “how to” instruction. This book pulls together some of the best writings published in the Journal of Asian Martial Arts regarding modern mixed martial arts. Daniele Bolelli uses a scholarly approach to produce two excellent chapters, as does Rhadi Ferguson with his two chapters. Bolelli provides a superb overview by analyzing 176 matches that took place between 1993 and 1999 under the UFC umbrella. He also highlights the different ways in which grappling techniques are currently used in mixed martial arts competition. While utilizing a comprehensive approach, Dr. Ferguson zeros in on armbar and chokehold submissions to conclude just how often these were utilized in 1,263 UFC bouts. His works here can assist mixed martial arts professionals with analytical information to help them in training practices and winning strategies. What do the analyses show? Well, one thing is that all the techniques used are found in many old martial traditions. Some techniques are extremely old. Certainly cavemen used chokes. Many are from the previous millennium, as hinted by the numerous Japanese terms used since the samurai sipped sake. Fundamental techniques are discussed by Andew Zerling and Steve Scott. Four other chapters provide insightful text and the photographic detail to present the theory and practice of the major techniques utilized by mixed martial artists: chokes, armlocks, and leg locks. Zerling offers three chapters with the precious help of his teacher, Renzo Gracie. Scott’s chapter is a highly detailed piece on the cross-body armlock, giving four primary applications all will appreciate as vital to MMA practice. The eight chapters are filled with analytical text helpful for the pursuit of combat expertise. There is enough here to find of great value. But there is more. In the chapters you’ll also find perspective and insight that illuminate what is occurring in the evolution of MMA competition. Read closely and you’ll see that—beneath the hype—changing competitive rules and dollar amounts play a role in the outcome of championship belts and competitive crowns. We need to factor these aspects into our quest to understand the rich variety of martial traditions.
There has been a lack of reliable academic studies regarding Filipino martial arts (FMA) that have uniquely developed in the Philippine archipelago. This anthology assembles pioneering scholarly materials valuable for any interested in the Filipino combatives, as well as chapters specifically on the practice. Mark Wiley stands out as a leading scholar/practitioner of the Filipino arts. This book contains three chapters by him. In the first, he conducted linguistic and historical research to present the developmental background of the ancient Filipino kali and European fencing systems, thus illuminating the evolution of classical eskrima. In chapter two, Wiley attempts to classify Filipino martial arts and explore the ethos of Filipino martial culture by deriving information directly from the contemporary grandmasters who have maintained an oral transmission of information concerning the evolution and development of their respective martial systems. Part of Wiley’s research also led him to seek out special repositories of artifacts. Museums collections rarely include much on Southeast Asian weapons. University of Pennsylvania Museum of Archaeology and Anthropology has nearly 1,000 martial artifacts in storerooms from the Philippines, including swords, knives, spears, shields, helmets, and armor discussed in Wiley’s third chapter. On a practical side, Steven Dowd presents the art of Carlita Lañada who studied martial arts as passed down within his own family in the Philippines. He calls his rendition Kuntaw Lima-Lima, an art whose techniques are reminiscent of Okinawan karate styles, with hints of Chinese gongfu. Presented are the underlying principles, and a sayawan (form) with applications. Majia Soderholm’s chapter is about Visayan Corto Kadena Eskrima and some of its concepts and training methods with regard to free-sparring with swords. It is a Filipino martial system encompassing empty-hand and non-bladed and bladed weapons. Peter Hobart presents a wonderful tribute to Remy Presas, the founder of Modern Arnis. This retrospective is comprised of the stories and memories of many of those who knew him. Topics include Presas’ theory and practice of arnis, such as importance of flow, and memories of his last seminar. The chapter by Ruel Macaraeg dives into the topic of piracy in the Philippines. His study reconstructs the pirates’ martial practices through comparative historical analysis of their weapons, costume, and organization in order to draw conclusions about their relationship to martial cultures in the Philippines and across the region. In the final chapter, Ken Smith discusses a few of his favorite techniques from Modern Arnis. His insights—as well as the information found in the previous chapters—contribute to the academic understanding of Filipino martial traditions as well as the actual practice of kali, escrima, and arnis. We hope you’ll enjoy the reading.
Taekwondo is unlike any other martial art and it deserves some special attention because of its importance as a sport with a unique history and influence. This anthology, as part of our projects to provide stellar articles from the Journal of Asian Martial Arts, provides high quality materials about taekwondo you will not find elsewhere. Topics include fascets of taekwondo history, practice, competition, health, education, character, techniques, and sport/athletics. You’ll find the notes, bibliographies, illustrations, and index are also valuable. We have been very fortunate to include the writings of Dr. Willy Pieter, a pioneer in the scientific study of taekwondo. Other articles in this book provide details of taekwondo history, such as the detailed work by Dakin Burdick. The earlier version as published in the journal caused quite a stir among Korean martial art afficionados, particularly in the clear exposition that taekwondo’s roots are found in Japanese/Okinawan traditions. Some chapters focus on specific techniques, especially the pieces by Udo Moenig, Louis Bercades and Willy Pieter. The interview by José Suporta with Juan Moreno is very insightful as it includes a discussion of the differences of taekwondo practices for the martial artist and sport athlete. In her chapter, Marzena Czarneca uncovers the social relationships that often develop between students and teachers. The emotional and psychological bonds formed during classes are often difficult to notice and define, but she does so with a unique research methodology. Van Reenam’s chapter gives a refreshing portrait of childhood development through taekwondo practice. His conclusions will benefit those who teach, as well as the youngsters and parents involved in taekwondo. Authoritative works dealing with taekwondo are published occasionally. This book is a milestone in taekwondo literature. Hopefully you will enjoy reading each page of this important anthology. Besides being a convenient collection of special readings on taekwondo, we also hope the chapters will inspire future research and writing in this field.
T’ai Chi and qigong are popular because of their great reputations as exercises with numerous health-related benefits. Can these benefits simply be results of placebo effects? Chapters in this e-book not only provide an interesting historical backdrop in which taiji and qigong developed, but also provide scientific support for the efficacy and effects of both modalities. Breslow’s chapter focuses on Daoist practices associated with their quest for immortality and longevity. Rhoads, Crider, and Hayduk looks at taiji and qigong with the tools of modern science. DeMarco compares Yang-style taiji practice of with guidelines provided by the National Institue of Health. Kachur, Carleton, and Asmundson provide an excellent chapter that gives insight into aspects of taiji practice that improve balance. The final chapter by Kenneth Cohen offers a history of the taiji ruler as a tool conducive to vitalizing the qi. Included are aspects of design, lineage, and some illustrated exercises, plus details on qi circulation. For anyone who questions the validity of taiji and qigong as exercise modalities, the collected writings in this book will provide information not available elsewhere. In addition to finding the historical and scientific foundation of these practices, the contents in this book will help improve taiji and qigong practice, bringing the many benefits as claimed for these gems of Chinese culture.
Many Indo-Malay martial arts are kept private, taught in secluded areas away from the public. These are arts of the older tradition, developed when combative knowledge was valued for its use in protecting the sanctity of life. This two-volume anthology brings together a great collection of writings by authors who dive into the deepest realms of Indo-Malay combatives. They offer readers a rare viewing of martial traditions that is usually hidden behind social shrouds of secrecy and a clannish quest to preserve individual tradition. A special presentation in this second volume are the writings of Dr. Kirstin Pauka forming three chapters on silat (silk) of West Sumatra. The lead chapter discusses silk history, styles, training methods, and its use in dance. In chapter 2, Dr. Pauka shows that the martial arts constitute the core of the movement repertoire of the Randai folk theatre. Her third piece reports on an extended silk artist-in-residence program in the Asian Theatre program at the University of Hawai'i. The next three chapters contains some academic coverage of kuntao-silat in the Indo-Malay traditions, garnished with technical sections illustrating the martial aspects of the arts. Mark Wiley details Silat Seni Gayong’s ethical foundation for self-defense and nine techniqes illustrating the art with the help of Master Shiekh Shamsuddin. My own chapter offers a glimpse of how cultural streams from India and China contributed over centuries to native Indonesian fighting arts to form hybrid systems. Examples were derived from personal observations of practitioners in the Willem Reeders lineage. The research shows the original intent and practices of any highly efficient combative art. Chris Parker’s insightful chapter discusses applications of specific movements, the rhythm that can be achieved when employing them, and the space they fill as being of crucial importance for defense. Pencak silat postures form the focus of this study. All who are serious about the history and practice of Indo-Malay fighting arts will enjoy this special anthology, volumes one and two. We are very fortunate to assemble the works of these highly qualified authors. We hope reading will provide information you seek. Although the availability of studying under a true silat mater is nearly impossible, the chapters here will certainly add direction and inspiration for practitioners.
The origins of Asian martial arts in the United States reach back to the Pacific Rim and immigration. This anthology is dedicated to the profoundly significant period—roughly from mid-eighteenth century to the mid-nineteenth century—in which gifted Japanese taught their brand of jujutsu/judo to small groups that gradually disseminated knowledge of combatives into the American mainstream. In the the first chapter, Geoffrey Wingard provides insightful coverage of the “manly arts” in America as they swept the land along with moving populations. Of course early historical influences came from European groups and their varities of combatives, such as wrestling, boxing, and fencing. Wingard demonstrates that the martial arts are integral to American society and are not ad hoc additions to contemporary popular culture. This background is a prerequisite for understanding the reception of Asian martial arts into American culture. Matt Hlinak analyzes Japanese-American immigration into the American West through the prism of athletics, specifically by examining a series of contests between judoka and wrestlers from 1900 to 1920 in California. These matches appealed to an interest in Japanese culture, a desire to see stereotypes reinforced, and nationalist tendencies during an age of uncertainty. The next two chapters by Joseph Svinth detail the establishment and functioning of two important dojos in the Seattle, Washington, area. In 1923 farmers donated a barn and arranged for Ryoichi Iwakiri (third dan) to teach judo to community youths. Another dojo opened in 1928 under the tutalage of Kurosaka Hiroshi (third dan judo). A colorful history marks these dojos and their practitioners: exhibitions, intraclub tournaments, and war-time influences on practice. Their members helped spread judo throughout the United States. James Webb’s chapter focuses on one of the early prime movers for the growth and establishment of judo in America: Vincent Tamura. He was chosen to represent the United States at the First World Championship of Judo (Tokyo, 1956). He is a descendent of the Taira clan, influential during the end of the Heian period (784–1184) in Japan, and his practice has roots in ancient Heike-ryu jujutsu. Putting academic detail aside, James Behrendt offers a personal account of his early years as a judoka devoted to hard training and competition. He writes “I was extremely fit and strong and I used those natural gifts to eventually defeat the purpose of the judo art. I had discipline but was lacking in spirituality and character.” Polishing judo skills helped build his character in the fashion that Kodokan judo founder Kano Jigaro intended. In these chapters you will find the early hotbeds of jujutsu/judo in America and see how these arts tumbled with European-American “manly arts,” making their own way across the country to form and strengthen judo centers in various states. The authors have utilized their scholarly and practical experience to present a rare view of judo as it traversed the Pacific to enrich American culture. Their writings should clarify the early history of judo in America and bring both practitioners and armchair scholars a deeper appreciation for the art.
Russia is rich in martial traditions deriving from a highly diverse population. Sambo—developed by the Soviet Red Army—became the most recognize martial art associated with Russia mainly because of its presence in international competitions. Another style to become recognized for its great practicality and encompassing training regimen is Systema. Originally created for Russian Special Operations Units, Systema’s teaching gradually spread world-wide after the fall of the Soviet Union in 1991. This anthology contains writings about Systema and Sambo that present essential information for anyone interested in the history, theory, and practice of these combative systems. In the first chapter, Kevin Secours shows that ground fighting and grappling are necessary components of a complete tactical arsenal. Specific emphasis is on the role of defending the takedown in a modern survival scenario. In chapter two he summarizes the prevailing theories and findings pertaining to the science of fear as it relates to surviving violence. How these findings have been interpreted by modern combative systems in the West are compared with approaches to the traditional Russian martial arts and their application in the Russian Special Forces. The next three chapters focus on Sambo. Jacques and Anderson detail the historical development of Sambo. Vasili Sergevich Oshchepkov, a student of Jigoro Kano, and Victor Spiridonov worked to develop this combative system. However, despite the judo-jujutsu influence, Sambo was born of native Russian and other regional grappling and combat wrestling styles bolstered with many useful and adaptable concepts and techniques from the rest of the world. This chapter presents details of the early development up to recent times. The fourth chapter by Polyakov, Yankauskas, and DeRose focuses on some of the fundamental techniques that are legal for Sambo competition. The purpose of this study was to examine and compare the most successfully used submission techniques of three of the greatest figures in the history of sambo competition: Michael Burdikov, Alex Feodorov, and David Rudman. Sambo has become well-known largely due to the success of Sambo fighters in various mixed martial art venues. Stephen Koepfer’s final chapter offers a description of its development as well as a delineation of one of Sambo’s hallmark strategies: offensive rolling. Examples of proper forward rolling and three related offensive techniques are presented. May readers of this anthology come to appreciate the great depth of Russian martial traditions and the unique developments that emerged in the arts of Systema and Sambo.
How can we fully understand aikido, or any other martial art for that matter, when we have only been exposed to part of it? While learning about the art, we can easily make assumptions and be tricked by false impressions. In most cases, even instructors do not have enough background to grasp the entirety of the art and are happy to work with part of it. The content in this special two-volume anthology details the many facets of aikido as it was formulated by Morihei Ueshiba (1883–1969)—O-Sensei, the great teacher. Each chapter contributes to a piece of the aikido puzzle by providing historical details, insightful technical drills (bare handed and with weapons), and components that have flavored this art with a spiritual essence. From the Ueshiba wellspring flows a number of streams—political splinter groups offering their own take on what aikido should be and how it should be practiced. Each branch may stand on its own, but a good number of scholars and practitioners prefer a more encompassing representation of what O-Sensei taught. So, chapters in these volumes help “put Humpty Dumpty back together again.” Volume I includes ten chapters and volume II another fourteen. The authors—twenty-three in all—present superb credentials as scholars and practitioners of aikido. On the academic side, you’ll find chapters that detail aikido’s philosophy, from ethical relationships and practical theory to the subtle spiritual dimension. A few authors highlight the circumstances regarding the transmission of aikido from teacher to student. Some authors show how culture influences the perception and understanding of aikido when it travels outside Japan. Aikido is often practiced as a system of body movement encompassing a philosophy of peace and harmony. Others may focus on learning the art for its effective methods of self-defense. Composed of material previously published in the Journal of Asian Martial Arts, this two-volume anthology is heavy on the technical aspects of aikido that both teachers and students would benefit by reading. Training methods are discussed in detail, supported by hundreds of illustrations of attack and defense. Whatever your primary interest is in aikido, Aikido: O-Sensei’s Sublime Synthesis will prove to be a great reference for the scholar and practitioner. We hope this convenient collection of quality material dealing with Morihei Ueshiba’s martial discipline will benefit your research and inspire the practice of this elegant art.
We all know the meaning of the word kata. Even to nonpractitioners it is a familiar karate practice. Plus, the word has long been incorporated into the English language. For this reason I choose to write the plural as “katas,” and not follow the Japanese tradition where “kata” can be both singular or plural. By doing this I’ve ruffled feathers already, since many hold such a sacred bond with the time and place where karate took shape. Trouble with one word? Now how about the whole Okinawan martial tradition as passed on through katas? A kata is much like a family jewel that has passed down through generations. It holds a significance that is difficult to decipher, and many dispute the meaning of every micromovement it contains. Who created it? What are the applications? Is kata practice outdated? Is there more than we can see and understand? You bet. It is precisely because of the confusion and misunderstandings regarding the place of kata in the karate tradition that we are thrilled to present a two-volume e-book on this subject. If katas are learning tools that pass down knowledge of a valued art, then the authors included in this anthology can certainly facilitate the learning process for all interested in karate. Each author has excellent experience in the field, having studied directly under masters, often on the largest island in the Ryukyu island chain. In addition to their long years of physical participation in the school of hard knocks, their depth of scholarly research into the encompassing culture allows their writings to illuminate many aspects of kata practice that normally go unnoticed. In our quest to better understand the full significance of kata practice, we must take a serious look at why old masters formulated the routines. How can kata practice better our health and promise to hone our self-defense skills? Each chapter in this anthology deals with the principles that guide kata practice. Hopefully the reading will reveal some of the secrets to improving techniques. As with other martial traditions, some insights cannot be shared through written word. Like good teachers, may the chapters here inspire you to look deeper into kata practice.
Most learn about martial arts through movies and print publications, primarily fictional. "Fiction is drama, the blood of drama is conflict, and martial arts are rooted in conflict," writes James Grady in chapter one. Good fiction uses martial arts well, while poor writing skills can be plain boring! This anthology is a collection of fifteen articles that cover the richness and depth of Asian martial arts in both movies and literature. After look over the array of topics, I decided to utilize writings by James Grady for the two introductory chapters. Grady is an internationally renowned writer and investigative journalist known for his nail-biting thriller novels. His early novel was adapted to film as Three days of the Condor (1975) starring Robert Redford. Grady has since written over a dozen wonderful novels and in between wrote two excellent pieces for the Journal of Asian Martial Arts: one dealing with movies and another with literature. The following chapters are greatly enriched by the informative contents in Grady’s chapters. Details about movie-making are provided in the interview with producer Andre Morgan (Enter the Dragon, Walter Texas Ranger, Martial Law, etc.), plus the inside scoop in the publishing and film industries in the interview with multifaceted Curtis Wong. Actor/producer/kickboxing champion Don Wilson provides insights from both sides of the camera in his interview. Among the chapters are Albert Dalia’s exposition of China’s “wandering martial hero” stories that have roots reaching back two thousand years; Christopher Bates’ excerpt from Xiang Kairan’s Tales of Chivalrous and Altruistic Heroes; and Olivia Mok’s research and translations of sections of Fox Volant of the Snowy Mountain, a Louis Cha’s novel of 1959. In the latter, Mok extricates references to dianxue—the methods of attacking vital points. We also have fiction focusing on Japanese and Chinese martial traditions by John Donohue, Peter Graebner, John DeRose, and John Gilbey’s (aka, Robert W. Smith)—each highlighting combative experience, theory and technique with cultural trimmings. Interviews with Barry Eisler and Author Rosenfeld give insight into scholar/practitioners whose published novels contain text colored by their knowledge of the martial arts and culture. We hope you’ll find this book captivating, exciting, heroic, spellbinding, content rich, fascinating, penetrating . . .
This anthology is filled with content specifically selected for readers who have a strong interest in women’s participation in the Asian martial traditions. In addition to combative theory and practice, topics include aspects of theatrical performance, music, dance, gender studies, and insights for embodying philosophical elements into daily life. The twelve chapters that were written by noted authorities will certainly educate and inspire. These focus on the martial traditions of Japan, China, India, Korea, Indonesia, and the Philippines. All of the historical and cultural details add much to the scholarly perspectives on these Asian arts. At the same time they add to the appreciation of how and why martial elements are infused in artistic performances, such as theater, music, and dance. Throughout can be seen the unifying thread of the womans’ role which will increase our appreciation of the feminine presence in Asian martial traditions.
Many Indo-Malay martial arts are kept private, taught in secluded areas away from the public. These are arts of the older tradition, developed when combative knowledge was valued for its use in protecting the sanctity of life. This two-volume anthology brings together a great collection of writings by authors who dove into the deepest realms of Indo-Malay combatives. They offer readers a rare viewing of martial traditions that is usually hidden behind social shrouds of secrecy and a clannish quest to preserve their own martial arts. For the lead chapter in Volume 1, Dr. Philip Davies masterfully details the complex social milieu in the Indo-Malay martial tradition, focusing on the Chinese arts referred to by the ambiguous term of kuntao. His writing underlines the importance of martial arts to specific social groups, and what and how these groups practice these combative forms. As an initiate into the art of Bimi Kakti, James Wilson's chapter illustrates how beliefs and practices intertwine, especially with the animistic roots of Indonesia. The influence makes Javanese silat unique in practice as well as social standing. A main ingredient in Southeast Asian silat styles is kebatinan: "the science of the inner." Mark Wiley's chapter discusses how the blend of ancient animistic beliefs and mystical religions have given a psychological charge to silt's methods as a source of mystic power. Dr. Kirstin Pauka’s chapter reports on a rare celebration—the Pauleh Tinggi ceremony. This three-day long event occurs only when the social needs arise and may not occur again for decades. Silat performances by individuals, pairs, and groups are the primary features and go on throughout each day and night. Descriptions of the mental and physical sides of the silat performances offer readers a view of a martial tradition in which combative skills flow from an inner mystical guidance that flows through the movements. The psychic state is embodied both the art as well as social relationships. All who are serious about the history and practice of Indo-Malay fighting arts will enjoy this special anthology, volumes one and two. We are very fortunate to assemble the works of these highly qualified authors. We hope reading will provide information you seek. Although the availability of studying under a true silat mater is nearly impossible, the chapters here will certainly add direction and inspiration for practitioners.
This particular anthology on wing chun features only two authors: Dr. Joyotpaul Chaudhuri and Master Jeff Webb. Their academic and practical experience bring a rich text for anyone interested in this unique art, famed for its specialized training methods, combative efficiency, and noted associations with Yip Man, Bruce Lee, and the kung fu film industry. Wing chun is a southern Chinese system, so usually terms are written to reflect Cantonese, often using different romanization systems or mixtures of these systems. On top of this hodgepodge, politics among leading wing chun figures have brought preferences for specific spellings to reflect their unique branches in the wing chun evolutionary tree. Because of this, I have not standardized the romanization in this anthology, as it does not greatly effect the reading. In chapter one, Dr. Chaudhuri analyzes the keys to motion in the second empty-hand form of wing chun: the bridge seeking routine. The focus is on the proper maintenance of the body’s central axis and its motions, which helps with developing the foundations for delivering power. In the following chapter, Jeff Webb discusses the structure and body mechanics of punching techniques, plus various training methods employed for developing power. Also, punching strategy is shown as the greatest factor in differentiating these punches from those of other styles. Chaudhuri then analyzes the structure and function of the primary stance in wing chun’s first form (sil lim tao), which instills the relational structure of bone, ligament, joint, tendon, muscle, line and angle, while also teaching the inner virtues of softness, stillness, sinking and emptiness. Two following chapters are by Jeff Webb. The ability to apply martial art techniques at a high rate of speed is essential to overall fighting effectiveness. By looking beyond the physical to the conceptual, he details wing chun’s theories that reveal proper timing to be a significant multiplier. His final piece describes both the fundamental and complex methods of “sticking hands” training in detail. It also explains the rationale and theories behind this method as well as discusses a variety of factors that can either improve or retard the acquisition of tactile reflexes. The final two chapters by Chuadhuri and Webb presents some of their favorite techniques. The content of these chapters explain wing chun rationale and unique fighting methods, plus provides logic and advice to benefit the practitioner.
When we think of martial arts in “old China,” we get visions of violent convulsions of dynastic change, devastating rebellions, civil wars, and banditry. Throughout the centuries there was a need for masters who possessed highly effective martial skills for positions in the military, protection services, and law enforcement. Out of this historical reality emerged a national treasure we call taijiquan. Chen-style taijiquan formulated during the days of military strategist Qi Jiguang (1528–1587), and its founder is considered to be militia battalion commander Chen Wangting (1600–1680). The art evolved. Its mystique remains fundamentally a true fighting art, including bare-handed forms and applications, plus an arsenal of weapons that includes the spear, straight sword, broadsword, and halberd. Then there are the associated training methods used to master this complete system, such as qigong, push-hands, and standing post. All of these practices are infused with knowledge associated with the physical and mental aspects of the human condition. Chen style encompasses a complete martial system. It has a deserved reputation for its combative efficiency, but also as a health-nurturing modality. The vastness of the Chen-style curriculum is way beyond the scope of most people to fully learn, so practitioners focus on what they can handle. Usually a solo routine is sufficient. Since all taiji styles stem from the original Chen family system, the Chens certainly share in the credit for taiji’s popularity in general, especially as an exercise purely for health benefits. Regardless of taiji style—be it Chen, Yang, Wu, Sun, Hao, or other—any serious taiji practitioner or scholar should have some understanding of the Chen family roots to get a vision of the whole tree. This two-volume anthology brings much of the rich heritage conveniently together for your reading. In this first volume, prepare yourself to sit at the feet of the main representatives of the Chen Village, including Chen Xiaowang, Chen Xiaoxing, and Wang Xi’an. Read rare text from Chen Xin, a member of the literati who expounded on the inner workings of Chen taiji by utilizing Daoist and traditional medical knowledge. In addition to the detailed history and penetrating philosophy you’ll find here, perhaps of greater importance are the clear explanations outlining each step in the learning process toward mastering Chen-style taiji. Only a very high-level teacher can understand what methods of instruction work best. Students don’t know; that’s why they should follow a teacher’s instructions as closely as possible. Chapters included here clarify what proper training entails and why much time and effort (gongfu) are necessary to gain results. As echoed among practitioners in taiji’s birthplace: “If you drink water from Chen Village, your feet know how to kick.” This two-volume edition brings you to the village for traditional instruction.
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