From: Randy Pals <pals@ipact.com>
Newsgroups: rec.martial-arts,rec.answers,news.answers,rec.martial-arts.moderated
Subject: rec.martial-arts FAQ part 1 of 4 (LONG)
Reply-To: pals@ipact.com
Followup-To: rec.martial-arts
Organization: IPACT, Valparaiso IN

Archive-name: martial-arts/faq/part1
Last-modified: 23 February 2000

Posting-Frequency: twice per month


                  rec.martial-arts FAQ - Part 1 of 4
                  ==================================

This FAQ is based on previous versions of the FAQ maintained by Izar
Tarandach and Alex Jackl.  The current maintainers of this FAQ are
Randy Pals (pals@ipact.com), parts 1-3 and Lauren Radner
(lauren.radner@tivoli.com), part 4.

The rec.martial-arts FAQ and Newbie Guide are available on
rtfm.mit.edu in the directory
pub/usenet-by-hierarchy/rec/martial-arts, with the filenames
rec.martial-arts_FAQ_part_1_of_4, rec.martial-arts_FAQ_part_2_of_4,
rec.martial-arts_FAQ_part_3_of_4,rec.martial-arts_FAQ_part_4_of_4,
and rec.martial-arts_Newbie_Guide.

There is an HTML version of the FAQ available at
http://www.pitt.edu/~mcwst18/m-a/r.m-a.FAQ_files/rmafaq1.html (and
rmafaq2.html, etc.).  Thanks to Matthew Weigel for this.

A note to all who try to use URL and e-mail addresses from this FAQ:
These links are provided by the contributors.  I frequently get
e-mails complaining that this or that link is no longer valid.  The
quick answer is: I'm not surprised, but there is little I can do
about it.  Continuously testing the links in the FAQ, and then
tracking down replacements for the "rotten" ones would be a
full-time job.  Contributors - please keep your links up to date by
informing me of changes!

A note on Chinese romanizations: there are several different ways of
representing Chinese words in the english alphabet.  The FAQ uses the
"pinyin" romanization (except in mailing lists and web pages which
were left as written by the person that submitted them).  Below are
listed some of the common arts in pinyin and other forms for those
wanting to cross reference:

  Pinyin         Other

  Gongfu         Kung Fu
  Taijiquan      Tai Chi Chuan, T'ai Chi Ch'uan
  Baguazhang     Pa Kua Chang
  Xingyiquan     Hsing Yi Chuan, Hsing Yi Ch'uan
  Qinna          Chin Na
  Shuaijiao      Shuai-Chiao
  Sanshou        San Shou, San-Shou

Revision Notes 23-Feb-2000: Sections 14.3 and 14.6, both concerning
Aikido, were updated.  A few more web page links were added to 14.8,
along with some updates.  The section on Capoeira, 16.4, was updated.

==================================================================

                Topics Contained in this FAQ
                ================ == ==== ===

Part 1 of 4

     1) Introduction.

     2) What is a Martial Art?

     3) What kind of Martial Arts are there?  (the descriptions of
        various arts are in section 16, which is in parts 2 and 3.)

     4) Which Martial Art should I study?

     5) How do I choose a School?

     6) (a) This guy says that his style will make a Full Certified
            Warrior & Killer out of me in 3 months- is it serious?

        (b) What do I do to become the deadliest person in the world ?

     7) Should children study Martial Arts?

     8) I believe/don't believe in X.  Should I train Y?

     9) Rankings/Color Belt Systems

    10) What is Greenoch?

    11) What is Ki/Qi/Chi?

    12) Martial Arts Glossary

    13) Bibliography

    14) Sources of information

        14.1)  Martial arts schools in North America
        14.2)  FAQ ftp site
        14.3)  Aikido Dojo Directory
        14.4)  Classical Japanese Martial Arts Electronic Magazine
        14.5)  Traditional Karate Mailing List
        14.6)  Aikido Mailing List and FTP Site
        14.7)  Tuite/Acupuncture Discussion Group
        14.8)  The Martial Arts Digest
        14.9)  Jujutsu and Kokikai Aikido Mailing Lists
        14.10) Japanese Sword Arts Mailing List and FTP site
        14.11) Chinese Shao-lin Center Mail List
        14.12) Martial Arts and Sword/TV and Film Mailing List
        14.13) Tai-Chi Mailing List
        14.14) Neijia (Internal Chinese Martial Arts) Mailing List
        14.15) Kyudo (Japanese Archery) Mailing List
        14.16) Korean Martial Arts Mailing List
        14.17) Eskrima/Kali/Arnis Mailing List
        14.18) Miscellaneous Martial Arts WWW pages
        14.19) Kung Fu Mailing List
        14.20) Taekwondo Net Forum Mailing List
        14.21) Kempo Mailing List

    15) Sources of equipment and material.

Part 2 of 4

    16) What are the different Arts, Schools, Styles?

16.1)  Aikido          16.2) Baguazhang          16.3) Bushidokan
16.4)  Capoeira        16.5) Cha Yon Ryu         16.6) Cuong Nhu
16.7)  Daito Ryu Aiki-Jujustu 16.8) Hapkido      16.9) Hwa Rang Do
16.10) Iaido           16.11) Judo               16.12) Jujutsu
16.13) Kajukenbo       16.14) Kali/Escrima/Arnis 16.15) Karate
16.16) Kendo           16.17) Kenjutsu           16.18) Kenpo (Amer.)
16.19) Kempo (Kosho Ryu) 16.20) Kempo (Ryukyu)   16.21) Kobudo
16.22) Krav Maga       16.23) Kyudo

Part 3 of 4:

16.24) Lua             16.25) Moo Do          16.26) Muay Thai
16.27) Ninjutsu        16.28) Praying Mantis  16.29) ROSS
16.30) SAMBO           16.31) Sanshou         16.32) Savate
16.33) Shogerijutsu    16.34) Shuaijiao       16.35) Silat
16.36) Tae Kwon Do     16.37) Taijiquan       16.38) Wing Chun
16.39) Wushu/Gongfu    16.40) Xingyiquan      16.41) Yoseikan Budo

Part 4 of 4 - "Groaner" FAQ

====================================================================

1) Introduction

This FAQ is not intended to be a Martial Arts Bible, but to give some
help to those that are looking for a place to start, or those more
experienced that would like to know more about some different style,
have a particular doubt, etc.

Please note that this is not the Absolute Truth(TM) but rather an
attempt to give clear and basic information about this group and the
martial arts. Your suggestions, opinions, and additions are welcome;
send e-mail to pals@ipact.com.

Here are the items in the original rec.ma "charter" as they appeared
in the request for discussion before the group was formed:

 1) A new group proposal for the discussion of all aspects of the
    martial arts, both by martial arts practitioners and the general
    public interested in knowing more about the martial arts
    community.

 2) Increasing public awareness of the commitment of martial artists
    to public service, for example the D.A.R.E. program, its use in
    rehabilitation of prisoners, recovering substance abuse users,
    rape prevention, and increased quality of life for the
    handicapped.

 3) Personal experiences, anecdotes, myths, and folklore pertaining to
    the martial arts and information on the existance or location of a
    specific item, style, form, system.

 4) Postings of events, competitions, demonstrations, and seminars.

 5) ANY/ALL bigotry, grudge challenges must be E-mailed!

Rank does not mean authority in rec.m-a, for rank without wisdom means
nothing.  There may be wisdom in the words of a child, and even a 5th
dan can be a fool.

Please do not post binaries (pictures, etc.) in the group.  A better
way is to post the binaries in a binaries group, and post a message in
rec.m-a calling attention to the binaries post.

One more thing.  Please don't post the question "What is the best
martial art [for self-defense]?" (or similar) in rec.martial-arts.
That question has become a chronic irritant in this group, and there
is no simple answer to it; some would say it has no answer at all.
There are reasonable procedures for how one should go about choosing
an art/school here in the FAQ, and in another rec.martial-arts
periodic post, the Newbie Guide.  Read them first, then consult the
group if you have more specific questions.

=====================================================================

2) What is a Martial Art?

A Martial Art can be defined as a system of techniques, physical and
mental exercises developed as an effective means for self-defense and
offense, both unarmed and with the use of weapons.

The origin and history of Martial Arts is a controversial issue.  We
can see signs of Martial Arts in Greek, Egyptian, African, Japanese,
Chinese, Thai, as well as other cultures.  There is a clear trail
leading from the Southern China-regions up to Korea, Okinawa and
Japan.  The details before that, and the exact details of that
transfer, are greatly debated by historians and Martial Artists.

=====================================================================

3) What kind of Martial Arts are there?

There are many ways in which martial arts can be divided.  Here are a
few of them that might be useful to use in defining Martial Arts and
discussing them.  These are not necessarily consensus definitions but
they are commonly held.

It is also useful to remember that very few of these martial arts are
just one way or another...they are all mixtures of these elements in
various degrees.  When we say a style is "hard" what we mean is that
the predominant expression of that style is hard.  If we say Shotokan
is linear, it does not mean Shotokan has no circular techniques.

"Sport" vs "Fighting Art" vs. "Exercise" vs. "Philosophy"

These are usually NON-useful comparisons because people tend to be
very strongly opinionated on this matter.  Most people want to think
their art is an ancient "fighting art" and can be applied thus on the
street.  Some styles truly are all four, and to some degree all styles
contain all four elements.

In discussions of a style it is most useful when people highlight
which area or areas their style emphasizes.

"Linear" vs. "Circular"

This distinction refers to lines of movement, attack and defense.
"Circular" styles use circular movements to block, attack, or move.
Around and aside... "Linear" styles use direct, straight-on movements,
attacks, or head-on blocks.   In and out...

Styles can, and sometimes do, mix circular blocks with linear attacks.
This is a subtle distinction and not absolute, but it gives some
information.

"Soft" vs. Hard"

"Soft" styles tend to redirect energy, channeling and diverting
momentum to unbalance an opponent, or to move them into striking
range.  They tend to be lower commitment and use less force.  Thus,
they are less likely to be unbalanced and can recover from redirection
easier.   Examples are Taiji, Aikido, Ninjutsu, or many Gongfu
styles and sub-styles.

"Hard" styles tend to direct energy outward and meet energy with
energy. They will tend to strike more, and deliver more force with
each strike. Hard stylists will often damage with their blocks,
turning them into attacks. They deliver more power, and thus are
harder to turn aside, but they are higher commitment, and thus don't
recover as well from mistakes. Examples are Karate, Tae-Kwon-Do, Muay
Thai, and some Gongfu styles and sub-styles.

"Internal" vs. "External"

"Internal" styles are styles that emphasize the more non-tangible
elements of the arts.  They utilize chi/ki/qi flow, rooting, and those
elements which some people consider "mystical".   They tend to
emphasize meditation, body control, perception, mind control (self,
not others!), and pressure points.  `Typically' internal styles are
soft.  Taiji is an internal style.

"External" styles tend to emphasize body mechanics, leverage, and
applied force.  They tend to use weight, strength, positioning, and
anatomy to optimal advantage.  `Typically' external styles are hard.
Tae-Kwon-Do is an external style.

"Complete Art" or not

The term "complete art" is sometimes applied to arts that include
strikes, kicks, throws, pressure points, and joint locks.  The arts
most often mentioned in this regard are some Gongfu styles, Jujutsu,
and Hapkido.  Although some arts contain more techniques than others,
no art is "complete" in the sense that it includes all the important
techniques from other arts.  In general, every art has its strong and
weak points, and each has something to offer to the lexicon of martial
arts techniques.

=====================================================================

4) Which Martial Art should I study?

That's a question that only you can answer, maybe with a little help
of your physician (in determining whether you should practice martial
arts at all).

While some people advocate that "my style fits any individual", it is
very debatable if any single individual would adapt to *any* style.

It depends heavily on your objectives, but remember, these may change
with time.  Many people who begin martial arts training strictly to
learn self-defense become quite interested in other aspects as their
training progresses.

(a) What are you looking for?

For instance, if you are looking for "on the street" self-defense
training Taiji or Kendo might not be your first choice.
Some choices: Jujutsu, Hapkido, some Gongfus, Karate, Ken(m)po,
              Baguazhang, Tang Soo Do, Muay Thai, Tae Kwon Do,
              Ninjutsu, Kali/Escrima/Arnis, Silat, or Xingyiquan.

If you are looking for meditation and philosophy Western Boxing is
probably a poor choice as well.
Some choices: most Gongfus, Aikido, Taiji, Kendo, Kenjutsu,
              or Iaido.

If you are looking for a sport and competition, Shaolin Long Fist
would probably be a bad choice.
Some choices: Fencing, some Karates/Gongfus, Judo, Boxing, Kendo,
              Tae Kwon Do, Savate, or Shuaijiao.

If you are looking for intense body conditioning and muscle
development, Aikido is probably not the style for you.
Some choices: some Okinawan Karates, Judo, some Gongfus, Muay Thai,
              Tae Kwon Do, Capoeira.

Now these are general guides - in truth any art can be taught in a
manner which promotes any of these things - Taiji masters have
competed, some Aikido schools have rigorous workouts associated with
the class, etc. The way to find out is to look at three things, only
one of which is directly linked to the style.

-The basics of the style (what does it teach, what is it used for)
-The skill and the teaching style of the teacher
-The purpose and the logistics of the school.

See Section (5) "How do I choose a school" for the answers to the last
two questions.

Also remember that more "complete" arts (ones with more techniques)
naturally require longer periods of time for a practitioner to achieve
a given level of proficiency.  This is neither good nor bad; there are
good points on both sides of the debate.  This is simply another facet
to account for in your decision.

(b) Advice of many experienced Martial Artists here on NetLand
    coincide in the point of "go, read, look around, ask---then
    decide".

As above the teacher and the school have as much to do with what you
will learn as the style.  Check out the styles in your area. Go see
some classes of the different styles and see what interests you and
what you think you would stick with.

(c) Many people change from one style to another.  While this is a
common practice, accepted as a means of development, it is known that
the first style is normally the one that leaves the base, the more
profound "marks". Try to choose a style that suits your needs and at
the same time offers you a kind of "challenge" to go on learning.

=====================================================================

5) How do I choose a School?

This question is integrally linked with Question 4 "Which Martial Art
should I study?".

A couple of things that are important parts to look at in the process
of choosing a school:

        -The environment where you'll learn and train
        -The peoplem that will be your partners
        -The instructor
        -The logistics of the school

(a)     The environment where you will learn and train

Don't get impressed by the size of the place - just be sure that you
feel "ok" in there.

Also don't necessarily be impressed by huge number of trophies.  They
may indicate a very successful competitive school (if that is an
aspect you are interested in) or they could be all show.  Check
carefully.

If you are not allowed to watch any classes, you may not want to
invest your time and money.  Without seeing a class you will not be
able to get a good feel for the school.

Ask questions - don't worry about looking stupid or asking the "wrong"
question.  They are going to be teaching and training you- you want
to get any concerns or considerations you have out before you commit
to anything.

If you feel bullied or threatened in any manner, look somewhere else.

(b)     The people that will be your partners

Go, watch some classes (without participating), then ask to
participate- see if the behavior of the students changes by the fact
that there is a new person in their class.

What follows is a quick and dirty check list, to which you can add
your own points, based on what you consider important.  Remember:
these questions and suggestions are just guidelines, not hard and fast
rules. There will always be exceptions.  But if you look in these
domains you will have a solid ground to choose from.

        - How good are the students?

This is more of a measure of the quality of the students as students
than their skill at martial arts.  See if you can picture yourself
with these people.  Are they attentive, respectful, interested in
being there? Those are all good signs...

        - Is there a mix of upper and lower ranks?

This is not always obvious in the styles without belt rankings, etc.
It is generally a good sign if advanced, intermediate and beginning
students are practicing together.  Check the approach the higher
ranked students take to you- their help will probably be very
important in your advancement in the Art you choose.

Some schools have classes separated by rank though.  Ask.

        -Is there a mix in the type of people in the class?

Although this doesn't necessarily mean anything if it is not present,
it is a good sign if there is a mixture of males and females, older
and younger people in the class.   It is a pointer to the efficiency
of the Art if it can teach a wide variety of people together.

        - Do they move the way you would like to?

This will give you some sense of what you can achieve.  Look to the
senior students and see if they move the way you want to move.

        - Do they help one another?

In a small class this may not apply, but in larger classes it is a
good sign if the senior students support and assist the junior
students. This kind of personal attention will aid you greatly in your
training.

        - Do the senior students seem fit and relaxed?

This will give you a sense of the atmosphere of the school.  If the
senior students are uptight, nervous, unfit, out of shape, or unhappy,
it may be a sign to move on.  However, do not be put off by a single
occurrence, i.e. because on THAT day the senior student was in a poor
mood.  It should at least prompt you to look carefully though...

        - How common are injuries?

As most martial arts involve vigorous physical activity and contact,
injuries will occasionally occur.  However, if injuries are common
and/or serious, there is likely a problem in how training is
supervised, and you will probably want to look elsewhere.  It will be
difficult to tell what the frequency/severity of injuries in the class
is in one or two visits. Ask the instructor.

(c)     The Instructor

-You'll need some basic trust in the individual, as a beginning.

The instructor is the person who is going to be guiding your
development as a martial artist.   You need to feel comfortable with
him or her, and feel secure in receiving instruction from them. If you
have some unease or personality conflict with the instructor(s) you
might want to look elsewhere.

        - Do the students get personalized attention?

This will be a good judge of how valuable your time will be.  If there
is a good amount of instructor to student attention there will be more
value for you.

        - Does the instructor differentiate between forms and
          function?

Another good indication is to find out if the instructor(s)
differentiates between form and function.  In other words do they do
it "because it looks good" or "because it works."  This may not apply
if you are looking for a martial art as a performance art or as an
exercise (though then you want to look at the efficacy of their
exercises...)

        - Does the instructor(s) differentiate between tournament and
          self-defense?

As above, your reaction to this question's answer will depend on what
your goals are.  However, there is general agreement that tournament
training and self-defense training, while highly related, are
different. If the instructor does not differentiate the two - that may
be a danger sign!

        - Violence in the class

If you see an instructor hitting students, or a senior student hitting
students, be very clear that it was appropriate before you consider
that school.  Though be aware - if you are unfamiliar with the art,
medium or full contact sparring may seem overly violent to you.
Violence as discipline is to be avoided.

        - Are adjustments made for students of differing body types
          and limitations?

Another good sign is if the instructor adjusts the training of his or
her student's physical realities:  telling a slow person to work
contact, a fast person to work ranges, a heavy person to work
leverage, a light person to work speed, or, conversely, concentrating
on their weak areas to compensate.

(d)     The logistics of the School

        -Money

This is an important element to be clear about.  You don't want to
commit to a school if you can't afford it.  It is impossible to
address what a reasonable price would be here, because the benefits
offered, the local economy, the quality of instruction, and the amount
of instructor time are all variables in the equation.

Find out if there are extra charges for going up in rank, find out if
there are organizational dues, tournament fees, mat fees, etc.

But do not be upset when a Martial Arts instructor charges money- they
need to eat and have a place to stay.  In our culture money is the way
that happens.  We do not feed and house wise old men.  Now, some
instructors, especially around colleges, or who have big garages;-)
teach for free after their primary job.  However, the costs of a
school, equipment, and insurance are frighteningly high.  The best way
to determine if a school is being reasonable is to compare what they
offer for the price compared to what other local schools offer for
their prices.

        -Location

If you are intending to spend a lot of time at the school you want it
to be accessible, and convenient enough for you to get their after
work, on weekends, etc.

        -Classes

Another thing you want to be clear on is when you can go to the school
and when classes are.  Some schools are open almost all the time and
have lots of classes.  In some schools you can only come when an
official class is being held. An open school is usually better for
obvious reasons- convenience, practice time, access to mats, etc.

        -Commitments and Promises

This is an important thing to know about any school you will be
joining. Be very clear on what they will expect of you and what you
expect of them. Some teachers want to teach only people who are
willing to commit to them and their style, some are willing to
introduce you to their style and let you dabble, some will teach you
as long as you show up. None of these are intrinsically better or
worse, but you want to know where they are coming from so you and they
are not surprised.

Find out if you are required to attend classes, find out about being
late, find out what the policy is on school rules of behavior and
etiquette. Find out how you are supposed to interact with the teacher
and other students.  There are many styles for all these things so
make sure you find out.  The easiest way is to ask these questions.

There may be other questions you want to look at and specific
questions you have about an instructor, school, organization, or style
you are looking at. Know the questions you want answered and you will
find the perfect school for you!

====================================================================

6)

(a)     This guy says that his style will make a Full Certified
        Warrior & Killer out of me in 3 months---is it serious?

     In short: NO.

First off, while many people enter the Way of the Martial Arts trying
to be the deadliest people in the world, it is not true that the final
objective of most, if any, Arts is this.  Many Masters say that the
best battle someone can win is one that he doesn't fight.  Most
martial arts are not designed to make you an instant killer.

Secondly, don't expect any miracle to come down on you, any light to
come through your window in the night and make you the most skilled
fighter- it all depends on your dedication, on your objectives, and on
the amount of training you get.  Any school that promises to teach you
to be an "expert" in less than two years (at the lowest minimum) is
probably a scam.  General net consensus seems to be that results can
be seen within a few months but the elusive "MASTERY" is the product
of YEARS and YEARS of dedicated work. Don't be fooled by false
promises.

(b)     What do I do to become the deadliest person in the world ?

In brief: You can't.  While a Martial Artist does learn combat skills,
the final objective of a Martial Art is not to become the deadliest
person alive.

The Martial Arts recognize there will always be someone who is bigger,
stronger, faster, has a bigger knife, a more powerful gun, a longer
range missile, and so on.  The objective, then, is to become the best
that you can be, regardless of how good anyone else is.

=====================================================================

7) Should children study Martial Arts?

In general, yes.  Some of the possible positives would be control of
agressiveness, instilling self-respect and self-control, as well as
self-defense.

The style that a child should take is a totally different question,
and is directly influenced by the style, if any, of the parents.  It
will of course be convenient if the child can practice with, or at
least in the same school as, the parents.  The major issue with
children in the martial arts is the integrity and trustworthiness of
the teacher and the school.

The joints and connective tissues of children are more vulnerable to
injury than those of adults.  Keep this in mind when selecting a style
and school for a child, and discuss it with the instructor.  Schools
which allow agressive joint locks to be applied to children or don't
train them to refrain from snapping/hyper-extending elbows on strikes
and knees on kicks should be avoided.  (It is for this same reason
that good baseball coaches will not allow young pitchers to throw
pitches which require hard snapping of the arm - like curve balls).
Throws, however, are quite different; the small size of children makes
them naturals for arts which require falling down.

=====================================================================

8) I believe/don't believe in X.  Should I train in Y?

Some martial arts have philosophical and/or religious roots or
associations, e.g. with Buddhism, Taoism, or Omotokyo.  Thus, it is
natural for people who are considering a particular art to wonder if
it is compatible with their own philosophy or religion.

Normally it is not considered ethical for a Sensei/Sifu/Master/Teacher
to try to *impose* his own views on his students.  However, the
philosophical aspects of some arts may still be present in the
required training to the extent that some potential students would be
offended by it.  As with so many other aspects of martial arts, it
depends on the art and even more heavily on the instructor.  So, be
sure to watch for this aspect when you visit a school that you are
interested in.  Have a conversation with the instructor about it, and
watch how he/she interacts with his/her students.

=====================================================================

9) Rankings/Color Belt Systems

Many arts have a ranking system.  A typical ranking from beginner to
most experienced master is: 10th kyu, 9th kyu, ..., 2nd kyu, 1st kyu,
1st dan, 2nd dan, ..., 10th dan.  "kyu" and "dan" are Japanese words;
Korean systems use the word "gup" instead of "kyu".  1st dan and above
frequently wear black belts.

That being said, do not put too much stock in rankings, and put even
less in belt color.  Belt colors are HIGHLY dependent on the art,
school, and instructor.  Some arts don't have any belts.  Some have
only white and black.  Some have white, brown, and black.  Some have a
rainbow.  Some instructors hand out rank/belts like candy, others are
very stingy.  A given color will frequently signify different ranks in
different arts.

Rather than rank or belt color, what will determine an individual's
skill are how long and how intensely they have studied, the quality of
instruction they have received, and (to a lesser extent) their
"natural" ability.

A brief history of kyu/dan ranking systems and belts, contributed by
Steve Gombosi (sog@rainbow.rmii.com), is given below:

Before Jigoro Kano invented Judo, there was no kyu/dan ranking system.
Kano invented it when he awarded "shodan" to two of his senior
students (Saito and Tomita) in 1883. Even then, there was no external
differentiation between yudansha (dan ranks) and mudansha (those who
hadn't yet attained dan ranking). Kano apparently began the custom of
having his yudansha wear black obis in 1886. These obis weren't the
belts karateka and judoka wear today - Kano hadn't invented the judogi
(uniform) yet, and his students were still practicing in kimono. They
were the wide obi still worn with formal kimono. In 1907, Kano
introduced the modern gi and its modern obi, but he still only used
white and black.

Karateka in Okinawa didn't use any sort of special uniform at all in
the old days. The kyu/dan ranking system, and the modern karategi
(modified judogi) were first adopted by Funakoshi in an effort to
encourage karate's acceptance by the Japanese. He awarded the first
"shodan" ranks given in karate to Tokuda, Otsuka, Akiba, Shimizu,
Hirose, Gima, and Kasuya on April 10, 1924. The adoption of the
kyu/dan system and the adoption of a standard uniform based on the
judogi were 2 of the 4 conditions which the Dai-Nippon Butokukai
required before recognizing karate as a "real" martial art. If you
look at ph otographs of Okinawan karateka training in the early part of
this century, you'll see that they were training in their everyday
clothes, or (!) in their underwear.

Most other arts that have ranking/belt color systems adopted them from
the Japanese.

====================================================================

10) What is Greenoch?

The truth is: Greenoch doesn't exist.  It first appeared in a post by
someone satirizing the "my School is better than your School", "my
Sensei/Sifu/Master is better than yours" syndrome that sometimes comes
up in this group.

=====================================================================

11) What is Ki/Qi/Chi?

There are no absolute right answers to this question.  Instead of
giving the one true answer to this, below are several different
opinions.

(a) Ki doesn't exist.  Everything the ki model tries to explain can be
    explained with body mechanics, biophysics, and psychology. There
    is no need to postulate some mysterious force.  Science can
    explain it.

(b) Ki exists absolutely.  Ki is an energy, a living force, a spirit
    that can be used to increase your strength, throw people around,
    etc.  Subjective experience shows that ki is real.  It may either
    be a bio-kinetic phenomena science doesn't understand yet or the
    power of the mind in union with the body.

(c) Ki may or may not "really" exist.  It is a useful model.  The
    ki model allows you to visualize how to increase your strength,
    throw people around, etc.--it doesn't matter if it exists or not.
    If someone invents a better model (i.e. one that is easier to
    visualize), then maybe we'll switch to it.

Of the styles that stress ki, some work on developing the flow of ki
within their bodies.  An example of this approach is Taijiquan.
Other styles work on letting the ki of the universe flow through them.

====================================================================

12) Martial Arts Glossary

English:

        sparring   -- training with another person using actual blows

Japanese:
        atemi           -- a punch
        do              -- way
        dojo            -- training hall
        gi              -- uniform worn when training
        kata            -- prearranged series of movements
        ki              -- energy, living power, spirit
        kumite          -- sparring
        jutsu           -- art
        randori         -- multiple-person attacks
        sensei          -- teacher

        Ichi (ee-chee)          -- one
        Ni (nee)                -- two
        San (sahn)              -- three
        Shi (shee)              -- four
        Go (go)                 -- five
        Roku (row-koo)          -- six
        Shichi (shee-chee)      -- seven
        Hachi (hah-chee)        -- eight
        Kyu (cue)               -- nine
        Ju (joo)                -- ten

Korean:
        dobak           -- uniform worn when training
        dojang          -- training hall
        poomse          -- prearranged series of movements
        qi              -- energy, living power, spirit (same as chi)
        sohgi           -- stance
        chagi           -- kick
        chirugi         -- punch
        makki           -- block
        kyuroogi        -- free sparring
        gup             -- grade
        kihap           -- yell
        sah-bum-nim     -- master

        Hah Nah         -- one
        Dool            -- two
        Set             -- three  (don't aspirate
        Net             -- four    the "t"s)
        Dah Suyht       -- five
        Yuh Suyht       -- six
        Il Gop          -- seven
        Yah Duhl        -- eight
        Ah Hope         -- nine
        Yuhl            -- ten

Chinese:
        qi              -- energy, living power, spirit (same as ch'i)
        shifu           -- teacher (also "sifu")

     Mandarin  Cantonese

        yi      yut     -- one
        er      yee     -- two
        san     som     -- three
        si      say     -- four
        wu      ng      -- five
        liu     look    -- six
        qi      chut    -- seven
        ba      bot     -- eight
        jiu     gau     -- nine
        shi     sup     -- ten

====================================================================

13) A small bibliography:

        _The Original Martial Arts Encyclopedia: Tradition, History,
         Pioneers_.  Corcorn/Farkas.  Pro-Action Publishing.
         ISBN Number:  0-9615126-3-6

        _Go Rin No Sho---The Book of the Five Rings_.
         Miyamoto Musashi

        _The Essence of Ninjutsu_.  Dr. Masaaki Hatsumi

        _Budo Jiten_, 2nd Edition.  F. J. Lovret
         (72727.257@CompuServe.com).  Taseki Publishing.

        _Comprehensive Asian Fighting Arts_.  Draeger & Smith
         Publisher: Kodansha International ISBN Number: 0-87011-436-0
         ISBN Number in Japan: 4-7700-0913-5

        _The Art Of War_.  Sun Tzu

        _Zen in the Art of Archery_.  Eugen Herrigel

        _The Bible of Karate:  Bubishi_, translated with commentary
         by Patrick McCarthy.

        _Okinawan Karate_.   Mark Bishop

        _Karate-Do, My Way of Life_.  Gichin Funakoshi

        _Karate-Do Nyumon_.  Gichin Funakoshi

        _Karate-Do Kyohan_.  Gichin Funakoshi

        _The Student's Handbook_.  Frederick Lovret

        _The Filipino Martial Arts_.  Dan Inosanto

        _Absorb What is Useful_.  Dan Inosanto

        _Budo_. Morihei Ueshiba

        _Zen in the Martial Arts_.  Joe Hyams

        _The Martial Artist's Book of Five Rings_, Translation by Hanshi
         Steve Kaufman, Charles E. Tuttle Company, Inc., 1994.

     In general, books from the Kodansha Editors carry a reputation
     of being serious and at the same time direct and objective.

Publishers:

            Pro-Action Publishing
            A Division of Pro-Action Sports, Inc.
            1717 N. Glendale Bl.
            Los Angeles, CA 90026

            Kodansha America, Inc.
            114 Fifth Ave.
            New York, NY 10011
            212-727-6460
            Tel. Orders: 800-631-8571 [Visa, American Express,
            Mastercard only]

            Taseki Publishing Co.
            3579 Ruffin Road #205
            San Diego, CA  92123
            619-278-1348

=====================================================================

14) Sources of information

14.1) Martial arts schools in North America

      (This section has been removed and is awaiting new information).

14.2) FAQ ftp site

The rec.martial-arts FAQ and Newbie Guide are available on
rtfm.mit.edu in the directory
pub/usenet-by-hierarchy/rec/martial-arts, with the filenames
rec.martial-arts_FAQ_part_1_of_3, rec.martial-arts_FAQ_part_2_of_3,
rec.martial-arts_FAQ_part_3_of_3, and rec.martial-arts_Newbie_Guide.

14.3) Aikido Dojo Directory

The Aikido Dojo Directory Listings is FTP'able in ASCII format from:

	ftp://ftp-cse.ucsd.edu/pub/aikido
	ftp://132.239.51.20/pub/aikido

There is also an online Aikido Dojo Search Engine at:

	http://www.aikisearch.com

... which will allow you to interactively search through the above ASCII
lists.

14.4) Classical Japanese Martial Arts Electronic Magazine

_Budo Shinbun_ is an entirely electronic magazine devoted to the
classical Japanese martial arts.  It runs under Windows 3.1 and
higher, and is complete with pictures.  It is entirely automatic, and
requires only that the subscriber tell it to "get new" and it will
obtain the latest articles (mail too) for reading off-line.  It is NOT
a BBS.  Available from Taseki Publishing (address & phone number
above).

14.5) Traditional Karate Mailing List

Another discussion forum, this time a bit more specialized, is the
Traditional Karate Mailing List, maintained by Howard S. High, of
which we include some of the Charter:

Charter for the Traditional Japanese/Okinawan Karate Group List Name:
KARATE

PURPOSE:

The purpose of this group is to provide a forum for individuals who
practice one or more of the traditional Japanese/Okinawan Karate
styles to share information and discuss issues.  This is the first
"CYBER-Dojo" as a training supplement to Karate.  The list is
un-moderated, with restricted membership.

MEMBERS:

Application for membership is open to any individual who practices
traditional Japanese/Okinawan Karate (teachers and students). An
exception to this rule will be for those individuals who follow the
traditional values but does not belong to a traditional school due to
reasons beyond the individual's control.  Another exception is for
individuals who have not yet selected a martial art to follow.  This
list can help such individuals choose their path.

APPLICATION PROCESS:

A prospective member will send a subscription command to the LISTSERV
Host:  LISTPROC@RAVEN.CC.UKANS.EDU

command:  subscribe karate <firstname_lastname>

The Host will forward an automatic reply which includes the
questionaire and the Principles of Conduct.  After completing the
application, the prospective member will forward the application to:

cyberdojo@jkr.com

use Subject: Membership Request

The questionaire will be reviewed by the listowner.  After review, the
list owner will either request more information from the applicant,
send a Welcome Letter to the new member, or advise the applicant why
the membership was not approved.

To find out more information about the Karate CyberDojo, link to the
following pages:

The Official Karate CyberDojo Web Page: http://www.ryu.com/CyberDojo

The Karate CyberDojo Journal: http://www.jkr.com/cyberdojo/journal

14.6) Aikido-L Mailing List

For those of you interested in an open Internet e-mail discussion list on
the Japanese martial art of Aikido, there exists the Aikido-L mailing
list.

The purpose of this group is open, public discussion of Aikido. Sharing,
understanding and and mutual respect are encouraged.  Flaming and
arguments (such as 'my style is better than your style') are discouraged.

To join the list, send an e-mail to:

	listserv@lists.psu.edu

... with the message:

	subscribe Aikido-L Firstname Lastname

... in the body of the message.

To participate in the list once subscribed, simply send e-mail to
Aikido-L@lists.psu.edu.

The above instructions as well as options, FAQs, and information on
the Aikido-L Seminars are all available on the Aikido-L website:

        http://www.aikido-l.org


14.7) Tuite/Acupuncture Discussion Group

PURPOSE:

The purpose of this group is to provide a forum in which the theories
of traditional Chinese medicine can discussed mainly in relation to
the martial arts.

The list is un-moderated, with restricted membership.

How to apply for membership:

All memberships are approved by the group administrator.  Membership
is open to any open-minded martial artist, acupuncturist, alternative
healer, or anyone _actively_ interested in any of the above.

APPLICATION PROCESS:

A prospective member will send a subscription command to:

mjdavis@compassnet.com

In the body of the message will only be one line of the form -

subscribe <e-mail address>

The subject of the subscription request mail should be SUBSCRIBE to
provide quicker response.  For example, if Joe Blow at
jb@somewhere.com wishes to subscribe, he would send:

subscribe jb@somewhere.com

The list owner will receive the subscription request forward an
application to you.  Further instructions will be provided with this
application. Subscription will NOT be granted without having completed
the application process.

Serious applicants only!  Participation is the key to our group.  If
your intention is to sign up, receive lots of in-depth knowledge from
others, and contribute nothing, do not apply.  If everyone contributes
- the whole will be greater than the sum of the parts!

POSSIBLE TOPICS FOR DISCUSSION:

- Traditional Chinese Medicine - 5 Element Theory - Yin/Yang Theory -
Kata or Forms bunkai as it relates to TCM - Book/Video reviews -
Pressure point locations - Pressure point Knock Outs - Revival
techniques

14.8) The Martial Arts Digest

To subscribe to Martial-Arts-Digest, send the command: subscribe
martial-arts-digest

in the body of a message to "Majordomo@majordomo.cso.uiuc.edu".  If
you want to subscribe something other than the account the mail is
coming from, such as a local redistribution list, then append that
address to the "subscribe" command; for example, to subscribe
"local-martial-arts":

subscribe martial-arts-digest local-martial-arts@your.domain.net

(NOTE:  As of 5/97 this list seems not to be active.  If you have
information on where it has moved, please contact the FAQ maintainer.)

14.9) Jujutsu and Kokikai Aikido Mailing Lists

To join one of the following lists, send an interactive message (if
you are on bitnet) or email (if you are on Internet) to either:

LISTSERV@PSUVM  (bitnet) LISTSERV@PSUVM.PSU.EDU  (Internet) with the
message:

SUBSCRIBE Listname 'your full name'

Lists:

JUJUTSU   Jujutsu List KOKIKAI   Kokikai Aikido List (The AIKIDO-L
list is discussed separately in section 14.6)

14.10) Japanese Sword Arts Mailing List and FTP site

iaido-l Japanese Sword Arts Mailing List

To join the Iaido list, send email to 'listserv@uoguelph.ca' with the
command:

subscribe iaido-l <your name>

The iaido-l FTP site is at foxsun.nscl.msu.edu, where people can log
in anonymously and find all sorts of information in pub/iaido,
including the Japanese Sword Arts FAQ and dojo lists for North America
and Europe.


14.11) Chinese Shao-lin Center Electronic Mail List  (CSC-List)

PURPOSE: To provide information, class and training schedules for
instructors and students (both active and non active) of Grand Master
Sin Kwang The' 's Shao-lin System.

SUBSCRIBING: send a message to majordomo@shao-lin.com with the words
"subscribe shaolin" in the body of the message.

Please send questions to the list owner: dtheroff@ix.netcom.com.


14.12) Martial Arts and Sword/TV and Film Mailing List

To sign up, send a message to listserv@psuvm.psu.edu, and write in the
body of the message:

Subscribe mastvf-l Your name

Please note that the list name is entirely alpha (that's an L, not a
1), and that you write your own name in where it says Your Name.

To send messages to the list, send to mastvf-l@psuvm.psu.edu. Personal
messages to the listowner go to MaryAnnMc@aol.com.

Please note that this list is unmoderated, but that no flaming will be
allowed!  Anyone violating this rule will be suspended from the list,
and if the problem persists, they will be unsubscribed. This is a
friendly list, and we want everyone to be comfortable and feel free to
express themselves without fear of having someone jump down their
throat.  Also, please note that this list is not echoed to or from
usenet; there is no direct newsgroup access.

Digest format is available if you want all the day's messages
collected in one large post.  After you are subscribed, send a message
to listserv@psuvm.psu.edu, and put in the body of the message:

 Set mastvf-l digest

The purpose of this list is to discuss martial arts and sword work on
tv and in the movies, or conversely, to discuss any aspects of one's
favorite tv shows and movies that are oriented toward the martial arts
and sword.. Discussions of individual episodes of other programs that
are heavy on the martial arts or sword are welcomed as well.


14.13) Taichichuan Mailing List

A talk/discussion group of individuals interested in the art, history,
development and preservation of Tai Chi Chuan, Chi Kung, and related
arts.  The Taichichuan mailing list can be subscribed to by sending
"subscribe taichichuan" in the body of a message to
majordomo@cobra.ccsi.com.


14.14) Neijia (Internal Chinese Martial Arts) Mailing List

Neijia (internal chinese martial arts) mailing list can be subscribed
to by sending "subscribe neijia" in the body of a message to
majordomo@lists.stanford.edu.


14.15) Kyudo (Japanese Archery) Mailing List

Kyudo, or Japanese archery, mailing list.  This list is a general discussion
list about the topic of kyudo.

(un)subscribe requests:
address:  	listmgr@moltensky.com
subject:       none needed
body:	        (un)subscribe

actual distribution list:
address: kyudo-l@moltensky.com

General questions queries comments and flames to:tom@moltensky.com
(Tom Utiger)


14.16) Korean Martial Arts Mailing List

Do you practice Korean martial arts?  e.g. Tang Soo Do, HwaRang Do,
Kuk Sool Won, Tae Kwon Do, Tae Kyon, Hapkido, etc.

Come practice with us at "the_dojang-digest".

the_dojang-digest is a ~900 member strong e-mail distribution list for
the discussion of Korean martial arts.

The new list is managed by Brent Chapman's "Majordomo".  To subscribe
to the_dojang-digest send e-mail to

    majordomo@hpwsrt.cup.hp.com

with

    subscribe the_dojang-digest


in the BODY of the message (not in the subject line).

Pil Seung!
Web site reference: http://www.MartialArtsResource.com


14.17) Eskrima/Kali/Arnis Mailing List

Do you practice Eskrima/Kali/Arnis or some other Filipino martial art?
If so, why not join the Filipino martial arts e-mail distribution
list?

Eskrima-Digest is a 1000+ member strong e-mail distribution list for
the discussion of Filipino martial arts.

The new list is managed by Brent Chapman's "Majordomo".  To subscribe
to eskrima-digest send e-mail to

    majordomo@hpwsrt.cup.hp.com

with

  subscribe eskrima-digest


in the BODY of the message (not in the subject line).

Brought to you by the Inayan System of Eskrima. Mabuhay ang eskrima!
Web site reference: http://www.MartialArtsResource.com


14.18) Martial Arts WWW pages

GroundAndPound - http://www.groundandpound.com covers news, commentaries, techniques and
tape reviews from all of the martial arts.

Isshin-Ryu Karate -
http://www.physics.sunysb.edu:80/~gene/MA/isshinryu.html

World-Wide Martial Arts Supply -
http://www.corp-reflection.com/dojo/index.html

Judo Information Site - http://www.rain.org/~ssa/judo.htm

West Los Angeles Karate School -
http://www.pacificnet.net/~uno/wla_karate

The Official Karate CyberDojo Web Page: http://www.ryu.com/CyberDojo

The Karate CyberDojo Journal: http://www.jkr.com/cyberdojo/journal

Japan Karate-Do Ryobu-Kai: http://www.jkr.com

Qigong/Eastern Philosophies:  http://vitamins.net/forums/eastern

Uechi-Ryu and Traditional Okinawan Karate:
http://home.ici.net/~uechi/home/pulse.html

Brazilian Association of Krav Maga: http://www.kravmaga.com.br

Latosa Escrima: http://www.uni-koblenz.de/~keller/renel/renel.html

The Korean and Filipino Martial Arts web site:
http://www.MartialArtsResource.com

The World Martial Arts Academy WTF style KoreanTaekwondo site:
http://www.worldtaekwondo.com

The Virtual Library: Martial Arts: http://microbiol.org/vl.martial.arts

Martial Arts DataBase http://www.madb.de/index.en.html

Ready-made sticks:
http://www.bloodsport.com/index1.htm
http://www.crl.com/~mjr/stickman.html
http://www.mdenterprise.com/
http://www.canemasters.com/
http://www.dls.net/~vama/eskrima/stix.htm
http://lugani.com/visayanlegacy/index.html

Raw Rattan:
http://www.weavenet.com/brw.html
http://www.franksupply.com/bamboo.html

Training Knives/Live Blades:
http://www.cutleryshoppe.com
http://www.abc-direct.com
http://members.aol.com/rburgee876/edges.html
http://www.invis.com/kriscutlery/
http://www.coldsteel.com/


14.19) Kung Fu Mailing List

The Kung Fu Mailing List is for the discussion of all traditional
chinese martial arts.  To join, all one has to do is send a message to
listserv@leper.tamu.edu with either
 	subscribe kungfu
	  or
	subscribe kungfu-digest

in the body of the message.  The first is for a non-digest version
while the second is for people who just want to receive one daily
digest of the discussions.


14.20) Taekwondo Net Forum Mailing List

The Taekwondo Net Forum is a  mailing list discussion forum for
martial arts that have origins in Korea.

If you would like to be added to this mailing list, send a message to
majordomo@igc.org with these words in the body text of the message:

    subscribe taekwondo-net

Though it is called "taekwondo-net", the forum is open to discussion
on all topics relating to all Korean Martial Arts.


14.21) Kempo Mailing List

The Kempo mailing list is an e-mail discussion group open to Kempo
and Kenpo practitioners to discuss Kempo/Kenpo and related manners.

To subscribe, send an empty e-mail to: kempo-subscribe@egroups.com


=====================================================================

15) Sources for material & equipment

North America

Academy of Karate Martial Arts Supplies 405 Black Horse Pike Haddon
Heights, NJ 08035 609-547-5445

BLT Supplies, Inc., 77 Mulberry Street, New York, NY 10013-4438
Tel:212-732-8388 Fax:212-385-2519 Toll Free:800-322-2860
http://www.BLTSupplies.com E-mail: info@BLTSupplies.com

Bugei Trading Company http://www.bugei.com

California S and P Inc. 10545-B San Pablo Ave.; El Cerrito, CA 94530;
USA 415-527-6032

Century Martial Art Supply, Inc. 1705 National Blvd.; Midwest City, OK
73110; USA 800-626-2787

Chris Nickolas American Arts Karate Martial arts supplies
(wholesale/retail) 4858 S. Main St. Akron, Ohio 44319 216-645-0818
Internet: mark.juszczec@bellhow.com

Defense Arts, Inc. P.O. Box 1028; Smyrna, GA 30081; USA 404-434-0370

East West Markets Exchange, Inc. 5533 North Broadway; Chicago, IL
60640; USA 312-878-7711

Far East Books 2029 North Park St. Halifax, Nova Scotia, Canada  B3K
4B2 902-422-8142  FAX 902-422-1998 Internet fareast@fox.nstn.ca
Chinese Martial Arts, Religions, and Healing Disciplines; catalogue
available

Honda Martial Arts Supply Co. 61 West 23rd St.; New York, NY 10010;
USA 800-USA-NYNY or 212-620-4050

Kathol Kreations - Martial Arts Belt Displays
http://katholkreations.hypermart.net

Kim Pacific Martial Arts Supplies 1451 Doolittle Dr.; San Leandro, CA
94577; USA 800-227-0500

Kiyota Company 2326 North Charles St.; Baltimore, MD 21219; USA
800-783-2232 or 410-366-8275

Martial Arts Supplies Co., Inc. 10711 Venice Blvd.; Los Angles, CA
90034-6294; USA 213-870-9866

Macho Products 10045 102nd Terrace Sebastian, FL 32978 800-327-6812
e-mail macho@bb.iu.net

Musashi Martial Arts 1842 S. Grand Ave.; Santa Ana, CA 92705; USA
714-557-4274

PAIS Enterprises P.O. Box 518, Miliken Post Office; Milliken, Ontario,
LOH 1K0, CANADA 416-299-8168

S & P of New York Budo, Inc. P.O. Box 2; Depew, NY 14043; USA
716-681-7911

Saghafi Enterprises 1604 Niagara Falls Blvd.; Tonawanda, NY 14150; USA
716-832-3322

Top Brands Box 51331; New Orleans, LA 70151; USA 504-522-4540

World-Wide Martial Arts Supply P.O. Box 3132 Bethlehem, PA  18017
martial.arts@corp-reflection.com
http://www.corp-reflection.com/dojo/index.html

Scandanavian Sources  (most from a MA chain store called SBI)

SBI BUDOSPORT Sodra Forstadsgatan 66 Box 17092 200 10 Malmo  SWEDEN
Tel: +46 (0)40 101585  Fax  +46 (0)40 301405

SBI Stockholm Torsgatan 40 (S:t Eriksplan) 113 62 Stockholm  SWEDEN
Tel +46 (0)8 308808  Fax +46 (0)8 331884

SBI Leksand Insjovagen 48 790 30 Insjon  SWEDEN Tel +46 (0)247 40654

SBI Umea Backenvagen 87 902 51 Umea  SWEDEN Tel +46 (0)90 31285

SBI Ostergotland Nygatan 31A 582 24 Linkoping  SWEDEN Tel +46 (0)13
126680

WOLFGANGS JUDO & SPORT Box 88 820 77 Gnarp  SWEDEN Tel +46 (0)625
20580

JT BUDOSPORT Box 3022 850 03 Sundsvall  SWEDEN Tel +46 (0)60 158002

SHINPRO Gullberna Park 371 06 Karlskrona  SWEDEN Tel +46 (0)455 27974

Intersport Lulea Storgatan 26 951 31 Lulea  SWEDEN Tel +46 (0)920
17320

Charles Harbour Sport Gustavsborgsvagen 10 374 38 Karlshamn  SWEDEN
Tel +46 (0)454 19600

Budoshopen Slakterigatan 6 721 32 Vasteras  SWEDEN Tel +46 (0)21
143218

Orebro Gym & Kraftsportcenter Drottninggatan 29 = 702 22 Orebro
SWEDEN

Fighter Sport Storgatan 37 Postboks 4781 0506 Oslo  NORWAY Tel
22114055  Fax 22208708

SBI Fighter Shop Jagtvej 70 2200 Kopenhavn N  DENMARK Tel 35374700
Fax 35374702

====================================================================

                  rec.martial-arts FAQ - Part 2 of 4
                  ==================================

======================================================================

Part 2 of 4

    16) What are the different Arts, Schools, Styles?

16.1)  Aikido          16.2) Baguazhang          16.3) Bushidokan
16.4)  Capoeira        16.5) Cha Yon Ryu         16.6) Cuong Nhu
16.7)  Daito Ryu Aiki-Jujustu 16.8) Hapkido      16.9) Hwa Rang Do
16.10) Iaido           16.11) Judo               16.12) Jujutsu
16.13) Kajukenbo       16.14) Kali/Escrima/Arnis 16.15) Karate
16.16) Kendo           16.17) Kenjutsu           16.18) Kenpo (Amer.)
16.19) Kempo (Kosho Ryu) 16.20) Kempo (Ryukyu)   16.21) Kobudo
16.22) Krav Maga       16.23) Kyudo

Contents of this section in Part 3 of 4:

16.24) Lua             16.25) Moo Do          16.26) Muay Thai
16.27) Ninjutsu        16.28) Praying Mantis  16.29) ROSS
16.30) SAMBO           16.31) Sanshou         16.32) Savate
16.33) Shogerijutsu    16.34) Shuaijiao       16.35) Silat
16.36) Tae Kwon Do     16.37) Taijiquan       16.38) Wing Chun
16.39) Wushu/Gongfu    16.40) Xingyiquan      16.41) Yoseikan Budo

===================================================================


16) What are the different Arts, Schools and Styles?

This is a question with many, many answers---some could say that there
are as many styles as there are martial artists.  So, we'd like to
introduce some Schools and Styles that will give you a basic
familiarity with the world of martial arts.  The Arts are listed
alphabetically.

Important note:  This information is true to the best of the knowledge
of those who wrote the descriptions of the various arts.  If your
style has only a small write up or none at all and you have enough
information on it to make a good FAQ entry, write it up in the form
shown below and send it to pals@ipact.com.

If you have a question about a particular style or its writeup, one
option is to look in the next section for who contributed to the art's
writeup, and send e-mail to them.  Otherwise, comment to
pals@ipact.com.


16.1) Aikido

(contributors: Eric Sotnak - esot@troi.cc.rochester.edu,
               Alex Jackl - ajackl@avs.com)

Intro:

Aikido emphasizes evasion and circular/spiral redirection of an
attacker's aggressive force into throws, pins, and immobilizations as
a primary strategy rather than punches and kicks.

Origin:         Japan.

History:

Aikido was founded in 1942 by Morihei Ueshiba (1883-1969). Prior to
this time, Ueshiba called his art "aikibudo" or "aikinomichi".  In
developing aikido, Ueshiba was heavily influenced by Daito Ryu
Aikijujitsu, several styles of Japanese fencing (kenjutsu),
spearfighting (yarijutsu), and by the so- called "new religion":
omotokyo.  Largely because of his deep interest in omotokyo, Ueshiba
came to see his aikido as rooted less in techniques for achieving
physical domination over others than in attempting to cultivate a
"spirit of loving protection for all things."  The extent to which
Ueshiba's religious and philosophical convictions influenced the
direction of technical developments and changes within the corpus of
aikido techniques is not known, but many aikido practitioners believe
that perfect mastery of aikido would allow one to defend against an
attacker without causing serious or permanent injury.

Descriptions:

The primary strategic foundations of aikido are:
(1) moving into a position off the line of attack;
(2) seizing control of the attacker's balance by means of
    leverage and timing;
(3) applying a throw, pin, or other sort of immobilization
    (such as a wrist/arm lock).

Strikes are not altogether absent from the strategic arsenal of the
aikidoist, but their use is primarily (though not, perhaps,
exclusively) as a means of distraction -- a strike (called "atemi") is
delivered in order to provoke a reaction from the aggressor, thereby
creating a window of opportunity, facilitating the application of a
throw, pin, or other immobilization.

Many aikido schools train (in varying degrees) with weapons. The most
commonly used weapons in aikido are the jo (a staff between 4 or 5
feet in length), the bokken (a wooden sword), and the tanto (a knife,
usually made of wood, for safety). These weapons are used not only to
teach defenses against armed attacks, but also to illustrate
principles of aikido movement, distancing, and timing.

Training:

A competitive variant of aikido (Tomiki aikido) holds structured
competitions where opponents attempt to score points by stabbing with
a foam-rubber knife, or by executing aikido techniques in response to
attacks with the knife.  Most variants of aikido, however, hold no
competitions, matches, or sparring.  Instead, techniques are practiced
in cooperation with a partner who steadily increases the speed, power,
and variety of attacks in accordance with the abilities of the
participants. Participants take turns being attacker and defender,
usually performing pre-arranged attacks and defenses at the lower
levels, gradually working up to full-speed freestyle attacks and
defenses.

Sub-Styles:

There are several major variants of aikido.  The root variant is the
"aikikai", founded by Morihei Ueshiba, and now headed by the founder's
son, Kisshomaru Ueshiba.  Several organizations in the United States
are affiliated with the aikikai, including the United States Aikido
Federation, the Aikido Association of America, and Aikido Schools of
Ueshiba.

Other major variants include:

* the "ki society", founded by Koichi Tohei,
* yoshinkan aikido, founded by Gozo Shioda,
* the kokikai organization, headed by Shuji Maruyama,
* "Tomiki aikido" named after its founder, Kenji Tomiki.


16.2) Baguazhang (Pa Kua Chang)

(Contributors: William Breazeal  - breazeal@tweedledee.ucsb.edu,
               Mike Martelle - 3mbm@qlink.queensu.ca)

Intro:

Baguazhang is one of the three orthodox "internal" styles of Chinese
martial art (the other two being Taijiquan and Xingyiquan).
Translated, Bagua means "Eight Trigram".  This refers to the eight
basic principles described in the ancient metaphysical treatise the
Yijing (I-Ching), or "Book of Changes".  Bagua is meant to be the
physical manifestation of these eight principles. "Zhang" means "palm"
and designates Baguazhang as a style of martial art which emphasizes
the use of the open hand over the closed fist.  Baguazhang as a
martial art is based on the theory of continuously changing in
response to the situation at hand in order to overcome an opponent
with skill rather than brute force.

Origin: Northern China.

History:

Although there are several theories as to the origins of Baguazhang,
recent and exhaustive research by martial scholars in mainland China
concludes without reasonable doubt that the art is the creation of one
individual, Dong Haichuan (or Dong Haiquan). Dong was born in Wen'an
County, Hebei Province about 1813. Dong practiced local martial arts
(which reportedly relied heavily upon the use of openhand palm strikes)
from his youth and gained some notoriety as a skilled practitioner. At
about 40 years of age, Dong left home and travelled southward. At some
point during his travels Dong became a member of the Quanzhen
(Complete Truth) sect of Taoism. The Taoists of this sect practiced a
method of walking in a circle while reciting certain mantras. The
practice was designed to quiet the mind and focus the intent as a
prelude to enlightenment. Dong later combined the circle walking
mechanics with the boxing he had mastered in his youth to create a new
style based on mobility and the ability to apply techniques while in
constant motion.

Dong Haichuan (or Dong Haiquan) originally called his art "Zhuanzhang"
(Turning Palm). In his later years, Dong began to speak of the Art in
conjunction with the Eight Trigrams (Bagua) theory expoused in the
Book Of Changes (Yijing). When Dong began teaching his "Zhuanzhang"
in Beijing, the vast majority of his students were already
accomplished martial artists in their own right. Dong's teachings were
limited to a few "palm changes" executed while walking the circle and
his theory and techniques of combat. His students took Dong's forms
and theories and combined them with their original arts. The result is
that each of Dong's students ended up with quite different
interpretations of the Baguazhang art.

Most of the various styles of Baguazhang found today can be traced
back to one of several of Dong Haichuan's (or Dong Haiquan's) original
students. One of these students was a man called Yin Fu. Yin studied
with Dong longer than any other and was one of the most respected
fighters in the country in his time (he was the personal bodyguard to
the Dowager Empress, the highest prestige position of its kind in the
entire country). Yin Fu was a master of Luohanquan, a Northern Chinese
"external" style of boxing before his long apprenticeship with Dong.
Another top student of Dong was Cheng Tinghua, originally a
master of Shuaijiao (Chinese wrestling). Cheng taught a great number of
students in his lifetime and variations of his style are many. A third
student of Dong which created his own Baguazhang variant was Liang
Zhenpu. Liang was Dong's youngest student and was probably
influenced by other of Dong's older disciples. Although Baguazhang
is a relatively new form of martial art, it became famous throughout
China during its inventor's lifetime, mainly because of its
effectiveness in combat and the high prestige this afforded its
practitioners.

Description:

Baguazhang is an art based on evasive footwork and a kind of
"guerilla warfare" strategy applied to personal combat. A Bagua
fighter relies on strategy and skill rather than the direct use of
force against force or brute strength in overcoming an opponent. The
strategy employed is one of constant change in response to the
spontaneous and "live" quality of combat.

Bagua is a very circular art that relies almost entirely on open hand
techniques and full body movement to accomplish its goals.  It is also
characterized by its use of spinning movement and extremely evasive
footwork.  Many of the techniques in Bagua have analogs in other
Northern Chinese systems;however, Bagua's foot work and body
mechanics allow the practitioner to set up and execute these
techniques while rapidly and smoothly changing movement direction and
orientation.  Bagua trains the student to be adaptable and evasive,
two qualities which dramatically decrease the amount of physical power
needed to successfully perform techniques.

The basis of the various styles of Baguazhang is the circle walk
practice. The practitioner "walks the circle" holding various postures
and executing "palm changes" (short patterns of movement or "forms"
which train the body mechanics and methods of generating momentum
which form the basis of the styles' fighting techniques). All styles
have a variation of the "Single Palm Change" which is the most basic
form and is the nucleus of the remaining palm changes found in the
Art. Besides the Single Palm Change, other forms include the "Double
Palm Change" and the "Eight Palm Changes" (also known variously as the
"Eight Mother Palms" or the "Old Eight Palms"). These forms make up
the foundation of the Art. Baguazhang movements have a
characteristic circular nature and there is a great deal of body
spinning, turning and rapid changes in direction. In addition to the
Single, Double and Eight Palm Changes, most but not all styles of
Baguazhang include some variation of the "Sixty-Four Palms." The
Sixty-Four Palms include forms which teach the mechanics and sequence
of the specific techniques included in the style. These forms take the
more general energies developed during the practice of the Palm
Changes and focus them into more exact patterns of movement which are
applied directly to a specific combat technique.

Training:

Training usually begins with basic movements designed to train the
fundamental body mechanics associated with the Art. Very often the
student will begin with practicing basic palm changes in place
(stationary practice), or by walking the circle while the upper body
holds various static postures (Xingzhuang). The purpose of these
exercises is to familiarize the beginning student with the feeling of
maintaining correct body alignment and mental focus while in motion.
The student will progress to learning the various palm changes and
related forms. The Sixty-Four Palms or other similar patterns are
usually learned after some level of proficiency has been attained with
the basic circle walk and palm changes. Some styles practice the
Sixty-Four Palms on the circle while other styles practice these forms
in a linear fashion. All of the forms in Baguazhang seek to use the
power of the whole body in every movement, as the power of the whole
will always be much greater than that of isolated parts. The
body-energy cultivated is flexible, resilient and "elastic" in nature.

In addition to the above, most styles of Baguazhang include various
two-person forms and drills as intermediate steps between solo forms
and the practice of combat techniques. Although the techniques of
Baguazhang are many and various, they all adhere to the above mentioned
principles of mobility and skill. Many styles of Baguazhang also
include a variety of weapons, ranging from the more "standard" types
(straight sword, broadsword, spear) to the "exotic." An interesting
difference with other styles of martial arts is that Baguazhang
weapons tend to be "oversized," that is they are much bigger than
standard weapons of the same type (the extra weight increases the
strength and stamina of the user).

SUBSTYLES:

Each of Dong Haichuan's (or Dong Haiquan's) students developed their
own "style" of Baguazhang based on their individual backgrounds and
previous martial training. Each style has its own specific forms and
echniques. All of the different styles adhere to the basic principles
of Baguazhang while retaining an individual "flavor" of their own. Most
of the styles in existence today can trace their roots to either The
Yin Fu, Zheng Dinghua, or Liang Zhenpu variations.

Yin Fu styles include a large number of percussive techniques and fast
striking combinations (Yin Fu was said to "fight like a tiger," moving
in swiftly and knocking his opponent to the ground like a tiger
pouncing on prey). The forms include many explosive movements and very
quick and evasive footwork. Variations of the Yin Fu style have been
passed down through his students and their students, including Men
Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian.

Zheng Dinghua styles of Baguazhang include palm changes which are
done in a smooth and flowing manner, with little display of overt
power (Zheng Dinghua's movement was likened to that of a dragon
soaring in the clouds). Popular variants of this style include the Gao
Yisheng system, Dragon style Baguazhang, "Swimming Body" Baguazhang,
the Nine Palace system, Jiang Rongqiao style (probably the
most common form practiced today) and the Sun Ludang style.

The Liang Zhenpu style was popularized by his student Li Ziming
(who was the president of the Beijing Baguazhang Association for
many years and who did much to spread his art worldwide).


16.3) Bushidokan

(Contributor: Bob Blount - robertb@sound.net)

Bushidokan is an eclectic art of recent origin, founded by Jim
Harrison in the late 1960's.  Harrison has studied Judo and Shorin-Ryu
karate extensively.  The Bushidokan Art is a combination of Okinawan
karate, judo, and some JJ, with the primary emphasis on karate.  The
karate portion of Bushidokan's training is quite similar to Shotokan -
definitely Okinawan in ancestry.  Bushidokan is best suited for those
interested in effective street self-defense, tournament fighting, and
fairly rugged physical conditioning.

Beginning students learn seven basic stances, seven basic strikes (six
linear, one circular), seven basic blocks (one of which is circular)
and seven basic kicks.  Many of the self-defenses taught incorporate
techniniques not included in the "basic" seven, thus exposing the
student to a greater variety.  These include a number of throws, a few
soft (redirecting) blocks, and several wrist/hand locks. Two basic
self-defense strategies - a direct counter and an indirect counter -
are taught for each type of attack.  Sparring is introduced as
students progress, but is always optional, and ranges from "no
contact" to "full contact".


16.4) Capoeira

(Contributors: Daniel C. Sobral - e8917523@linf.unb.br,
"Lagartixa" (Gecko) - nworthin@rohan.sdsu.edu )

Intro:

This is a very acrobatic, very energetic Brazilian martial art.

Origin:         Angola and Brazil

History:

Capoeira is the common name for the group of African martial arts that
came out of west Africa and were modifed and mixed in Brazil. These
orginal stlyes inculded weapons, grappling and striking as well as
animal forms that became incorpated into different components and sub
styles of the popular art.

In the 1500's, black slaves from Africa were used in Brazil to build

he empire of the sugar cane. These slaves lacked a form of
self-defense, and in a way quite parallel to Karate, they developed a
martial-art with the things they had in hand, namely, sugar cane
knives and 3/4 staffs. Being slaves, they had to disguise the study of
the art, and that is how the dance came into it.

In the early 1800's Capoeira was outlawed in Brazil, especially in its
"home state" of Bahia, where gangs utilized it as their personal
fighting style against police.

Capoeira was born in the "senzalas", the places where the slaves were
kept, and developed in the "quilombos", the places where they used to
run to when they fled from their enslavers.

Description:

Capoeira consists of a stylized dance, practiced in a circle called
the "roda", with sound background provided by percussion instruments,
like the "agogo", the "atabaqui", etc.  The "Berimbau" is a
percussion instrument that is always used on rodas.

Capoeira relies heavily on kicks and leg sweeps for attacks and dodges
for defenses.  Is not uncommon to not be taught any kind of hand
strike of parry, though arm positioning for blocks is taught.

The "ginga" (meaning "swing"_, the footwork of Capoeira, consists in
changing the basic stance (body facing the adversary, front leg flexed
with body weight over it, the other leg strechted back) from the right
leg to the left leg again and again.

Capoeira also puts a heavy emphasis on ground fighting, but not
grappling and locks. Instead, it uses a ground stance (from the basic
stance, you just fall over your leg stretched back, flexing it, and
leaving the front leg stretched ahead), from which you make feints,
dodges, kicks, leg sweeps, acrobatics, etc.

Hand positioning is important but it's used only to block attacks and
ensure balance, though street fighting "capoeiristas" use the hands
for punches.

When fighting, it is rare to stop in one stance, and in this case, you
just "follow" your opponent with your legs, preventing him from
getting close, or preparing a fast acrobatic move to take advantage
when he attacks. The rest of the time, you just keep changing stances,
feinting, and doing the equivalent of boxing "jabs".

Training:

After a through warm-up, standing exercises are done, with emphasis on
the "ginga", the footwork characteristic of the art, and on the basic
kicks: "bencao", a front-stomping kick, "martelo", a roundhouse kick,
"chapa", a side-kick, "meia-lua de frente", a low turning kick, "armada",
a high turning kick, "queixada", an outside-inside crescent kick. Then
walking sequences are done, with the introduction of sommersaults,
backflips and headstands, in couples and individual. Some more
technical training follows, with couples beginning a basic and slow
"jogo", and then the whole class forms and goes for "roda" game for at
least 30 minutes.

Capoeira conditions and develops the muscles, especially the abdominal
muscles.

Sub-Styles:

Regional: Capoeira in a more artistic, open form, giving more way to
athletic prowess and training.  The newer, faster, more popular style
created by mestre Bimba (the guy who was responsible for the legalization
of capoeira and the founder of the first academy). Breakdancing evolved
from this style, and 90% of all breakdancing moves come directly from
capoeira. This is a faster game, less a fight and more of a showing off. Flourishes, high
kicks, and aerial, acrobatic maneuvers are the hallmark
of the regional game, which is usually played to the beat of the berimbau
known as Sao Bento Grande.

Angola: a more closed, harder style that is closest to the original
African systems that came to Brazil. The "traditional" capoeira, the game
is accompanied by a specific beat of the berimbau by the same name. Angola
games are generally slow and low to the ground, and incorporate a lot of trickery, sweeps
and takedowns, and physically grueling movements that
require great strength and balance.

Iuna: Iuna is not really a style of capoeira.  Rather, it refers to a
rhythm of the berimbau that is played when somebody dies or when mestres
(masters) play alone. There is no singing when iuna is played, and only
masters are allowed to play during iuna.


16.5) Cha Yon Ryu

(Contributor: Ross Deforrest - ssor@prismnet.com)

Cha Yon Ryu ("Natural Way") is an eclectic, fairly new martial art
founded in 1968 by Kim Soo of Houston, Texas, who remains Director of
the system. Tae Kwon Do contributes kicking techniques, strong stances
and direct, linear strikes and blocks, as does Shotokan Karate.  With
the study of movements from Okinawa te (Okinawa), the Cha Yon Ryu
practitioner starts to add techniques with some angularity to his/her
repertoire, and eventually progresses to the fluid, circular movements
of Quanfa Gongfu.  Hapkido is the martial art from which are drawn
defenses against chokes, grabs and armed attacks, as well as various
throwing and falling techniques.

Students strive to fulfill The Dojang Hun (Training Hall Oath): Seek
perfection of character, Live the way of truth, Endeavor, Be faithful,
Respect your seniors, and Refrain from violent behavior.


16.6) Cuong Nhu (pronounced "Kung New")

(Contributors: Elizabeth Roman and Robert First -
rafirst@unity.ncsu.edu
and http://www4.ncsu.edu/unity/users/r/rafirst/cooldojo/)

Cuong Nhu is another eclectic, fairly new martial art, founded in 1965
by Master Ngo Dong in Vietnam.  The first US school opened in
Gainesville FL in 1971.  Cuong Nhu is an integrated martial art
blending hard aspects ("cuong" in Vietnamese) from Shotokan Karate,
Wing Chun Gongfu, and American Boxing, with influences from the soft
("nhu" in Vietnamese) arts of Judo, Aikido, and Taiji, in addition
to Vovinam, a Vietnamese martial art using both hard and soft
techniques. In keeping with its inclusive nature, Cuong Nhu
instruction extends beyond the traditionally martial to public
speaking, poetry, paintint, and philosophy.  There is a strong
emphasis on developing self control, modesty, and a non-defeatist
attitude.

Beginning students focus on the hard, linear arts, mostly modified
Shotokan Karate techniques and katas.  Experienced students add
movements from more advanced softer, circular arts such as Aikido and
Taiji.  All levels get some exposure to the entire range of styles.
Training emphasizes moral and philosophical development, and students
discuss the "Code of Ethics" and selections from Cuong Nhu philosophy
in class. As with other styles, belt color indicates rank as certified
by regional testing.

There are approximately 70 Cuong Nhu dojos in the US. For more
information or the location of a school near you, the Cuong Nhu
Oriental Martial Arts Association (CNOMAA) can be reached at (352)
378-3466 or http://www.afn.org/~cnomaa/.


16.7) Daito Ryu Aiki-Jujustu

(Contributors: Torben Alstrup/Ole Kingston - alstrup@imada.ou.dk)

Intro:  A prominent sub-style of Jujutsu

History:

Daito-ryu Aiki-Jujutsu is an old Jujutsu style presumably founded my
Minamoto, Yoshimitsu in the eleventh century.  Originally, it was only
practised by the highest ranking Samurais in the Takeda family in the
Kai fiefdom in northern Japan.

Feudal overlord Takeda, Shingen died in 1573, and his kinsman Takeda,
Kunitsugu moved to the Aizu fiefdom, where he became Jito - overseer
of the fief. Kunitsugu introduced Daitoryu Aikijujutsu at the Aizu
fiefdom, where the secret fighting art only was taught to the feudal
lords and the highest ranking samurais and ladies in waiting.

The feudal system was broken down after 1868 when the Meiji
restoration begun.  Saigo, Tanomo (1829-1905), the heir to Daito-ryu
gave the system to Takeda, Sogaku (1859-1943) and instructed him to
pass it on to future generations. Takeda, Sogaku first used the term
"Daito-ryu Aikijujutsu" in the beginning of the twentieth century and
taught the art of it to many students.

Takeda, Sogaku taught Daito-ryu from the beginning of the twentieth
century until his death in 1943 two of his best known students were
Ueshiba, Morihei, founder of Aikido and Choi, Yong Sul, founder of
Hapkido.

Other prominent 20th century Daito-ryu masters include Horikawa, Kodo
(1894-1980); Takuma, Hisa (1895-1979); Hakaru, Mori (1931-), the
current director of the Daitoryu Aikijujutsu Takumakai; Sagawa,
Yukiyoshi (1902-); Takeda, Tokimune (1916-1993), son of Takeda,
Sogaku; Katsuyuki, Kondo (1945-); and Okamoto, Seigo (1925-), who is
often considered the most progressive teacher of Daitoryu Aikijujutsu.

Description and Training:

The way of teaching Daitoryu comes from Takeda, Sogaku's students in
the same manner as the understanding, feeling and character of the
techniques. Daito-ryu Aikijujutsu has four levels of techniques:
Shoden (Lowest), Chuden (advanced), Okuden (highest) and Hiden (secret
techniques).

Shoden
The training in Daito-ryu starts with Shoden, where the student learns
ukemi (falling and rolling), taisabaki (moving the body), tesabaki and
ashisabaki (movements of the hands and feet and legs), defense against
grappling, and continues with defense against punches, kicks and
weapons, as for instance short and long staffs (tanbo, jo and chobo)
and knives and swords (tanto and katana).

There are techniques that can be done from standing, sitting or lying
positions. The first transmission scroll Hiden Mokuroku describes the
first 118 jujutsu techniques from the Shoden level.

Chuden
These are advanced jujutsu techniques with large soft movements as
known from Aikido.  The actual aiki training consists of a combination
of these techniques and those from Shoden.  At this level of training
it is allowed to use some amount of force, several steps and large
movements.

Okuden
When doing Okuden all movements should be as small as possible.
Breathing, reflexes, circles and timing are used instead of muscles;
the techniques are small and fast, and it is not necessary to hold an
attacker in order to throw him.

The reflexes of the attacker are used against him.  He gets a soft
shock, similar to an electric shock activating his reflexes, and it
becomes easy to manipulate the body of the attacker so it is felt as
an extension of one's own.

Hiden
These are the secret techniques. The real aiki consists always of soft
techniques that only work properly when the whole body and proper
breathing is used. The attacker is touched easily, you are as glued to
him, and the techniques are so small that even experienced budokas
cannot see what is happening.  However, the most fascinating part of
Daito-ryu Aikijujutsu is that it is unnecessary to use physical power
for incapacitating the attacker his own force is turned against him.


16.8) HapKiDo

(Contributors: Randy Pals - pals@ipact.com,
               Ray Terry - rterry@hpkel02.cup.hp.com,
               Dakin Burdick - burdick@silver.ucs.indiana.edu)

Intro:

This Korean art is sometimes confused with Aikido, since the Korean
and Japanese translation of the names is the same.

Origin:         Korea

History:

Hapkido history is the subject of some controversy.

Some sources say that the founder of Hapkido, Choi, Yong Sul was a
houseboy/servant (some even say "the adopted son") of Japanese Daito
Ryu Aikijujutsu GrandMaster Takeda, Sokaku.  In Japan, Choi used the
Japanese name Yoshida, Tatsujutsu since all immigrants to Japan took
Japanese names at that time.  Choi's Japanese name has also been given
as Asao, Yoshida by some sources.  According to this view, Choi
studied under Takeda in Japan from 1913, when he was aged 9, until
Takeda died in 1943.  However, Daito Ryu records do not reflect this,
so hard confirmation has not been available.  Some claim that Choi's
Daito Ryu training was limited to attending seminars.

Ueshiba, Morihei, the founder of Aikido, was also a student of Takeda
(this is not disputed).  Hapkido and Aikido both have significant
similarities to Daito Ryu Aikijujutsu, so it would seem that Hapkido's
link to it is real, regardless of how and where Choi was trained.

Choi returned to Korea after Takeda's death and began studying Korean
arts and teaching Yu Sool or Yawara (other names for jujutsu),
eventually calling his kwan ("school") the Hapki Kwan.  Ji, Han Jae,
began studying under Choi and eventually started his own school, where
he taught what he called Hapkido, after the grandmaster's school.
Along the way, Hapkido adopted various techniques from Tang Soo Do,
Tae Kyon, and other Korean kwans (schools).

Korean sources may tend to emphasize the Korean arts lineage of
Hapkido over the Aikijujutsu lineage, with some even omitting the
Aikijujutsu connection.  However, as noted above, the connection can
be seen in the techniques.

Ji now calls his system Sin Moo Hapkido.  He currently lives and
teaches in California, as does another former Choi student, Myung,
Kwang Sik, who is GrandMaster of the World Hapkido Federation.

Some other Choi Hapkido students are still living.  Chang, Chun Il
currently teaches in New York City, and Im, Hyon Soo lives and teaches
in Korea. Both of these men were promoted to 9th dan by Choi.  One of
the first Hapkido masters to bring the art to the western culture was
Han, Bong Soo.

In the 1970's and 80's Hapkido was taught as the style of choice to
elite South Korean armed forces units.

Description:

Hapkido combines joint locks, pressure points, throws, kicks, and
strikes for practical self-defense.  More soft than hard and more
internal than external, but elements of each are included.  Emphasizes
circular motion, non-resistive movements, and control of the opponent.

Although Hapkido contains both outfighting and infighting techniques,
the goal in most situations is to get inside for a close-in strike,
lock, or throw.  When striking, deriving power from hip rotation is
strongly emphasized.

Training:

Varies with organization and instructor.  As a general rule, beginners
concentrate on basic strikes and kicks, along with a few joint locks
and throws.  Some of the striking and kicking practice is form-like,
that is, with no partner, however, most is done with a partner who is
holding heavy pads that the student strikes and kicks full power.

Advanced students add a few more strikes and kicks as well as many
more throws, locks, and pressure points.  There is also some weapons
training for advanced students - primarily belt, kubatan, cane, and
short staff.

Some schools do forms, some do not.  Some do sparring and some do not,
although at the advanced levels, most schools do at least some
sparring. Many Hapkido techniques are unsuitable for use in sparring,
as their use would result in injury, even when protective gear is
used.  Thus, sparring typically uses only a limited subset of
techinques.

There is generally an emphasis on physical conditioning and excercise,
including "ki" exercises.


16.9) Hwa Rang Do

(Contributor: Carsten Jorgensen - hwarang@usa.net)

Intro:

Hwa Rang Do is a comprehensive martial arts system whose training
encompasses unarmed combat, weaponry, internal training and healing
techniques.  Translated, Hwa Rang Do means "the way of flowering
manhood".

Origin:         Korea

History:

For the ancient history of the Hwarang, please refer to the Ancient
Korean History section of http://www.hwarangdo.com/hrd1.htm.

In March 1942 present day founder of Hwa Rang Do, Dr. Joo Bang Lee and
his brother, Joo Sang Lee was introduced to the Buddhist monk Suahm
Dosa by their father, who was a personal friend of the monk, and they
began their formal training aged 5 & 6.

The brothers lived and trained as the sole students with the monk
mostly in weekends and during school vacations but also trained in
other martial arts when they were unable to train under Suahm Dosa.
Influences include Boxing, Yudo, Komdo, and Tang Soo Do.  In addition

the Lee Brothers attained Master level of Dae Dong Ryu Yu Sul (modern
name - Hapkido) from its founder Choi Yong Sool in October 1956.

In April 1960 Dr. Joo Bang Lee created and founded his martial art by
combining Suham Dosa's techniques with the other systems he had
trained. He choose the name Hwa Rang Kwan to describe his system and
this also marked the first time the Hwa Rang was used publicly in
connection with unarmed Korean martial arts.  There is no way of
knowing if the techniques Suahm Dosa taught the brothers actually was
the martial art of the Silla Hwa Rang, or another form of monk martial
art.

In 1967, at the request of President Park, Dr. Joo Bang Lee organized
the unification of the Korean martial arts and directed the Unified
Korean Martial Arts Exposition on May 27, 1968 at the Jang Chung
Sports Arena in Seoul.  Since it was difficult for all martial art
organization leaders to agree on methods of administration, this
organization was also disbanded shortly after the exposition.

Following the dissolution, Dr. Joo Bang Lee concentrated his efforts
solely on the development of his martial art to the exclusion of all
other martial arts. He renamed it Hwa Rang Do translated to mean "The
Way of the Flowering Manhood". (Do - represents "the way" or the
"martial art"). Also this marked the first time the character for
"Way" was used in connection with the Hwa Rang and the unarmed martial
arts.

In 1968, Head Grandmaster Joo Sang Lee introduced Hwa Rang Do to the
United States of America. Dr. Joo Bang Lee became the system's supreme
grandmaster upon Suahm Dosa's death in 1969. He immigrated to America
in 1972 and founded the World Hwa Rang Do Association and since then
Hwa Rang Do has spread all over the world. Today Dr. Joo Bang Lee
presides over the World Hwa Rang Do Association, Hwa Rang Do World
Headquarters in Downey, California (USA).

Description:

Hwa Rang Do is a combination of UM (soft/circular movement) and YANG
(hard/linear movement).  The Mu Sul (martial aspects) of Hwa Rang Do
can be further explained in four distinct - though interconnecting -
major paths of study.

NAE GONG - deals with developing, controlling, and directing one's Ki,
or internal energy force, through breathing and meditation exercises
in conjunction with specific physical techniques.

WAE GONG - Wae gong includes more than 4000 offensive and defensive
combative applications. Combining elements predominantly tense and
linear in nature with those soft and circular, these techniques mesh
to form a natural fighting system. This phase includes full
instruction in all hand strikes and blocks (trapping and grabbing as
well as deflection applications, using the hands, wrist, forearm,
elbows, arms and shoulders), 365 individual kicks, throws and falls
from any position and onto any surfaces, human anatomical structure as
it pertains to combat applications (knowing and utilizing the body's
weak points to effectively control the opponent, regardless of their
size), joint manipulation and breaking, finger pressure-point
application, prisoner arrest, control and transport, grappling
applications, forms, offensive choking and flesh-tearing techniques,
defense against multiple opponents, breaking techniques,
counter-attacks, and killing techniques.

MOO GI GONG - involves the offensive and defensive use of the over 108
traditional weapons found within 20 categories of weaponry. By
learning these various weapon systems, the practitioner can most
effectively utilize any available object as a weapon as the situation
demands.

SHIN GONG - is the study, development, and control of the human mind
in order to attain one's full potential and mental capabilities.
Techniques are taught to achieve an increase in one's total awareness,
focus, and concentration levels. Included are instruction in :
controlling one's mind; development of the "sixth sense"; memory
recall; the study of human character and personalities; practical
psychology; visualization; the art of concealment and stealth as
utilized by special agents (Sulsa); as well as advanced, secretive
applications.  Hwa Rang Do teaches both the martial art (mu-sul) and
healing art (in-sul). If one is able to injure or worse, then he/she
should know how to heal as well, once again maintaining harmony
through balance of opposites. First aid applications, revival
techniques are taught in conjunction with the traditional full studies
of acupuncture, Royal Family acupressure, herbal and natural
medicines, and bone setting.

Training:

A typical training session includes Meditation (beginning and end of
class). Total body stretching and warm-up exercises. Basic punching
and kicking practice. Ki power exercises. "Basic-8" combination drills
(which vary by belt rank). Two-man countering techniques (vary by belt
rank). Open session which may include: sparring, tumbling, grappling,
sweeps, or advanced techniques. Self-defense techniques. Cool down
exercises. Hwa Rang Do code of ethics.

For further information, please refer to http://www.hwarangdo.com
and/or write to:
World Hwa Rang Do Association
8200 E. Firestone Blvd.,
Downey, Ca 90241
(562) 861-0111


16.10) Iaido

(Contributor: Al Bowers - bowers@wilbur.dfrf.nasa.gov)

Intro:          The Art of drawing the sword for combat.

Origin:         Japan

History:

This art is very old, and has strong philosophical and historical ties
to Kenjutsu.  It was practiced by Japanese warriors for centuries.

Description:

The object is to draw the sword perfectly, striking as it is drawn,
so that the opponent has no chance to defend against the strike.

Training:

Usually practiced in solo form (kata), but also has partner forms
(kumetachi).

Sub-Styles:     Muso Shinden Ryu, Muso Jikishin Ryu, and others.


16.11)  Judo

(Contributors: Neil Ohlenkamp - JudoSensei@aol.com,
               Michael D'Auben - 72517.1031@compuserve.com)

Intro:

Judo is a sport and a way to get in great shape, but is also very
useful for self-defense.

Origin:         Japan

History:

Judo is derived from Jujutsu (see Jujutsu). It was created by
Professor Jigoro Kano who was born in Japan in 1860 and who died in
1938 after a lifetime of promoting Judo. Mastering several styles of
jujutsu in his youth he began to develop his own system based on
modern sports principles. In 1882 he founded the Kodokan Judo
Institute in Tokyo where he began teaching and which still is the
international authority for Judo. The name Judo was chosen because it
means the "gentle way". Kano emphasised the larger educational value
of training in attack and defense so that it could be a path or way of
life that all people could participate in and benefit from. He
eliminated some of the traditional jujutsu techniques and changed
training methods so that most of the moves could be done with full
force to create a decisive victory without injury.

The popularity of Judo increased dramatically after a famous contest
hosted by the Tokyo police in 1886 where the Judo team defeated the
most well-known jujutsu school of the time. It then became a part of
the Japanese physical education system and began its spread around the
world. In 1964 men's Judo competition became a part of the Olympics,
the only eastern martial art that is an official medal sport. In 1992
Judo competition for women was added to the Olympics.

Description:

Judo is practiced on mats and consists primarily of throws
(nage-waza), along with katame-waza (grappling), which includes
osaekomi-waza (pins), shime-waza (chokes), and kansetsu-waza
(armbars). Additional techniques, including atemi-waza (striking) and
various joint locks are found in the judo katas.  Judo is generally
compared to wrestling but it retains its unique combat forms.  As a
daughter to Jujutsu these techniques are also often taught in Judo
classes.

Because the founder was involved in education (President of Tokyo
University) Judo training emphasizes mental, moral and character
development as much as physical training.  Most instructors stress the
principles of Judo such as the principle of yielding to overcome
greater strength or size, as well as the scientific principles of
leverage, balance, efficiency, momentum and control.

Judo would be a good choice for most children because it is safe and
fun.

Training:

Judo training has many forms for different interests.  Some students
train for competition by sparring and entering the many tournaments
that are available.  Other students study the traditional art and
forms (kata) of Judo.  Other students train for self-defense, and yet
other students play Judo for fun. Black belts are expected to learn
all of these aspects of Judo.

Sub-Styles:

Because Judo originated in modern times it is organized like other
major sports with one international governing body, the International
Judo Federation (IJF), and one technical authority (Kodokan).  There
are several small splinter groups  (such as the Zen Judo Assoc.) who
stress judo as a "do" or path, rather than a sport.

Unlike other martial arts, Judo competition rules, training methods,
and rank systems are relatively uniform throughout the world.


16.12) Jujutsu

(Contributor: Darren Wilkinson - wilkinson@hippo.herston.uq.oz.au)

Intro:

Old, practical, fighting art.  A parent to Judo, Aikido, and Hapkido.

Origin:         Japan

History:

The begining of Ju-jutsu can be found in the turbulent period of
Japanese history between the 8th and 16th Century.  During this time,
there was almost constant civil war in Japan and the classical
weaponed systems were developed and constantly refined on the battle
field.  Close fighting techniques were developed as part of these
systems to be use in conjunction with weapons against armoured, armed
apponents.  It was from these techniques that Ju-jutsu arose.

The first publicly recognised Ju-jutsu ryu was formed by Takenouchie
Hisamori in 1532 and consisted of techniques of sword, jo-stick and
dagger as well as unarmed techniques.

In 1603, Tokugawa Ieyasu brought peace to Japan by forming the
Tokugawa military government.  This marked the beginning of the Edo
period of Japanese history (1603-1868), during which waring ceased to
be a dominant feature of Japanese life.

In the beginning of this period there was a general shift from
weaponed forms of fighting to weaponless styles.  These weaponless
styles were developed from the grappling techniques of the weaponed
styles and were collectively known as ju-jutsu. During the height of
the Edo period, there were more than 700 systems of jujutsu.

The end of the Edo was marked by the Meiji Restoration, an abortive
civil war that moved power from the Shogun back to the Emperor.  A
large proportion of the Samurai class supported the Shogun during the
war. Consequently, when power was restored to the Emperor, many things
related to the Samurai fell into disrepute.  An Imperial edict was
decreed, declaring it a criminal offence to practice the old style
combative martial arts.  During the period of the Imperial edict,
Ju-jutsu was almost lost. However, some masters continued to practice
their art "under-ground", or moved to other countries, allowing the
style to continue.  By the mid twenty century, the ban on ju-jutsu in
Japan had lifted, allowing the free practicing of the art.

Description:

The style encompasses throws, locks, and striking techniques, with a
strong emphasis on throws, locks, and defensive techniques.  It is
also characterized by in-fighting and close work.   It is a circular,
hard/soft, external style.

Training: Practical with a heavy emphasis on sparring and mock combat.

Sub-Styles:

There are many, each associated with a different "school" (Ryu).  Here
is a partial list: Daito Ryu, Danzan Ryu, Shidare Yanagi Ryu, Hokuto
Ryu, Hakko Ryu, Hontai Yoshin Ryu, Sosuishi Ryu, Kito Ryu, Kyushin Ryu.

A more modern addition to this list is "Brazilian Jujutsu" or "Gracie
Jujutsu", so named because of its development by the Gracie family of
Brazil.  Gracie/Brazilian Jujutsu (or GJJ/BJJ as it has come to be
known on rec.martial-arts) has a heavy emphasis on
grappling/groundfighting.


16.13) Kajukenbo

(Contributors: Peter Jason Ward - ironmarshal+@CMU.EDU,
               Todd D. Ellner - tellner@cs.pdx.edu)

Intro:

An eclectic martial art that is a blend of Karate, Judo, Kempo, and
Boxing, from which arts it takes its name.

History:

Kajukenbo was synthesized in the Palomas settlements of Hawaii during
the years 1949-1952.  Five practitioners of their respective martial
arts developed Kajukenbo to complement each others styles to allow
effective fighting at all ranges and speeds.  The last living founder
of Kajukenbo is Sijo Adriano D. Emperado who practiced kempo and
escrima.  (Other founders are P.Y.Y. Choo, Frank Ordonez, J. Holck,
and Professor C. Chang).  It was decided that kempo would be the
scafolding around which Kajukenbo was built.  The arts drawn upon to
found Kajukenbo are Tang soo do, judo, ju-jitsu, kempo, and chu'an fa
gung fu (Chinese boxing); hence the name Ka-ju-kem-bo (Tang Soo Do was
shortened as a form of karate, even though that is technically
incorrect).

To test the effectiveness of their origional techniques the five
founders would get into fights around the Palomas settlements (the
worst slum in Hawaii at the time).  If the technique succeeded
consistently in streetfighting it was kept as part of the system.
>From these field test came Kajukenbo's Quins (known as the Palomas
sets (forms or kata)), Natural laws (self-defense), Tricks
(close-quarters fighting), and grab arts (escapes).

Description:

Kajukenbo concentrates on being an effective art at all ranges of
fighting, kicking -> Punching -> Trapping -> Grappling.  While many
schools of karate and Korean martial arts concentrate on kata,
Kajukenbo stresses the self-defence movements over the relatively
fewer forms in the art.  The reasoning behind this is that a
practitioner must be capable of defending himself in streetfighting
situations before turning inward to perfect the 'art' of Kajukenbo.
At higher levels there is meditative and chi training, but the author
cannot comment further at his level of experience.

Kajukenbo stresses the following-up of techniques based on an
opponents reactions and not stopping with just one hit.  The reasoning
is that while one should strive to end a fight with the fewest
techniques nessesary, it is important to know how an opponent will
respond to attacks, and how best to take advantage of his reactions.
A major ethical point behind my instruction was, "If he starts the
fight, you decide when the fight is over."

Training:

The training is physically intense and very demanding.  Exercise is a
part of the class structure to insure that practitioners will be
physically capable of defending themselves outside of the dojo.  The
warm-up and callistenics typically last 1/3 of the class period.
Emphasis is placed on bag work (kick, punching, elbows, and knees) as
well as sparring and grappling (contact with control). After a certain
amount of time training, students begin to throw real punches at each
other and their partner is expected to react appropriately or face the
consequences.  Learning to absorb and soften an impact is also a major
facet of training.  Quins (kata) are performed to fine-tune a person's
movements while working with partners for self defense teaches a
student how to manipulate an opponent and follow up on his reactions.

Sub-Styles:

Kajukenpo,  formed in 1970 by Algene Caraulia, and headquartered in
Cleveland, Ohio (from Anthony Schaaf <adschaaf@mtu.edu>).

Kenpo Karate is considered to be a sub-style of Kajukenbo (see

eparate entry on Kenpo) and is very close to "the original"
Kajukenbo.

Tum Pai, created in part by Sifu Al Dacascos, is adminstered by Sifu
Jon Loren, and incorporates more of the soft, internal Chinese arts.

Kajukenbo Chuan Fa was created by Dela Cruz and Professor Emperado and
has been taken over by Leonard Endrizzi and Bill Owens.  It includes
more Chinese martial arts than Kenpo Karate and is softer but no less
rigorous.

Wun Hop Kuen Do is the newest sub-style - the personal expression of
Sifu Dacascos, containing the original syllabus but with more Chinese
and Filipino influence.


16.14) Kali/Escrima/Arnis

(Contributor: Andy Maddox - modsox@clark.net)

Intro:

Kali, Escrima, and Arnis are all terms for the native fighting arts of
the Philippines, specifically the arts that use weapons.

Arnis is a Northern Term, Escrima more Central, and Kali is from the
South. In this view, the terms just refer to indigenous weapons
fighting systems. Arnis would be the term used in Northern Luzon,
Escrima from Manila through the central islands, and Kali on Mindanao.
People who use this definition tend to say that the words don't
matter - every village, and often every master, has a distinct style,
and that's what the important thing is - "do you study Illustrisimo,
Caballero, or Cabales style?"  Not "do you study escrima or kali?"

Origin:         The Phillipines

History:

Kali is an older art than Escrima or Arnis, and more comprehensive.
Escrima and Arnis were developed as streamlined, simplified ways to
teach people to fight the Spanish invaders.  Hence, Kali is more of a
"warrior's art" while Escrima and Arnis are "soldier's arts".  Kali is
usually considered to have 12 areas of combat, with Escrima containing
8 or 9 of them, and Arnis 4 to 6.

Description:

The "full" coverage alluded to above usually contains the following:

      1   Single Stick (or long blade)
      2   Double long weapon
      3   Long & Short (sword & dagger, e.g.)
      4   Single dagger
      5   Double Dagger
      6   Palm Stick/Double-end Dagger
      7   Empty Hands (punching, kicking, grappling)
      8   Spear/Staff, long weapons (two-handed)
      9   Flexible weapons (whip, sarong, etc.)
     10   Throwing weapons
     11   Projectile weapons (bows, blowguns)
     12   Healing arts

A further distinction that some people make is to say that Kali is, at
its heart, a blade art, while Escrima and Arnis are designed to work
with sticks.  This is a matter of some contention among practitioners
of the various styles and schools.

A distinctive feature of all of these Filipino arts is their use of
geometry. In strikes/defenses and movement, lines and angles are very
important. In addition, the independent use of the hands, or hands and
feet, to do two different things at the same time, is a high-level
skill sought after a fair amount of experience.

Training:

Filipino styles normally classify attacks not by their weapon, or
their delivery style, but by the direction of their energy - for
example, a strike to the head is usually analyzed in terms of "a high
lateral strike." A punch to the gut is treated much the same as a
straight knife thrust to that region would be. Students learn how to
deal with the energy of the attack, and then apply that knowledge to
the slight variations that come with different lengths and types of
weapons.

Filipino arts place great emphasis on footwork, mobility, and body
positioning. The same concepts (of angles of attack, deflections,
traps, passes, etc.) are applied to similar situations at different
ranges, making the understanding of ranges and how to bridge them very
important. The Filipinos make extensive use of geometric shapes,
superimposing them on a combat situation, and movement patterns, to
teach fighters to use their position and their movement to best
advantage. Some styles emphasize line-cutting (a la Wing Chun), while
some are very circular (like Aikido). Some like to stay at long range,
some will move inside as soon as possible. These differences are hotly
debated, as are most things, but they all work differently for
different people.

Most Filipino arts, but Kali in particular, stress the importance of
disarming an opponent in combat. This is not usually done gently, but
by destroying an attacking weapon (break the hand, and the stick will
fall.)

Sub-Styles: Latosa Escrima, Serrada Escrima, and others.


16.15) Karate

(Contributors: Howard S. High - GODZILLA@kuhub.cc.ukans.edu,
               Avron Boretz - aab2@cornell.edu,
               Izar Tarandach - izar@cs.huji.ac.il,
               Richard Parry - parry_r@kosmos.wcc.govt.nz)

Intro:

Somewhat generic term used for Japanese and Okinawan fighting arts.

Origin:         Okinawa

History:

Karate is a term that either means "Chinese hand" or "Empty hand"
depending on which Japanese or Chinese characters you use to write it.
 The Okinawan Karates could be said to have started in the 1600s when
Chinese practitioners of various Gongfu styles mixed and trained with
local adherents of an art called "te" (meaning "hand") which was a
very rough, very simple fighting style similar to Western boxing.
These arts generally developed into close- range, hard, external
styles.

In the late 19th century Gichin Funakoshi trained under several of the
great Okinawan Karate masters (Itosu, Azato) as well as working with
Jigoro Kano (see Judo) and Japanese Kendo masters (see Kendo).
Influenced by these elements, he created a new style of Karate.  This
he introduced into Japan in the first decade of the 20th century and
thus to the world.  The Japanese Karates (or what most people refer to
when they say "karate") are of this branch.

Description:

Okinawan Karate styles tend to be hard and external.  In defense they
tend to be circular, and in offense linear. Okinawan karate styles
tend to place more emphasis on rigorous physical conditioning than the
Japanese styles. Japanese styles tend to have longer, more stylistic
movements and to be higher commitment.  They also tend to be linear in
movement, offense, and defense.

Both tend to be high commitment, and tend to emphasize kicks and
punches, and a strong offense as a good defense.

Training:

This differs widely but most of the Karate styles emphasize a fairly
equal measure of basic technique training (repitition of a particular
technique), sparring, and forms.  Forms, or kata, as they are called,
are stylized patterns of attacks and defenses done in sequence for
training purposes.

Sub-Styles: (Okinawan): Uechi-Ryu, Goju-Ryu, Shorin-Ryu, Isshin-Ryu
            (Japanese): Shotokan, Shito-Ryu, Wado-Ryu

Here is a more complete list (complements of Howard High) in which
Okinawan and Japanese styles are mixed:

Ashihara, Chinto-Ryu, Chito-Ryu, Doshinkan, Gohaku-Kai, Goju-Ryu
(Kanzen), Goju-Ryu (Okinawan), Goju-Ryu (Meibukan), Gosoku-Ryu,
Isshin-Ryu, Kenseido, Koei-Kan, Kosho-Ryu Kenpo, Kyokushinkai, Kyu
Shin Ryu, Motobu-Ryu, Okinawan Kempo, Okinawa Te, Ryokukai, Ryuken,
Ryukyu Kempo, Sanzyu-Ryu , Seido, Seidokan, Seishin-Ryu, Shindo
Jinen-Ryu, Shinjimasu, Shinko-Ryu, Shito-Ryu (Itosu-Kai), Shito-Ryu
(Seishinkai), Shito-Ryu (Kofukan), Shito-Ryu (Kuniba Ha) , Shito-Ryu
(Motobu Ha), Shorin-Ryu (Kobayashi), Shorin-Ryu (Matsubayashi),
Shorin-Ryu (Shobayashi), Shorin-Ryu (Matsumura), Shorinji Kempo,
Shorinji-Ryu, Shoshin-Ryu, Shotokai, Shotokan, Shotoshinkai, Shudokai,
Shuri-Ryu, Shuri-Te, Uechi-Ryu , Wado-Kai, Wado-Ryu, Washin-Ryu,
Yoseikan, Yoshukai, Yuishinkan.

Sub-Style Descriptions:

Wado-Ryu was founded by Hironori Ohtsuka around the 1920s. Ohtsuka
studied Jujutsu for many years before becoming a student of Gichin
Funakoshi. Considered by some to be Funakoshi's most brilliant
student, Ohtsuka combined the movements of Jujutsu with the striking
techniques of Okinawan Karate. After the death of Ohtsuka in the early
1980s, the style split into two factions: Wado Kai, headed by
Ohtsuka's senior students; and Wado Ryu, headed by Ohtsuka's son,
Jiro. Both factions continue to preserve most of the basic elements of
the style.

Uechi-ryu Karate, although it has become one of the main Okinawan
martial arts and absorbed many of the traditional Okinawan karate
training methods and approaches, is historically, and to some extent
technically quite separate. The "Uechi" of Uechi-ryu commemorates
Uechi Kanbun, an Okinawan who went to Fuzhou, the capital city of
Fujian province in China in 1897 to avoid being drafted into the
Japanese army. There he studied under master Zhou Zihe for ten years,
finally opening his own school, one of the few non-Chinese who
ventured to do so at the time.  The man responisble for bringing
Uechi-ryu to the US is George Mattson.

Uechi-ryu, unlike the other forms of Okinawan and Japanese karate
mentioned in the FAQ, is only a few decades removed from its Chinese
origins. Although it has absorbed quite a bit of Okinawan influence
and evolved closer to such styles as Okinawan Goju-ryu over those
decades, it still retains its original Chinese flavor, both in its
technique and in the culture of the dojo. It is a "half-hard,
half-soft" style very similar to such southern Chinese styles as
Fukienese Crane (as still practiced in the Chinese communities of
Malaysia), Taiwanese Golden Eagle, and even Wing Chun.  Conditioning
the body for both attack and defense is a common characteristic of
both Okinawan karate and southern Shaolin "street" styles, and as such
is an important part of Uechi training. There is a strong internal
component to the practice, including focused breathing and tensioning
exercises similar to Chinese Qigong.  Uechi, following its Chinese
Crane heritage, emphasizes circular blocks, low snap kicks, infighting
(coordinating footwork with grabs, locks, throws, and sweeps), and
short, rapid hand traps and attacks (not unlike Wing Chun).


16.16) Kendo

(Contributor: Al Bowers - bowers@wilbur.dfrf.nasa.gov)

Intro:          This is a popular sport in Japanese communities.

Origin:         Japan

History:

Kendo is the sport and competitive form of Kenjutsu. Kendo has been
practiced for a long time in one form or another.

Description:

The practitioners wear protective armor and use simulated swords
(split bamboo called "shinai") to "spar" against one another. Strike
areas are limited as are moves.   It is a very formal art.  It is
linear, hard, and external.

Training:

Training mostly consists of two-person drills, basics, and some kata
that have been retained from kenjutsu between individuals.

Sub-Styles:  none (?)


16.17) Kenjutsu

(Contributor: Al Bowers - bowers@wilbur.dfrf.nasa.gov)

Intro:          The combative use of a sword.

Origin:         Japan

History:

The origins of this art are lost in the midst of history. It probably
has its origins in 12th century or 11th century Japan.  It is famous
in myth and story from people like Miyamoto Mushashi in the 15th
century.

There are 4 root systems, Cujo-ryu, Nen-ryu, Kage-ryu and Shinto Ryu.
These probably all have roots prior to the beginning of the 16th
century. In the 16th century, there was an explosion of styles, with
many being formed between then and the present.

Modern kenjutsu schools trace from either the monk Jion (Nen ryu or
Cujo ryu) or from Iiosai, the founder of the Tenshin Shoden Katori
Shinto Ryu.

Description:

This is a hard, weapon style using the Japanese sword. It involves
powerful, high commitment strikes to selected targets in order to kill
the opponent.  There is a strong side of spiritual and philosophical
study, similar in a way to that of Aikido.

Training:

There is a large amount of two-person work, mostly with wooden swords
(bokken).  Some schools use the fukuru shinai, an ancestor of todays
weapon (Shinkage ryu, Nen-ryu).  Sparring is a developed student
activity.

Sub-Styles:

Kage, Shinkage, Yagyu Shinkage Cujo, Itto-ryu, Nen-ryu, Katori Shinto
Ryu, Kashima shin-ryu, Niten-ichi-ryu, Jigen-ryu.

Shinkage was a royal school - for the Shogun.


16.18) Kenpo (American - see also Kajukenbo)

(Contributor: Stephen Kurtzman  - stephen@kurtzman.com)

Note: In the Japanese language, the consonants "n" and "m" have the
same symbol, thus the English spelling can be rendered either "Kempo"
or "Kenpo".  There are several arts in this family, but the spelling
of "Ken/mpo" is not of significance in distinguishing between them.

This art is also called Kenpo Karate. American Kenpo is an eclectic
art developed by Hawaiian Ed Parker in the 60s.  The art combines the
Kara-Ho Kenpo which Parker learned from William Chow with influences
from Chinese, Japanese, Hawaiian, and Western Martial sources.

American Kenpo blends circular motions and evasive movements with
linear kicks and punches.  The art is oriented toward street-wise self
defense. A big emphasis on basics, sparring, and kata.  It is similar
to most Karate styles in its training mechanisms.

The Tracy schools of Kenpo teach Parker's style, but are a
"politically" separate organization.


16.19) Kempo (Kosho Ryu)

Contributor: Mark Edward Bober (kempo@itw.com)

Introduction:

Kosho Ryu Ken/mpo is a philosophical art much like Jeet Kune Do but
with a Zen influences...lots of mind science material and healing
arts. It is not a style of compiled kata or specific techniques..it is
a study of all motion and therefore cannot be stylised to look like a
specific teacher or animal movement.  Thus, this writeup will discuss
only the history of the art.

Origin: Japan

History:

Kosho Shorei Kempo was created by several happenings, spanning  a
period of centuries. According to Mitose Sensei, during the invasion
of Genghis Khan, the Head Monk of the Shaolin Temple fled China and
found refuge with the Mitose family. In appreciation for the kindness
of the Mitose's, he taught them Shaolin Chuan Fa (Shorinji Kempo in
Japanese).  From James Mitose's book:

"Fifteen hundred years ago, the ancestor (of the Author) was a Shinto
priest. He studied and taught many different martial arts including
sword fighting, lance fighting, fighting with the bow and arrow,
fighting on horseback, and swim fighting. Some arts looked like Kempo,
Karate, Gongfu, and Ju-jitsu- but they were different in many ways.
He mastered all of these arts and became Grand Master. Then Grand
Master Mitose founded a martial arts school and called his style
Mitose's Martial Art School."

In 1235 a Shinto priest whom James Mitose called his first ancestor
became enlightened to what we call Kempo. According to Mitose, this
man was a martial arts master and a Buddhist monk studying at Shaka-In
who found it difficult to be both. His religion taught him pacifism;
his martial art taught him destruction. He pondered this dilemma under
an old pine tree meaning Kosho in Japanese. He became enlightened and
was from then on known as, Kosho Bosatsu, the Old Pine Tree
Enlightened One. He discovered the relationship between man and Nature
and also the secret of the Escaping Arts which is what makes Kempo a
True and Pure Kempo or study of all Natural Law through a Martial Arts
medium. Then "the Grand Master founded the Kosho Shorei Temple of
Peace, True Self Defense and Kosho Shorei Yoga School. At that time,
he made up the Coat of Arms and the Motto for his Temple. In his
Temple, he taught how to escape from being harmed by using the
escaping patterns, with God's help."

Only 2 people in the world learned the Escaping Arts from Mitose
Sensei and one of these two learned all the facets of Kosho, namely
its 22 Generation Grandmaster Bruce Juchnik.  The highest goal is to
defend oneself without body contact unlike Okinawan/Japanese Karate
systems or many other Ken/mpo systems.

Kosho Ryu influences can be seen in Ed Parker and his creation
American Kenpo. He added many labels to concepts inherent in Kosho
that had Japanese names or no labels at all.

References: "What Is Self Defense" 1953 James M. Mitose
            "What Is True Self Defense" 1981 James M. Mitose


16.20) Kempo (Ryukyu)

(Contributor: Al Wilson - awilson@drunivac.drew.edu)

Intro:

Ryukyu Kempo (which roughly translates into Okinawan kung-fu, or
Chinese boxing science) is the original style of martial arts learned
and taught by Gichin Funakoshi on the island of Okinawa (1).  It
stresses the existence of body points within your opponent that can be
struck or grappled for more effective fighting.

Origin:         Okinawa Islands (Ryukyu island chain).

History:

Practioners of Ryukyu Kempo believe that karate-do is a popular
subform of Kempo, established within this century by Gichin Funakoshi.
People with original copies of Funakoshi's first edition book _Ryukyu
Kempo_ state that he is clearly is grappling and touching an opponent.
Later editions and current karate books only show a practioner with a
retracted punch, where the original shows actively grappling an enemy.
It is felt that Funakoshi was the last of the purists, wanting all to
learn the art.

In subseqent years, the Okinawans, who have a culture and history of
their own, became disenchanted with the Japanese, and were less
inclined to teach them the "secret techniques" of self defence.  When
American military men occupied Japan after WWII, they became enamored
of the martial-arts.  It is theorized that the Japanese and Okinawans
were reluctant to teach the secrets of their national art to the
occupiers, and so taught a "watered down" version of karate-do usually
reserved for children.  Contemporary Kempo practioners practice
"pressure point fighting" or Kyushu-jitsu and grappling, called Tuite.
It is an exact art of striking small targets on the body, such as
nerve centers, and grappling body points in manners similar to Jujitsu
or Aikido(2).

Modern teachers of this are George Dillman of Reading, PA, Taiku Oyata
of Independence, Missouri, Rick Clark of Terre Haute, Indiana, and
others.

Training:

The practioners of kempo believe that kata do not represent origin or
direction of attacks but positional techniques for the defender.
Concentration is made on physical perfection of kata and the Bunkai,
or explanation of the movements.  Tournaments of kata and kumite
(sparriing) are encouraged as learning experiences, but not overly
stressed.  Also taught is Kobudo, which is defined as weapons fighting
using ordinary hand tools.

        Five principles to be observed in Oyata's school:
        1.      Proper distance.
        2.      Eye contact.
        3.      Minimum pain inflication on your opponent.
        4.      Legally safe.
        5.      Morally defensible.(3)

There are a couple of physical differences in Kempo and many other
styles. One is a three-quarter punch, rather than a full twist.
Second is a fist whereby the thumb stops at the first finger, rather
than the first two fingers.  Third is the sword hand, which has the
little finger placed as parallel as possible to the third finger and
the thumb straight and on the inside rather than bent.(2)

References:
(1) _Karate-Do: My Way of Life_ by Gichin Funakoshi
(2) _Kyusho Jitsu:  The Dillman Method of Pressure Point Fighting_
    by George A. Dillman with Chris Thomas.
(3) _Ryukyu Kempo:  History and Basics_ by J. D. Logue (Oyata
     student).

Sub-Styles:


16.21) Kobudo

(Contributors: Steve Gombosi - sog@craycos.com,
               John Simutis - simutis@ingres.com)

Intro:

"Kobudo" literally means "ancient martial ways". In the karate world,
it generally refers to those traditional Okinawan weapons whose
history and practice has been linked to that of karate.

Origin: Okinawa

Description:

Most Okinawan styles have at least some kobudo/kobujutsu curriculum.
In addition, there are at least two major Okinawan organizations whose
primary focus is these weapons arts: the Ryukyu Kobudo Hozon
Shinko-kai and the Okinawa Kobudo Renmei.  In the US there is 'Okinawa
Kobudo Association, USA'; the shihan in the US is in Citrus Heights,
CA. There may be other US Kobudo organizations.

The most common kobudo weapons (and the ones most often taught by
Okinawan karate systems) are:

bo - staff, usually a rokushakubo or "six foot staff", although 4, 9,
and 12 foot staffs are also used.
sai - three-tined iron clubs, usually carried as a set of 3.
nunchaku - two short tapered wooden clubs, connected at the narrow
ends by a short rope or chain (a flail, as well as other uses).
kama - a sickle, used singly or in pairs;
tuifa/tonfa - a club with a hand-length perpendicular handle, the
ancestor to the police PR-24; usually used in pairs.

Less common weapons are:

koa - a hoe.
eku - a boat oar.
tekko - essentially brass knuckles.
shuchu - a small kubotan-like thing about 5" long.
san-setsu-kon - the 3-section staff.
surujin/suruchen - a weighted chain with a spike or blade on one end -
similar to the Chinese chain whip or the Japanese manrikigusari;
tinbe - actually, this is two weapons...the tinbe itself, which is a
small shield traditionally made of the shell of a sea tortoise, and
the rochin, which is a short spear with a cutting blade - the weapon
actually resembles a Zulu spear more than anything else.
kusarikama - a kama on the end of a rope or chain.
nunti - a short spear.

and a few other oddball implements of mayhem including spears and the
occasional pilfered Japanese sword ;-).


16.22) Krav Maga

(Contributor: Peter Muldoon - muldoon@bway.net)

Intro:          The Israeli official Martial Art

Origin:         Israel

History:

The Krav Maga was developed in Israel in the early forties when the
underground liberation organizations were fighting for the
independence of the State of Israel. At that time, it was illegal to
possess weapons. The inventor and developer of the Krav Maga was a
champion heavy weight boxer, a judo champion, and an expert in
jiu-jutsu.  In addition, he was as a trapeze acrobat and a well known
dancer.  The knowledge he thus obtained, contributed to the
development of the Israeli martial art of self defense. There is no
hidden meaning behind the name Krav Maga, and literarily means
"contact fight / battle".

The Krav Maga was put into practice originally by the fighters of the
liberation organizations that often went to battle armed with knives
or sticks and with the knowledge of Krav Maga, and they were very
successful. After the establishment of the State of Israel, Krav Maga
was adopted as the official martial art taught in the defense forces,
and especially in the elite police and army units.  Krav Maga was
integrated into army training by Imi Lichenfield, a career IDF officer
and chief instructor at the armys physical training facility at the
Wingate Institute. Imi is still active involved in the Krav Maga
Association and maintains the role of president.

Over the years, the Krav Maga has turned into an integrated part of
training in many disciplines such as educational institutes.  Krav
Maga is taught in many public schools in Isreal.

Description:

The Krav Maga is not an ecletic martial art system, rather, it was
developed with the perception that the classic martial arts were
lacking various elements.  The defense needs in the eras that the
classic martial arts were developed were different than those of
today.  New unique techniques for defense against pistols, guns and
hand grenades were considered needed, and therefore developed.

Krav Maga has no katas or specific sequences that must be followed.
Students use the basic moves in conjunction with any one of a number
of other moves to fend off an attack, the key idea being adaptability
to new situations through improvisation. Emphasis is put on speed,
endurance, strength, accuracy and co-ordination especially for

intensive Krav Maga training.

Training:

Since the Krav Maga by definition is for self defense, it does not
have any constitution and judicial rules and therefore there are no
contests and exhibitions.  The training is for practical usage in the
every day reality. There is a colored belt system with a Black Belt
typically granted after 8 to 10 years of practice.  Spiritual and
philosophical aspects are studied only at the Black Belt level.

Get information from this website:
http://www.bway.net/~muldoon/km.html and/or write to:

Krav Maga Academy
57 West 84 st.
New york, NY 10024
(212) 580-5335

Another website:
Brazilian Association of Krav Maga: http://www.kravmaga.com.br

Sub-Styles:     None.


16.23) Kyudo

(Contributor: E.Clay Buchanan - e.buchanani1@genie.geis.com)

Intro: Japanese target archery practiced as a martial art.

Origin: Japan.

History:

Kyudo, the Way of the Bow, is the oldest of Japan's traditional
martial arts.  The bow has been used in Japan since prehistoric times.
From the fourth to the ninth century, close contacts between China
and Japan had a great influence on Japanese archery, especially the
Confucian belief that through a person's archery their true characters
could be determined. Over hundreds of years archery was influenced by
the Shinto and Zen Buddhist religions along with the pressing
practical requirements of warriors. Court nobles concentrated on
ceremonial archery while the warrior class emphasized kyujutsu, the
martial technique of using the bow in actual warfare.

With the introduction of firearms the bow as a weapon was neglected
and almost died out all together until Honda Toshizane, a kyudo
instructor at Tokyo Imperial University, combined elements of the
warrior style and the court ceremonial style into a hybrid style which
ultimately became known as the Honda Ryu (Honda martial school).  This
style found great favor with the general public and he is generally
credited with saving Japanese Archery from oblivion.  With the
American occupation banning all martial art instruction, traditional
kyujutsu schools declined further and when the ban was lifted, Kyudo,
as opposed to kyujutsu, became widely practiced and the Zen Nihon
Kyudo Federation (All Japan Kyudo Federation) was established in 1953,
publishing the standard kyudo textbook called the Kyohon, and
overseeing Kyudo development both in Japan and internationally up to
the present time. There now exists a European Kyudo Federation which
has annual seminars and promotion tests and in 1993 the first such
seminar and promotion test was held in America in San Jose,
California.

Description:

Kyudo is a highly meditative martial art whose ultimate goals are Shin
(Truth i.e.  the ultimate reality), Zen (Goodness) and Bi (Beauty).
When asked the question "What is Truth?" a master archer would pick up
a bow and arrow and shoot it, without saying a word, allowing the
level of mastery of the bow to serve as the gauge of the archer's
progress along the "way" thereby showing the archer's knowledge of
reality i.e. "Truth" itself.

By such diligent practice Confucian theory teaches that the archer
will become morally good (Zen), and this sincerity of personality will
excite the aesthetic sense of anyone watching at an intuitive,
emotional level giving the performance a beauty derived not only from
the technical skill of the archer but also from the archer's emotional
maturity and spiritual sincerity.

Training:

Students typically begin by practicing visualization: performing the
shooting motions with no equipment and then perhaps using the gomuyumi
(rubber bow), a short stick with a length of rubber tube attached, to
acquire the feel of real bow resistance.  The first actual shots are
fired into a straw bundle, called a makiwara, from a short distance of
about three feet.  The student then progresses to target shooting at a
fixed regulation distance of 28 meters.

All students, no matter which instructor or school, will shoot the
same design of Japanese bow which is little changed from the twelfth
century. Traditionally made of hardwoods laminated front and back with
bamboo the Japanese bow is one of the longest in the world, usually
over seven feet in length. It is a natural double recurve bow with the
arrow nocked one third of the way from the bottom and the bow actually
rotating in the hand at release approx.  270 degrees.  The unique
design of the bow requires that the bow actually be torqued or twisted
in full draw to make the arrow fly straight.

Sub-styles:

Technically, styles can be divided into two broad categories, shamen
uchiokoshi and shomen uchiokoshi, the modern shomen uchiokoshi style
having been developed by Honda Toshizane.  Shamen archers predraw the
bow at an angle to the body and fix their grip on the bow before
raising it.  Shomen archers raise the bow straight over the head and
fix their final grip on the bow in a predraw above the head.

There were dozens of traditional schools before World War II and many
of them survive today provoking endless debate as to the superiority
of one over the other. In fact, some traditional schools still do not
use the word kyudo preferring the word kyujutsu instead to describe
their teachings. Some styles heavily emphasize the spiritual aspect of
shooting and some proponents of Zen Archery view kyudo as a way to
further their own spiritual development in Zen Buddhism.

=====================================================================


                  rec.martial-arts FAQ - Part 3 of 4
                  ==================================

=====================================================================

16) What are the different Arts, Schools and Styles?  (continued)


Contents of this section in Part 2 of 4:

16.1)  Aikido          16.2) Baguazhang          16.3) Bushidokan 
16.4)  Capoeira        16.5) Cha Yon Ryu         16.6) Cuong Nhu 
16.7)  Daito Ryu Aiki-Jujustu 16.8) Hapkido      16.9) Hwa Rang Do
16.10) Iaido           16.11) Judo               16.12) Jujutsu
16.13) Kajukenbo       16.14) Kali/Escrima/Arnis 16.15) Karate
16.16) Kendo           16.17) Kenjutsu           16.18) Kenpo (Amer.)
16.19) Kempo (Kosho Ryu) 16.20) Kempo (Ryukyu)   16.21) Kobudo
16.22) Krav Maga       16.23) Kyudo 

Contents of this section in Part 3 of 4: 

16.24) Lua             16.25) Moo Do          16.26) Muay Thai
16.27) Ninjutsu        16.28) Praying Mantis  16.29) ROSS
16.30) SAMBO           16.31) Sanshou         16.32) Savate 
16.33) Shogerijutsu    16.34) Shuaijiao       16.35) Silat 
16.36) Tae Kwon Do     16.37) Taijiquan       16.38) Wing Chun
16.39) Wushu/Gongfu    16.40) Xingyiquan      16.41) Yoseikan Budo

=============

16.24) Lua 

(Contributor: Stephen Kurtzman - stephen@kurtzman.com) 

Lua is the Royal Hawaiian martial art. In the 1800s the royal Hawaiian
family decreed that the art would be restricted to members of the
royal Hawaiian family (In fact, it is still illegal to practice the
art in the state of Hawaii).  Since the 1980s, the veil of secrecy to
non-Hawaiians has started to lift with the open teaching of the art in
Southern California by Alohe Kolomona Kaihewalu. 

Lua is a form of combat which resembles Jujutsu in some of its moves.
The primary emphasis of the art is joint dislocation. 


16.25) Moo Do 

(Contributor: Eric S. Raymond - esr@locke.ccil.org) 

Moo Do is a new, eclectic style founded by Grand Master Chae T. Goh,
built on Tae Kwon Do but incorporating a much wider range of
techniques than most TKD schools.  The name means "Warrior's Way".  In
1972, Master Goh came to America after a remarkable history of success
as a student, teacher, and innovator in several martial arts in Korea,
Japan, and Vietnam.  Moo Do combines Tae Kwon Do kicking, Karate
punching, and Hapkido grappling and throwing techniques.  The style
focuses on street-usable techniques and forms, as both technique
practice and a way of pursuing the `do' or self-improvement aspect of
the art.  Sport and competition fighting are de-emphasized. 

Movements and forms are basically linear, but with a lot of training
in 45-degree shifts for evasion.  A wide range of grappling and
throwing techniques designed specifically for common self-defense
situations on the street are included.  Each class begins with
stretching and aerobic exercise.  The classes are physically
challenging, but there's a strong tradition of adapting to what the
student's body can handle.  Kick-punch combinations and
multiple-technique attacks are pushed hard from the beginning.
Sparring begins at intermediate levels. 

Basic meditation is part of the curriculum.  Students are instructed
in the ethics of the Hwarang Do, including loyalty to nation and
family, truthfulness, keeping one's word, loving kindness to one's
spouse, and the necessity to "justify your means" when using force. 
Senior students are required to research and write essays on various
topics in the art to pass belt tests. 


16.26) Muay Thai 

(Contributors: Peter Hahn - hahn@anubis.network.com, 
               Glen Downton - downton@pf.adied.oz.au)

Intro: 

Muay Thai is usually regarded as a very hard, external style. 
However, especially because of its roots in heavily Buddhist Thailand,
some consider it to have a spiritual aspect as well.  Thai boxers
typically perform some Buddhist rituals before beginning a match. 

Practicing Muay Thai is a vigorous workout and produces tremendous
cardiovascular endurance. 
                                                              
Origin:         Thailand 

History: 

Modern Thai Boxing (Muay Thai) originated from Krabi Krabong (a Thai
weapons art roughly meaning "stick and sword").  When the Thais lost
their weapons or fought close quarters with weapons they used knees,
elbows, feet, fists and headbutting.  They became famous for their
toughness on the battle field with constant wars with their Burmese
rivals.  King Ramkamheng (1275 - 1317) wrote the
"Tamrab-Pichei-Songkram" - the Book of War Learning, about the Thai
war art, the basis of which was weaponless fighting. 

The biggest Thaiboxing hero of Thailand is the 'Black Prince' Nai
Khanom Dtom, who was captured by the Burmese and had to fight against
12 of the best Burmese fighters before he was released (in 1560). The
Thais are still having annual Muay Thai tournaments in order to salute
him. 

In the old days the fights lasted until one of the fighters was dead
or seriously injured. There were no rounds and the fights could have
lasted for several hours.  No protective gear was used and sometimes
they wore rope over their knuckles and glued some broken glass on top
of it... 

Before the 1940's, Thai fighters fought bare-knuckled. After World War
II, the Thai government became concerned due to the high number of
fatalities in the ring and and forced some rules to be used: they gave
up groin shots, eye pokes, started using weight classes and boxing
gloves, and rounds.  The Thais felt that this watered down their
sport. As a result, Thais place more emphasis on kicks, particularly
to the legs; knee strikes; and grappling. These skills score higher
points than hand strikes in Thai matches. 

Description: 

Muay Thai involves boxing techniques, hard kicking, and knee and elbow
strikes.  Low kicks to the thighs are a very distinguishing technique
used frequently in Muay Thai.  Stand up grappling is also used and
allowed in the ring.  Muay Thai practitioners develop a very high
level of physical conditioning developed by its practitioners. 

Training: 

The training involves rigorous physical training, similar to that
practiced by Western boxers.  It includes running, shadow-boxing, and
heavy bag work. Much emphasis is also placed on various drills with
the so-called "Thai pads".  These pads weigh five to ten pounds, and
cover the wearers forearms.  In use, the trainer wears the pads, and
may hold them to receive kicks, punchs, and knee and elbow strikes,
and may also use them to punch at the trainee.  This training is
vaguely similar to the way boxing trainers use focus mitts.  The
characteristic Muay Thai round kick is delivered with the shin,
therefore, the shins become conditioned by this type of kicking. 

Full contact, full-power sparring is usually not done in training, due
to the devastating nature of the techniques employed.  Thai boxers may
box, hands only, with ordinary boxing gloves. Another training drill
is for two fighters to clinch, and practice a form of stand-up
grappling, the goal of which is to try to land a knee strike. 
However, full-power kicks, knees, and elbows are typically not used in
training. 

Promising children will enter dedicated Muay Thai training camps as
young as six or seven. There, the fighter will be put on a plan aimed
at making him a national champion while still in his teens. The Thais
fight frequently, and a 20 year old fighter may have had 150 fights.
Typically, half the purse from each fight goes to the training camp,
with the remainder being split between the fighter and his family. 

 
16.27) Ninjutsu 

(Contributor: Joachim Hoss - jh@k.maus.de, Adam James McColl - 
 amccoll@direct.ca)

Intro: 

Lit. Translation: "Nin" Perseverance/Endurance "jutsu" Techniques
(of). Surrounded by much controversy, today's "ninjutsu" is derived
from the traditional fighting arts associated with the Iga/Koga region
of Japan. These arts include both "bujutsu" ryuha (martial technique
systems) and "ninjutsu" ryuha, which involve a broad base of training
designed to prepare the practitioner for all possible situations. 

History: 

The history of ninjutsu is clouded by the very nature of the art
itself. There is little documented history, much of what is known was
handed down as part of an oral tradition (much like the native
american indian) and documented by later generations. This has led to
a lot of debate regarding the authenticity of the lineages claimed by
the arts instructors. 

Historical records state that certain individuals/families from the
Iga/Koga (modern Mie/Omi) region were noted for possessing specific
skills and were employed (by samurai) to apply those and other skills.
These records, which were kept by people both within the region and
outside of the region, refer to the individuals/families as "Iga/Koga
no Mono" (Men of Iga/Koga) and "Iga/Koga no Bushi" (Warriors of
Iga/Koga). Due to this regions terrain, it was largely unexplored and
the people living within lived a relatively isolated existence. This
enabled them to develop perspectives which differed from the
"mainstream" society of the time, which was under the direct influence
of the upper ruling classes. When necessary, they successfully used
the superstitions of the masses as a tool/weapon and became feared and
slightly mythologized because of this. 

In the mid/late 1500's their difference in perspective led to conflict
with the upper ruling classes and the eventual invasion/destruction of
the villages and communities within the Iga/Koga region. The term
"ninja" was not in use at this time, but was later introduced in the
dramatic literature of the Tokugawa period (1605-1867). During this
period, ancestral fears became contempt and the stereotypical image
("clans of assassins and mercenaries who used stealth, assassination,
disguises, and other tricks to do their work") was formed which, to
this day, is still very much the majority opinion. 

Over 70 different "ninjutsu ryu" have been catalogued/identified,
however, the majority of them have died out. Most were developed
around a series of specific skills and techniques and when the skills
of a particular ryu were no longer in demand, the ryu would (usually)
fade from existence. The three remaining ninjutsu ryu (Togakure ryu,
Gyokushin ryu, and Kumogakure ryu) are encompassed in Dr. Masaaki
Hatsumi's Bujinkan Budo Taijutsu system.  These ryu, along with six
other "bujutsu ryu" (Gyokko Ryu, Koto Ryu, Takagi Yoshin Ryu, Shinden
Fudo Ryu, Gikan Ryu and Kukishinden Ryu), are taught as a collective
body of knowledge (see Sub-Styles for other info). 

During the "Ninja-boom" of the 80's, instructors of "Ninjutsu" were
popping out of the woodwork - it was fashionable to wear black. Now
that the boom is over there are not as many people trying cash in on
the popularity of this art. However, as with all martial arts, it
would be wise to be very careful about people claiming to be "masters
personally taught by the Grandmaster in Japan". 

How do you verify the authenticity of an instructor? In the case of a
Bujinkan Budo Taijutsu instructor there a few points which one can
use. 

First: all recognized "instructors" of the Bujinkan Dojo will, in
addition to their Dan grade (black belt), have either a Shidoshi-ho
(assistant teacher - first to fourth Dan) or Shidoshi (teacher - fifth
to ninth Dan) certificate/ licence from Dr Hatsumi. Only people with
these certificates are considered to be qualified to teach his system
(a Dan grade alone DOES NOT make one a teacher). 

Second: in addition to these certificates/licences, all recognized
"instructors" of the Bujinkan Dojo will possess a valid Bujinkan Hombu
Dojo Shidoshi-kai (Bujinkan Headquarters Dojo Teachers Association)
for the current year. These cards are issued each year from Dr Hatsumi
to those recognized as "instructors". 

These points will help you if you are looking at training with someone
from the Bujinkan Dojo. Beyond that, it's a case of "buyer beware". 

Description: 

Terms like "soft/hard", "internal/external", linear/circular" have
been used to describe ninjutsu by many people. Depending upon the
perspective of the person, it could appear to be any one, all or even
none of the above. It is important to remember that the term
"ninjutsu" does not refer to a specific style, but more to a group of
arts, each with a different point of view expressed by the different
ryu. The physical dynamics from one ryu to another varies - one ryu
may focus on redirection and avoidance while another may charge in and
overwhelm. 

To provide some kind of brief description, ninjutsu includes the study
of both unarmed and armed combative techniques, strategy, philosophy,
and history. In many Dojos the area of study is quite comprehensive.
The idea being to become adept at many things, rather than
specializing in only one. 

The main principles in combat are posture, distance, rythm and flow. 
The practitioner responds to attacks in such a way that they place
themselves in an advantageous position from which an effective
response can be employed. They are taught to use the entire body for
every movement/technique, to provide the most power and leverage. They
will use the openings created by the opponents movement to implement
techniques, often causing the opponent to "run in/on to" body weapons.

Training: 

As was noted above, the areas of study in ninjutsu are diverse.
However, the new student is not taught everything at once. 

Training progresses through skills in Taihenjutsu (Body changing
skills), which include falling, rolling, leaping, posture, and
avoidance; Dakentaijutsu (Striking weapons body techniques) using the
entire body as a striking tool/ weapon - how to apply and how to
receive; and Jutaijutsu (Supple body techniques) locks, throws,
chokes, holds - how to apply and how to escape. 

In the early stages, weapons training is usually limited to practicing
how to avoid attacks - overcoming any fear of the object and
understanding the dynamics of its use from the perspective of
"defending against" (while unarmed). In the mid and later stages, once
a grounding in Taijutsu body dynamics is in place, practitioners begin
studying from the perspective of "defending with" the various
tools/weapons. 

In the early stages of training, kata are provided as examples of
"what can be done here" and "how to move the body to achieve this
result". However, as the practitioner progresses they are encouraged
to explore the openings which naturally appear in peoples movements
and apply spontaneous techniques based upon the principles contained
within the kata. This free flowing style is one of the most important
aspects of ninjutsu training. Adaptability is one of the main lessons
of all of these ryu. 

Due to the combative nature of the techniques studied, there are no
tournaments or competitions in Ninjutsu. As tournament fighting has
set rules which compel the competitor to study the techniques allowed
within that framework, this limits not only the kinds of techniques
that they study, but also the way in which they will apply those
techniques. The way that you train is the way that you fight. Ninjutsu
requires that its practitioners be open to any situation and to be
able to adapt their technique to ensure survival. 

Sub-Styles: 

There are a number of people claiming to teach "ninjutsu". 

Dr. Masaaki Hatsumi has been the recpient of numerous cultural awards
in recognition of his extra-ordinary knowledge of Japanese martial
culture. He is considered by many to be the only source for authentic
"ninjutsu". However, as was noted above, the teachings of the three
ninjutsu ryu which are part of his Bujinkan system, are not taught
individually. Rather, they are taught as part of the collective body
of knowledge which forms the foundation of his Bujinkan Budo Taijutsu
system. 

Shoto Tanemura, formerly of the Bujinkan Dojo, formed his own
organization (Genbukan Dojo) and claimed to be the Grandmaster
of/teaching both Iga and Koga Ryu Ninjutsu. He has since formed a
number of other organizations and is becoming more widely known for
his "Samurai Jujutsu" tapes (Panther Productions). 

The list of names of people claiming to teach "Koga Ryu Nijutsu" is
quite long. The last person to be recognized as part of the Koga Ryu
lineage in Japan was Seiko Fujita. His knowledge of "ninjutsu" died
with him - he left no successor. 


16.28) Praying Mantis (Tanglangquan/Tanglangpai) 

(Contributor: Fernando Blanco - mantisking@hotmail.com) 

Intro: 

Imitative boxing of the Praying Mantis.  The Praying Mantis is an
insect with killer instinct and blinding speed. The Tanglangpai is a
combat system composed of several sub-styles, that due to the richness
and complexity of their techniques are considered styles by
themselves. Some of these styles were created combining the praying
mantis boxing with other wu-shu systems. Some writers count more than
40 Praying Mantis styles. This section will only mention below the
more ancient and traditional ones. 

Origin:         Shandong Province (Northern China) 

History: 

Wang Lang (the style creator) was born in the Jimo district, in
Shandong Province.  He lived during the Ming Dynasty fall and as he
was a patriot (some Masters say he was uncle of the last Ming
Emperor), he decided to excel in the martial arts to fight against the
Qing Dynasty (Manchurian rulers).  He entered to the Shaolin
monastery in Songshang, but being prosecuted by the Manchurians he
travelled all over China, training in places places where he could
find Gongfu Masters.  In this way he learned 17 Chinese Boxing
styles. 

After this travel, Wang Lang entered to the Laoshan monastery.  Once
there, he was always defeated by the abbot of the temple in spite of
his deep knowledge of the fighting arts.  One day, while he was
meditating in a forest he saw a combat between a praying mantis and a
cicada.  He was impressed by the aggressive attitude of the mantis and
he started studying its movements.  After a long learning time he
combined the praying mantis hand movements with the monkey steps (to
enhance the coordination between hand and feet).  With this new style
Wang Lang could defeat the monastery abbot.  Wang Lang went on
modifying his system and when he felt satisfied with his creation he
accepted some disciples. 

Description: 

Even though Praying Mantis sub-styles are quite different, they all
contain the basic structure created by Wang Lang: * 8 stances * 12 key
words * 8 rigid and 12 flexible methods * 5 external and 5 internal
elements * 8 non- attacking and 8 attacking points. 

Northern praying mantis is a style characterized by fast hand
movements. The hook hands are the "trade mark" of the style and they
are found in all the northern sub-styles.  Northern Tanglangquan's 
main weapon is the blinding speed of the hand trying to control and
punch the opponent.  It has a balanced combination of circular and
straight movements. 

Other important elements are the simultaneous block and punch, and
strong chopping punches.  These are practical movements for full
contact street fighting.  Some Chinese martial artists say that Seven
Star Praying Mantis Boxing (one of the praying mantis sub-styles) is
the most aggressive style created in China.  Grappling, kicking,
nerve-attack and weapons complete the northern branch. 

Southern praying mantis is very different.  It is an infighting system
that resembles Wing Chun.  Qigong is very important in the Southern
Praying Mantis.  Movements are continuous and circular, soft and hard,
except in attack, where the middle knuckle (phoenix eye) of the index
finger is used like a needle to pierce the internal organs. A punch
with the fist produces an external muscular bruise, striking with the
phoenix eye produces an internal bruise. 

Training:

 1) Physical exercises
 2) Body conditioning
        Tieshazhang (Iron Palm)
        Baidagong (body strengthening)
        Jhiu Sa So (Poison Palm)
 3) Fighting Theory
        Tui (legs actions)
        Da  (hand actions)
 4) School training (basic movements known as combinations)
 5) Shuai (Throwing Techniques)
 6) Na (also known as Qinna, grappling techniques)
 7) Forms training (The core of the system. Solo training and forms
    for two or more people)
 8) Sanshou (free fighting)
 9) Jei Jai (weapons training)
10) Dim Mak (also known as mur mon, the death touch)
        8 attacking points
        8 non attacking points
        Deadly points
11) History and tradition (honor the ancestors in the style and keep
    the folklore tradition -for example Lion Dance-)

Sub-Styles:

Northern Sub-Styles:

Seven Stars Praying Mantis (Qixing Tanglang)
Eight Steps Praying Mantis (Babu Tanglang)
Six Armonies Praying Mantis (Liuhe Tanglang)
Secret Door Praying Mantis (Bimen Tanglan)
Mysterious Track Praying Mantis (Mizong Tanglang)
Throwing Hands Praying Mantis (Shuaishou Tanglang)
Plumb Flower Praying Mantis (Meihua Tanglang)
Flying legs Praying Mantis from the Wah Lum Temple (Wah
Lum Tam Tui Tang Lang) Jade Ring Praying Mantis (Yuhuan
Tanglang) Long Boxing Praying Mantis (Changquan Tanglang) 
Great Ultimate Praying Mantis (Taiji Tanglang)
Eight Ultimates Praying Mantis (Baji Tanglang)

Southern Sub-Styles (Hakka shadow boxing):
            
Bamboo Forest Praying Mantis (Kwong Sai Jook Lum Tang Lang) 
Chou Clan Praying Mantis (Chou Gar Tang Lang) 
Chu Clan Praying Mantis (Chu Gar Tang Lang)

Familiar or non spread Sub-Styles:

Han Kun Family Praying Mantis (Han Gong Jia Tanglang)
Drunken Praying Mantis (Zui Tanglang) 
Shiny Board Praying Mantis (Guangban Tanglang) 
Connected Arms Praying Mantis (Tongbei Tanglang) 
Mandarin Duck Praying Mantis (Yuanyang Tanglang)


16.29) ROSS (Russian Martial Art)

(Contributor: Scott Sonnon - amerross@redrose.net)

Russian Martial Art is a system of education in human biomechanics and
the study of human behavior under extreme situations.  Students are 
guided towards introspection and exploration of their full human 
potential.  Movement is natural and free, and acquiring skills is 
based on the study of Cossack and Russian folk dances, Slavic folklore,
and "Natural Laws."

The ancient Slavic martial traditions dates to the nomadic 
steppe-warriors of approximately 5,000 BCE, passed from father to 
son in families for generations of pre-Soviet Russia, and then only 
among the elite combat specialist subdivisions (SPETSNAZ) of the 
former USSR.  Scott Sonnon, USA Sambo Team Coach and Trainer and 
World Sambo Vice-Champion, was the first foreigner accepted into this
heritage in the attempt to bring the world together in fraternity.
Sonnon imported the art to America in 1996 to improve the quality of 
life of his compatriots through the Russian health system, advanced 
sports biomechanics, and elite combative preparation. In 2000, one of 
the sportive derivations of Russian Martial Art, named Sambo, will be 
Olympic at the Sydney Games.

Russian Martial Art derives its name ROSS from "ROSSIYA" which 
is the Russian spelling for the word RUSSIA.  ROSS, a Russian 
acronym standing for "Russian Native Martial Art" was developed by 
Commander Alexander Retuinskih, President of the All-Russian 
Federation of Russian Martial Art (RFRMA), Chairman of the 
International Combat Sambo Commission, Chairman of the Russian Combat 
Sambo Committee, officer General of the Cossack Military.  In 1991, 
the RFRMA was sanctioned by the Russian Olympic Committee as the sole 
representative of Russian Martial Art.   ROSS is taught to trainers 
of Russian Spetsnaz units of the Ministries of Internal Affairs, 
Defense and protective services, Russian Marine troops, VDV, OMON, 
and Minsk's "Alpha" units in Byelorussia, special MVD units "Vityaz", 
frontier troops of Lithuania and many others.

In Russian Martial Art, the main goal of a person is to render the 
adversary harmless while minimizing losses for both self and foe:  
to work efficiently in any situation.  Learning Russian Martial Art, 
students acquire great power as fighters, but more importantly as a 
human beings, increasing ones value for health and life, for both self
and others.  Both in combat and in life, students treat other creatures
with awareness and compassion.  When necessary, firm action is issued,
but never in a callous or careless manner, and when all other option 
have been considered. "Your life is not your alone; it belongs to your
friends, family and community" (Alexander Ivanovich Retuinskih), or as
is said in the Cossack Cadet Code:  "The life of your friend is always
more valuable than your own.  You can die yourself, but rescue your 
friend."

ROSS undertakes training in 8 directions:

1.  Russian-Style Close-Quarters Combat and Survival
2.  Renovated SAMBO (see FAQ entry on SAMBO)
3.  Executive and Close Protection Training
4.  Bayonet-Fencing
5.  Advanced Sports Biomechanics
6.  Acrobatic Dance, Stunt and Theatrical Combat
7.  Russian System of Health and Wellness
8.  Russian Fisticuffs


16.30) SAMBO

(Contributor: Alex Levitas - alevitas@iil.intel.com)

Intro: 

SAMBO is an acronym of Russian words "SAMozaschita Bez Orujiya" -
"Self-Defence Without Weapon". 

Origin: Russia 

History: 

SAMBO was created in the 1930's.  Official recognition of new art was
in 1938.  At first it was named "free-style wrestling", then "free
wrestling," and in 1946 was renamed "SAMBO."  This system is
compilation of techniques from a number of martial arts including
Japanese and Chinese martial arts; national martial arts of USSR area
natives (Georgians, Armenians, Mongols, Russians etc.); French
wrestling and other arts.  At the time of the 2nd world war the system
was widely "tested" by the Soviet army.  "Special" techniques were
added at the time, for example fighting in cells, quick-and-quiet
sentry killing, and so on.  Because of the number of criminals in the
Soviet army at that time (during WWII each prisoner was "invited" to
the front with each year at the front worth two or so years of their
sentence) SAMBO experts acquired many lessons on criminal street
fighting, and a number of these techniques were included in SAMBO. 
SAMBO continues to accept new techniques and modify old ones. 

Description: 

Today, SAMBO is built from 3 parts: the sportive part (Olympic sport),
the self-defense part, and the special or combat part. 

The sportive part is similar to Judo but with some differences in
allowed techniques.  SAMBO allows leg locks were Judo does not, but
Judo allows choking but SAMBO does not.  There are somewhat more
techniques in SAMBO than in Judo. 

The self-defense part of SAMBO is similar in form to Aikijujutsu
because it is intended to be entirely defensive.  The founder of SAMBO
said this about the self-defense part: 

  "We give defensive weapons to citizens.  Some people say that this
  kind of martial art may be learned by criminals or hooligans and
  used against citizens.  Don't worry! This art does not include even
  one attacking technique! If a hooligan will learn, he will be able
  to apply it only against another hooligan who will attack him, but
  never against a citizen."

There are many specific techniques for defending specific attacks,
including escaping from grips and chokes, defenses against punches and
kicks, defenses against weapons (knife, stick etc.), and
floor-fighting.  The self-defense part of SAMBO is based on body
movements and locks with a few punches and kicks.  The object is to
allow defense but not to injure the opponent more than necessary
because this part was created for citizens.  In the former Soviet
Union the law was that if you injure your opponent more than needed in
a self-defense situation you could receive a 5 year prison term.  Some
of the self-defense techniques are based on sportive SAMBO. 

The third part - combat SAMBO - was created for the army and police. 
It is a very severe, and dangerous system.  If the idea of sportive
SAMBO is "Take points and win," and the idea of the self-defence part
is "Don't allow to attacker injure you," the idea of combat SAMBO is
"Survive, and if someone hinders you - injure or kill him."  Combat
SAMBO includes sportive and self-defence techniques, but uses them in
different ways.  For example, sportive SAMBO uses the traditional
shoulder throw of Judo and Jujutsu. In combative SAMBO the throw is
done with the opponents arm rotated up and locked at the elbow, and
can be done to throw the opponent on his head.  If the opponent
attempts to counter by lowering his center of gravity and pulling
backwards (as is taught in sportive SAMBO) the arm will be broken. 
Combative SAMBO teaches shoulder throw counters that might be able to
deal with a locked arm like kicking out the opponents knee and pulling
back by the hair or eye sockets. 

In addition to modified sportive and self-defence techniques, combat
SAMBO includes kicks, punches, "dangerous throwing" (throws that can't
be include into sportive part because they cause injury), locks on the
spine, things that are prohibited in sportive wrestling (biting, for
example), many "sadistic dirty things," working against weapons (with
or without a weapon of your own), tricks like putting your coat on
your opponents head (works nicely), floor fighting (very strong),
fighting in closed space (small room, pit, stairs), quick-and-quiet
sentry killing, and so forth.  Students also learn strategy and
tactics of fighting alone or in groups against single or multiple
opponents.  SAMBO is less popular today in Russia because the influx
of oriental martial arts in recent years.  But, the development of
SAMBO has continued and elements of it are incorporated into other
modern combat systems. 


16.31) Sanshou

(Contributor: Edmund Tsoi - nelumbo@globalserve.net) 

Intro: 

In Chinese, Sanshou (loose hands) refers to the free application of
all the realistic hand-to-hand combat skills of Gongfu.  It is
divided into three categories: Sport Sanshou (Chinese Kickboxing),
Civilian Sanshou, and Military Sanshou (AKA Qinna Gedou). 

Origin:  China 

History: 

After fighting directly with the superior American forces during the
Korean War, the Chinese government realized that new scientific R&D is
important for its military forces.  Army chief Peng Dehuai directed a
great military training campaign (Da Be Wu) after the war.  Martial
arts masters from each of China's 92 provinces were brought together
with medical experts to compare and evaluate their techniques.  A new
hand-to-hand combat system was developed based on three criteria:
simplicity, directness, and effectiveness against a larger, stronger
opponent.  This system of fighting was thoroughly tested in training
camps throughout China, and in border conflicts with Soviet troops. 
The Chinese military published manuals on Sanshou in 1963 and 1972. 

Besides military Sanshou, civilian Sanshou continued to be developed
by underground martial arts schools and individual martial artists in
communist China.  Civilian Sanshou warriors sharpened their skills by
street championships where they challenged each other.  These kinds of
challenges were very popular during the cultural revolution (1966-76)
and usually ended by being broken up by the police. 

In recent years, sport Sanshou has been developed and promoted by the
Chinese government.  In the early years (1980s), there were no formal
championships for Sanshou.  Only demonstrations were available on
national T.V.   Most of the Sanshou participants were military and
police men. Therefore, sport Sanshou kept its flavour of military
kickboxing and wrestling.  Lately, the Chinese government have
promoted Sanshou into a nation-wide sport and held formal national
and international championships every year. 

Description: 

The Sanshou as practiced by the Chinese military is based on the
Chinese Art of War, physics, anatomy, bio-mechanics, and human
physiology.  It is a complete system of realistic unarmed combat
covering the skills of striking, grappling, wrestling, groundfighting,
and weapon defenses taken from various Chinese and foreign martial
arts and hand-to-hand combat styles.  It focuses on applying the
principles of combat rather than on techniques.   The various
divisions of the military and police force have slight differences in
technique, but they all employ the same principles. 

Because of the increase of violent crimes in China, civilian Sanshou
was created by the Chinese government so that Chinese civilians can
learn self defense skills.  It is also a complete system of striking
and grappling, but without the lethal techniques that are required in
the military.  Many "underground" martial artists also developed
Sanshou fighting skills. 

The sport of Sanshou is rising in popularity all over the world.  It
is a kickboxing style that is fought on a platform called a "Lei Tai".
Fighters wear boxing gloves, headgear, and body protectors.  It is
full contact kicking and punching with throws and sweeps allowed. 
Knees, elbows, headbutts, joint manipulation and chokes are not
allowed, but fighters can be thrown off the platform. 

Training: 

Military and civilian Sanshou training involves many punching,
kicking, grappling, wrestling, groundfighting, and weapon defense
drills with a partner.  Contact sparring with protective gear is also
emphasized.  This is where the different skills are blended together
into one fluid art. There are no forms or formal stances, and no
qigong exercises. 

Sport Sanshou training is similar to kickboxing training, except that
throws and sweeps are also drilled extensively.  Physical conditioning
is also important in sport full-contact fighting. 

In Toronto Canada, Sanshou instruction is available through Chinese
Self-Defense Studies, the first and only organization outside of China
that teaches Military Sanshou. Information on Chinese Self-Defense
Studies can be found at the following
http://www.globalserve.net/~nelumbo/sanshou.htm. 

Sub-styles: 

Military Sanshou (AKA Qinna Gedou) 
Civilian Sanshou 
Sport Sanshou (Chinese Kickboxing) 


16.32) Savate              

(Contributor: Tobias Ratschiller - tRatschiller@pass.dnet.it)

Intro:          A native French kicking style.

Origin:         France

History:        

It was developed in the last century, and its origins and
relationships, if any, to other Martial Arts are unclear.  There are
stories about French sailors picking up techniques in Eastern ports,
bringing them home and integrating them with local foot fighting and
fencing techniques. 

"French Boxing-Savate" was founded in 1970 in France.  It consists
mainly of precise striking with the hands and low foot-striking and
appropriate defense-techniques. The hand-techniques are similar to
boxing. Special attention is paid to develop elegant and soft
movements. 

Description: 

It primarily encompasses kicking techniques somewhat similar to Tae
Kwon Do or Karate.  It includes punching techiques from Western Boxing
and stick fighting techniques based on French rapier fighting.  It is
very stylized and more extended than most Eastern kicking arts. 

Training: 

Three different forms are taught: 

- Assaut: technical fighting, the opponent must not (or nearly not) 
  be hit.
- Combat Technique: fighting with semi-contact
- Combat Total: full-contact fight with KO allowed.

Usually together with Savate is taught "La Canne", a mostly defensive
art using wooden sticks." 


16.33) Shogerijutsu 

(Contributor: Chris Butts - dapoet@juno.com) 

Shogerijutsu deals with the concept of the dynamic martial artist. 
Each student learns the basics, and from there they build on their own
foundation.  Shogerijutsu combines many facets of learning from the
martial arts.  Shogerijutsu takes the basic self-defense techniques of
 jujutsu, karate-do, gongfu, and kick boxing, then combines it with
the philosophy of styles that represent the fundamental approach
toward self-defense and combat such as kenpo, jeet kune do, aikijutsu,
and gongfu.  Shogerijutsu means "the essence in kicking technique",
but the name itself does not define the techniques or philosophy of
living that goes on within a system. The word "kicking" can be
replaced with any of a multitude of strikes. 

The basics are taught at first.  As the student progresses so does
their knowledge of control, joint locks, throws, combat philosophy,
ranges, kata, and body positioning.  Each phase of learning focuses on
a breakup of the latter, with emphasis on implementing kata technique
into applicable use on the street.  This style is ideal for people who
want to learn martial art basics.  The philosophy of this style blends
well with any style whose purpose is self-defense with focus on
individualism. 

For more information contact:
        Norman Shogerijutsu Academy
        1818 Twisted Oak Dr.
        Norman, OK 73071


16.34) Shuaijiao

(Contributor: Bill Norcott - bill@bimby.posix.tandem.com)

Intro:

The oldest Chinese bare-handed fighting style.  Shuaijiao is a
comprehensive fighting style which incorporates the principles of
Taijiquan. 

Origin:         China 
        
History: 

Shuiajiao emerged around 2,000 years ago.  It was originally taught
only to the military elite.  Starting in the Qin Dynasty,
Shuaijiao was demonstrated in tournaments for the Imperial court. 
During the Qing Dynasty, China maintained a camp of 300 full time
fighters who trained for competition with China's allies.  Today,
Shuaijiao is still taught primarily to the military and police in
China and Taiwan.  Shuaijiao is a Northern Chinese martial art that
was not well known in the south until the 1930's. 

Shuaijiao was introduced to the United States in 1978 by Dr.
Chi-Hsiu Daniel Weng.  Dr. Weng started martial arts training at age
11, beginning with judo.  After achieving second degree black belt in
judo, he began study of Shuaijiao from Grandmaster Chang
Dongsheng.  Dr. Weng spent 20 years studying Shuaijiao with
Grandmaster Chang, including 10 years as Shuaijiao instructor at the
Taiwan Central Police College.  Dr. Weng is an 8th degree black belt
in Shuaijiao, and is president of the U.S. Shuai-Chiao Association. 

There has been a large growth of interest and participation in
Shuaijiao during the past several years.  Major Chinese martial arts
tournaments now include Shuaijiao divisions.  Shuaijiao fighters
have also competed successfully in Sanshou (full contact fighting)
competition.  The five-man U.S. full contact team sent to the 2nd
World Wushu Championships included three Shuaijiao fighters. 


Description: 

Shuaijiao integrates striking, kicking, throwing, tripping,
grappling, joint locking, and escaping methods.  Shuaijiao fighting
principles are based on Taijiquan, but techniques are applied
with more force. There are 30 theoretical principles of Shuaijiao;
the six major principles are: absorbing, mixing, squatting, hopping,
turning, and encircling. 

Shuaijiao fighting strategy emphasizes maintaining balance and
controlling the opponent.  Tactics emphasize throwing the opponent
while maintain a joint lock, then following with a vital point strike.
There are 36 major throws in the system, with 3600 combinations.
Shuaijiao is notable for joint attacks and hard throws. 

Shuaijiao has a belt ranking system.  The succession of belts is:
white, green, green-blue, blue 1, blue 2, blue 3, black.  There are
ten degrees of black belt.  The 10th degree is reserved for the
founder of the lineage, the late Grandmaster Chang Dongsheng. 

Competition is similar to actual combat, except that strikes and kicks
are allowed only in conjunction with a throw.  Also, joint attacks are
discouraged.  Match is three falls. Point is awarded upon completion
of the throw with control maintained over opponent.  There is no
pinning nor submission holds in Shuaijiao competition; in actual
combat the throw would be followed by a finishing strike.  Victory in
tournament competition is required for advancement to blue belt and
above. 

Training: 

There are a dozen stationary training stances to train strength and
flexibility.  Twenty moving forms train the position and footwork used
in approaching, joint locking and throwing.  Wushu high kicking
excercises train leg strength and flexibility.  The kicks most often
used in Shuaijiao fighting are low kicks and sweeps.  Unique to
Shuaijiao is "belt cracking", which uses the uses the uniform belt
in excercises that train strength and proper position.  Throws are
practised in excercises with a partner, then in sparring.  Sparring is
practised at all levels, as soon as the student has mastered
breakfalls.  A typical class consists of stretching excercises, Wushu
kicking, forms practise, throwing and breakfalls, and sparring. 

Sub-Styles: 
                
Shuaijiao styles are categorized by region.  The four major regional
styles are Mongolian, Beijing, Tianjin, and Baoding. 
The USSA teaches the Baoding style. 

For more information, contact:

        United States Shuai-Chiao Association,
        P.O. Box 1221
        Cupertino, CA 95015
        U.S.A.


16.35) Silat 

(Contributor: Jeffrey Chapman - jchapman@armory.com) 

Intro: 

Pentjak Silat is the Indonesian set of Martial Arts, all with diferent
styles and schools (over 400 of them). 

Origin:         Indonesia 

History: 

Since Silat is an umbrella term covering many styles, it is not
possible to give a single history.  Some of the arts are very old
(1000 years?), and some were developed less than 50 years ago.  Also,
as with other arts, the history of Silat is somewhat unclear.  There
is a mixture of indigenous techniques along with techniques borrowed
from Chinese Wu Shu and Indian arts such as Kalaripayit. 

Description: 

Pentjak Silat depends heavily on an indigenous weapons and
animal-styles heritage.  In the (distant) past, it was predominately a
weapons system; empty hand techniques are derived from the weapons
forms.  As a weapons system, it was guarded jealously as a royal art;
over the centuries, Pentjak Silat became a village art. 

Techniques are quite varied, although kicks are not emphasized much.
Foot work is sophisticated and the development of stability is of
major importance. The foot and and hand techniques are so subtle and
intricate that they are often taught separately, then integrated after
the student has mastered them individually. There is a good balance
between offensive and defensive techniques. 

A great master of Pentjak Silat is referred to as "pendekar." 
Pendekar describes someone who is not merely a great martial artist; a
pendekar has also attained a high level of spiritual development. 
Senior students are called "guru" by beginning students, and a
proficient instructor is called "kang." 

Training: 

As an example, Pentjak Silat Mande Muda has a complex and rather
rigorous system of training, which includes classical empty hand and
weapons forms, practical empty hand, weapons, and improvised weapons
techniques, stretches, physical conditioning, and breath control. 
Although the forms are often performed with musical accompaniment,
much like a dance, they are nevertheless extremely valuable both as
conditioning methods and as encyclopedias of technique. 

Sub-Styles: 

Kali/Escrima/Arnis (see separate FAQ entry), Panantukan, Sikaran,
Panandiakman, Dumog, Mande Muda, and many others. 

                        
16.36) Tae-Kwon-Do 

(Contributors: Dakin Burdick - burdick@silver.ucs.indiana.edu,
               Ray Terry - rterry@hpkel02.cup.hp.com)

Intro:   One of the most popular sports and martial arts in the world.

Origin:   Korea

History:        

The five original Korean Kwans ("schools") were: Chung Do Kwan, Moo
Duk Kwan (the art of Tang Soo Do), Yun Moo Kwan, Chang Moo Kwan, and
Chi Do Kwan.  These were founded in 1945 and 1946.  Three more Kwans
were founded in the early 1950's - Ji Do Kwan, Song Moo Kwan, and Oh
Do Kwan. 

After fifty years of occupation by Japan (which ended in 1945) and
after the division of the nation and the Korean War, Korean
nationalism spurred the creation of a national art in 1955, combining
the styles of the numerous kwans active within the country (with the
exception of Moo Duk Kwan, which remained separate - therefore Tang
Soo Do is still a separate art from TKD today).  Gen. Hong Hi Choi was
primarily responsible for the creation of this new national art, which
was named Tae Kwon Do to link it with Tae-Kyon (a native art). Earlier
unification efforts had been called Kong Soo Do, Tae Soo Do, etc. Many
masters had learned Japanese arts during the occupation, or had
learned Chinese arts in Manchuria.  Only a few had been lucky enough
to be trained by the few native martial artists who remained active
when the Japanese banned all martial arts in Korea.  Choi himself had
taken Tae-Kyon (a Korean art) as a child, but had earned his 2nd dan
in Shotokan Karate while a student in Japan. 
                
Description: 

Primarily a kicking art.  There is often a greater emphasis on the
sport aspect of the Art.  Tae-Kwon-Do stylists tend to fight at an
extended range, and keep opponents away with their feet.   It is a
hard/soft, external, fairly linear style.  It is known for being very
powerful. 

Training: 

Training tends to emphasize sparring, but has forms, and basics are
important as well.  There is a lot of competition work in many
dojongs. 

The World Taekwondo Federation is the governing body recognized by the
International Olympic Committee, and as a result WTF schools usually
emphasize Olympic-style full contact sparring.  The WTF is represented
in the U.S. by the U.S. Taekwondo Union (USTU). 

The International Taekwondo Federation is an older organization
founded by Hong Hi Choi and based out of Canada.  It tends to
emphasize a combination of self-defense and sparring, and uses forms
slightly older than those used by the WTF. 

The American Taekwondo Association is a smaller organization similar
in some ways to the ITF.  It is somewhat more insular than the ITF and
WTF, and is somewhat unique in that it has copyrighted the forms of
its organization so that they cannot be used in competition by
non-members. 

There are numerous other federations and organizations, many claiming
to be national (AAU TKD has perhaps the best claim here) or
international (although few are), but these three have the most
members.  All of these federations, however, use similar techniques
(kicks, strikes, blocks, movement, etc.), as indeed does Tang Soo Do
(another Korean art, founded by the Moo Duk Kwan, that remained
independent during the unification/foundation of Tae Kwon Do). 

Sub-Styles:  None(?) 


16.37) Taijiquan (T'ai Chi Ch'u"an)

(Contributors: William Breazeal  - breazeal@tweedledee.ucsb.edu,
               Michael Robinson  - robinson@cogsci.berkeley.edu,
               Simon Ryan/Peter Wakeham - s.ryan@trl.oz.au)

INTRO:

One of the three orthodox "internal" styles of Chinese martial art
(the other two being Xingyiquan and Baguazhang). The term
"Taiji" refers to the ancient Chinese cosmological concept of the
interplay between two opposite yet complementary forces (Yin and Yang)
as being the foundation of creation. "Quan" literaly means "fist"
and denotes an unarmed method of combat. Taijiquan as a martial
art is based on the principle of the soft overcoming the hard. 

ORIGIN: Chenjiagou, Wen County, Henan Province, China. 
        
HISTORY: 

The origins of Taijiquan are often attributed to one Zhang Sanfeng
(a Taoist of either the 12th or 15th century depending on the
source) who created the art after witnessing a fight between a snake
and a crane. These stories were popularized in the early part of this
century and were the result of misinformation and the desire to
connect the art with a more famous and ancient personage. All of the
various styles of Taijiquan which are in existence today can be
traced back to a single man, Chen Wangding, a general of the latter
years of the Ming Dynasty. After the fall of the Ming and the
establishment of the Qing Dynasty (1644), Chen Wangding returned to
the Chen village and created his forms of boxing.  Originally
containing up to seven forms, only two forms of Chen Style
Taijiquan have survived into the present. 

The Art was only taught to members of the Chen clan until a promising
young outsider named Yang Luzhan was accepted as a student in the
early part of the 19th century. Yang Luzhan (nicknamed "Yang without
enemy" as he was reportedly a peerless fighter) modified the original
Chen style and created the Yang style of Taijiquan, the most
popular form practiced in the world today. Wu Yuxiang learned the Art
from Yang Luzhan and a variation of the original Chen form from Chen
Jingbing (who taught the "small frame" version of Chen Taijiquan)
and created the Wu style. A man named Hao Weizhen learned the
Wu style from Wu Yuxiang's nephew and taught the style to Sun
Ludang, who in turn created the Sun style (Sun was already an
established master of Xingyiquan and Baguazhang when he learned
Taijiquan. He combined his knowledge of the other arts when
creating his style). Yang Luzhan had another student, a Manchu named
Chuan You (or Quan You), who in turned taught the Art to his son, Wu
Jianchuan (or Jianquan). Wu Jianchuan popularized his variation of 
the Yang style, which is commonly refered to as the Wu Jianchuan 
(or Jianquan) style. In recent times (this century) there have been 
many other variations and modificationsof the Art, but all may be 
traced back through the above masters to the original Chen family form. 

Description: 

Complete Taijiquan arts include basic exercises, stance keeping
(Zhanzhuang), repetitive single movement training, linked form
training, power training (exercises which train the ability to issue
energy in a ballistic pulse), weapons training (which includes
straight sword, broadsword, staff and spear), and various two-person
exercises and drills (including "push-hands" sensitivity drills). A
hallmark of most styles of Taijiquan is that the movements in
the forms are done quite slowly, with one posture flowing into the
next without interruption. Some forms (the old Chen forms for example)
alternate between slow motion and explosive movements. Other styles
divide the training into forms which are done slowly at an even tempo
and separate forms which are performed at a more vigorous pace. The
goal of moving slowly is to insure correct attention is paid to proper
body mechanics and the maintenance of the prerequisite relaxation. 

Training: 

Training exercises can be divided into two broad categories: solo
exercises, and drills which require a partner. A beginner will usually
begin training with very basic exercises designed to teach proper
structural alignment and correct methods of moving the body, shifting
the weight, stepping, etc. All of the Taijiquan arts have at
their very foundation the necessity of complete physical relaxation
and the idea that the intent leads and controls the motion of the
body. The student will also be taught various stance keeping postures
which serve as basic exercises in alignment and relaxation as well as
a kind of mind calming standing meditation. A basic tenet of all
"internal" martial arts is that correct motion is born of absolute
stillness. Once the basics are understood, the student will progress
to learning the formal patterns of movement ("forms") which contain
the specific movement patterns and techniques inherent in the style. 

Traditionally, single patterns of movement were learned and repeated
over and over until mastered, only then was the next pattern taught.
Once the student had mastered an entire sequence of movements
individually, the movements were taught in a linked sequence (a
"form"). The goal of training is to cultivate a kind of "whole body"
power. This refers to the ability to generate power with the entire
body, making full use of one's whole body mass in every movement.
Power is always generated from "the bottom up," meaning the powerful
muscles of the legs and hips serve as the seat of power. Using the
strength of the relatively weaker arms and upper body is not
emphasized. The entire body is held in a state of dynamic relaxation
which allows the power of the whole body to flow out of the hands and
into the opponent without obstruction. 

The Taijiquan arts have a variety of two person drills and
exercises designed to cultivate a high degree of sensitivity in the
practitioner. Using brute force or opposing anothers power with power
directly is strictly discouraged. The goal of two person training is
to develop sensitivty to the point that one may avoid the opponent's
power and apply one's own whole body power wher the opponent is most
vulnerable. One must cultivate the ability to "stick" to the opponent,
smothering the others' power and destroying their balance. Finally,
the formal combat techniques must be trained until they become a
reflexive reaction. 

Modified forms of Taijiquan for health have become popular
worldwide in recent times because the benefits of training have been
found to be very conducive to calming the mind, relaxing the body,
relieving stress, and improving one's health in general. 

Modern vs. Traditional training methods 

Traditionally, a beginning student of Taijiquan was first required
to practice stance keeping in a few basic postures.  After the basic
body alignments had settled in, the student would progress to
performing single movements from the form. These were performed
repetitively on a line. After a sufficient degree of mastery had been
obtained in the single movements, the student was taught to link the
movements together in the familiar long form.  Now, it is not uncommon
for a student to be taught the long form immediately, with no time
being spent on stance keeping or on basic movement exercises.  Since
the Long Form trains all of the qualities developed in the basic
exercises, this does not really produce a dilution of resulting
martial art.  It does however make it more difficult for beginner to
learn. The duration of the basic training depends on the student and
the instructor; however,  it would not be unusual for a relatively
talented student, with good instruction, to be able to defend
themselves effectively with Taiji after as little as a year of
training. 

Sub-Styles: 

Chen Wangding's original form of Chen style Taijiquan is often
refered to as the "Old Frame" (Laojia) and its second form as
"Cannon Fist" (Paochui). In the latter part of the 18th century, a
fifth generation decendant of Chen Wangding, Chen Youben simplified
the original forms into sets which have come to be known as the "New
Style" (Xinjia). Chen Youben's nephew, Chen Jingbing, created a
variation of the New Style which is known as the "Small Frame" (Xiaojia)
or "Zhaobao" form. All of these styles have survived to the present. 

The Yang style of Taijiquan is a variation of the original Chen
style. The forms which were passed down from the Yang style founder,
Yang Luzhan have undergone many modifications since his time. Yang
Luzhan's sons were very proficient martial artists and each, in turn,
modified their father's art. The most commonly seen variation of the
form found today comes from the version taught by Yang Luzhan's 
grandson, Yang Zhengfu. It was Yang Zhengfu who first popularized
his family's Art and taught it openly. Yang Zhengfu's form is
characterizes by open and extended postures. Most of the modern
variations of the Yang style, as well as the standardized Mainland
Chinese versions of Taijiquan are based on his variation of the
Yang form. 

Yang Luzhan's student, Wu Yuxiang combined Yang's form with the
Zhaobao form which he learned from Chen Jingping to create the Wu
style. This style features higher stances and compact, circular
movements. His nephew's student, Hao Weizhen was a famous
practitioner of the style, so the style is sometimes refered to as the
Hao Style. Hao Weizhen taught his style to Sun Ludang, who combined
his knowledge of Xingyiquan and Baguazhang to create his own 

Yang Luzhan had another student named Zhuan You (or Juan You),
who in turn taught the style to his son Wu Jianchuan (or Jianquan). 
This modification of the Yang style is usually refered to as the 
Wu Jianchuan (or Jianquan) style. This form's movements are smaller 
and the stance is higher than the popular Yang style. 

In summary, the major styles of traditional Taijiquan are the
Chen, Yang, Wu, Wu Jianchuan (or Jianquan) and Sun. All other "styles" 
are variations of the above. 

Non-martial Taiji variants. 

There are modified forms of Taiji which are devoted mostly to health
enhancement and relaxation.  The movements retain the flavor of 
Taijiquan, but are often simplified. 


16.38) Wing Chun

(Contributor: Marty Goldberg - gungfu@csd4.csd.uwm.edu)

Intro:  One of the most popular forms of Gongfu. 

Origin:  China 

History: 

Wing Chun was an obscure and little known art until the mid twentieth
century.  While multiple histories of the art do exist (some with only
minor discrepancies), the generally accepted version is thus: 


he style traces its roots back over 250 years ago to the Southern
Shaolin Temple.  At that time, the temple a was sanctuary to the
Chinese revolution that was trying to overthrow the ruling Manchu.  A
classical martial arts system was taught in the temple which took
15-20 years to produce an efficient fighter. 

Realizing they needed to produce efficent fighters at a faster pace,
five of China's grandmasters met to discuss the merits of each of the
various forms of gongfu.  They chose the most efficient techniques,
theories and principles from the various styles and proceeded to
develop a training program that produced an efficent fighter in 5-7
years. 

Before the program was put into practice, the Southern temple was
raided and destroyed.  A lone nun, Ng Mui, was the only survivor who
knew the full system.  She wandered the countryside, finally taking in
a young orphan girl and training her in the system.  She named the
girl Yimm Wing Chun (which has been translated to mean Beautiful
Springtime, or Hope for the Future), and the two women set out
refining the system. 

The system was passed down through the years, and eventually became
known as Wing Chun, in honor of the founder.  The veil of secrecy
around the art was finally broken in the early 1950's when Grandmaster
Yip Man began teaching publicly in Hong Kong, and his students began
gaining noteriety for besting many systems and experienced opponents
in streetfights and "friendly" competitions.  The art enjoyed even
more popularity when one of its students, Bruce Lee, began to enjoy
world wide fame. 

Description: 

Most important is the concept of not using force against force, which
allows a weak fighter to overcome stronger opponents.  Generally, a
Wing Chun practitioner will seek to use his opponent's own force
against him. A great deal of training is put in to this area, and is
done with the cultivation of a concept called Contact Reflexes (see
"Training"). 

Also of importance are the use of several targeting ideas in Wing
Chun. The Mother Line is an imaginary pole running vertically through
the center of your body.  From the Mother Line emanates the Center
Line, which is a vertical 3D grid that divides the body in to a right
half and a left half. Most of the vital points of the body are along
the Center Line, and it is this area that the Wing Chun student learns
to protect as well as work off of in his own offensive techniques. 
Also emanating from the Mother Line is the Central Line.  The Central
Line is seen as the shortest path between you and your opponent, which
is generally where most of the exchange is going to take place. 
Because of this linear concept, most of the techniques seek to occupy
one of the two lines and take on a linear nature. 

This leads to the expression of another very important concept in Wing
Chun: "Economy of Motion".  The analogy of a mobile tank with a turret
(that of course shoots straight out of the cannon) is often used to
describe the linear concept. 

Only two weapons are taught in the system, the Dragon Pole and the
Butterfly swords.  These are generally taught only once the student
has a firm foundation in the system. 

Training: 

The way the art produces efficent and adaptble fighters in a
relatively short time is by sticking to several core principles and
constantly drilling them in to the student, as well as taking a very
generic approach to techniques.  Instead of training a response to a
specific technique, the student practices guarding various zones about
the body and dealing genericly with whatever happens to be in that
zone. This allows for a minimum of technique for a maximum of
application, and for the use of automatic or "subconcious" responses. 

Much training time is spent cultivating "Contact Reflexes".  The idea
is that at the moment you contact or "touch" your opponent, your body
automaticaly reads the direction, force, and often intent of the part
of the opponent's body you are contacting with and automatically
(subconciously) deals with it accordingly.  This again lends itself to
the generic concept of zoning. 

Contact Reflexes and the concept of not using force against force are
taught and cultivated through unique two man sensitivity drills called
Chi Sao. 

The concepts of guarding and working off of these lines and zones are
learned throught the practice of the three forms Wing Chun students
learn, and which contain the techniques of the system: Shil Lum Tao,
Chum Kil, and Bil Jee. 

Another unique aspect of the system is the use of the Mook Jong, or
wooden dummy, a wood log on a frame that has three "arms" and a "leg"
to simulate various possible positions of an opponent's limbs.  A
wooden dummy form is taught to the student, that consists of 108
movements and is meant to introduce the student to various
applications of the system. It also serves to help the student perfect
his own skills. 

Weapons training drills off the same generic ideas and concepts as the
open hand system (including the use of Contact Reflexes).  Many of the
weapon movements are built off of or mimic the open hand moves (which
is the reverse process of Kali/Escrima/Arnis, where weapon movements
come first and open hand movements mimic these). 

Sub-Styles: 

Currently, there exist several known substyles of Wing Chun. Separate
from Yip Man are the various other lineages that descended from one of
Yip Man's teachers, Chan Wah Shun.  These stem from the 11 or so other
disciples that Chan Wah Shun had before Yip Man. 

Pan Nam Wing Chun (currently discussed here and in the martial arts
magazines) is currently up for debate, with some saying a totally
separate lineage, and others saying he's from Chan Wah Shun's lineage.

Red Boat Wing Chun is a form dating back from when the art resided on
the infamous Red Boat Opera Troup boat.  Little is known about the
history of this art or its validity. 

At the time of Yip Man's death in 1972, his lineage splintered in to
many sub-styles and lineages.  Politics played into this splintering a
great deal, and provided much news in the martial arts community
throughout the 70's and 80's.  By the time the late 80's/early 90's
rolled around, there were several main families in Yip Man's lineage. 
To differentiate each lineage's unique style of the art, various
spellings or wordings of the art were copyrighted and trademarked
(phonetically, Wing Chun can be spelled either as Wing Chun, Wing
Tsun, Ving Tsun, or Ving Chun).  These main families and spellings
are: 

Wing Tsun -- Copyrighted and Trademarked by Grandmaster Leung Ting. 
Used to describe the system he learned as Grandmaster Yip Man's last
direct student before his death.  Governing body is the International
Wing Tsun Martial Arts Association, and the American Wing Tsun
Organization in the U.S. 

Traditional Wing Chun -- Copyrighted and Trademarked by Grandmaster
William Cheung.  Used to describe a very different version of Wing
Chun he learned while living with Yip Man in the 1950's.  Includes
different history of lineage as well.  Governing body is the World
Wing Chun Kung Fu Association. 

Ving Tsun - Used by other students of Yip Man, such as Moy Yat.  This
spelling was considered the main one used by Grandmaster Yip Man as
well. It is also used by many of the other students, and was adopted
for use in one of the main Wing Chun associations in Hong Kong -- The
Ving Tsun Athletic Organization. 

Wing Chun - General spelling used by just about all practitioners of
the art. 

A World Wide listing of Wing Chun Kwoons (schools) is maintained by
Marty Goldberg (gungfu@csd4.csd.uwm.edu) and posted periodically to
rec.martial-arts.   A mailing list (open to all students of Wing Chun)
is also maintained by Marty and Rob Gillespe at majordomo@efn.org 


16.39) Wushu / Gongfu 

(Contributors: Nick Doan - nickd@meaddata.com,
               Alex Jackl - ajackl@avs.com)

Intro:          

This is an almost impossible category.  This label is attached to
almost any martial art that comes from China.  It is the generic name
for literally hundreds of individual Chinese fighting arts.  In
reality we should have an entry for each individual Gongfu style we
are interested in, but this would fill entire volumes.  However, we
will do our best. 

Origin:         China 

History: 

This is extremely controversial.  Most of what appears here is a
summary of what has been learned from Sifu Benny Meng. 

There are vague references of a King in China some thousands of years
ago who trained his men in techniques of hand-to-hand combat to use in
fighting against invading barbarians. 

The first real references of an organized system of martial arts came
from a man named General Chin Na.  He taught a form of combat to his
soldiers which most people believe developed into what is modern day
Chin-Na. 
 
The first written record we have of Chinese martial arts is from a
Taoist acupuncturist from the 5th century. He describes combat
designed along the lines of an animal's movements and style. 

Legend has it that a Bhuddist monk named Bohdiharma, also called 
Damo, came acROSS the Tibetan Mountains to China.  The Emperor of China
at the time was much impressed with the man, and gave him a temple
located in Henan - the famed Sui Lim Monastery (Shaolin Monastery). 
Damo found that the monks there, while searching for spiritual
enlightenment, had neglected their physical bodies. He taught them
some exercises and drills that they adapted into fighting forms.  This
became the famous Shaolin Gongfu system. 

"Gongfu" means "skill and effort".  It is used to describe anything
that a person nees to spend time training in and becoming skillful in.
(A chef can have good "gongfu".)  The Chinese term that translates
into "military art" is "Wushu" Gongfu. 

As all martial arts, Wushu in its early stages of development was
practiced primarily for self-defense and for aquiring basic needs.  As
time progressed, innumerable people tempered and processed Wushu in
different ways.  By China's Ming and Qing dynasties (1368-1911), Wushu
had formed its basic patterns. 

Intense military conflicts served as catalysts for the development of
Wushu. During China's Xia, Shang, and Zhou periods (2000BC to 771BC),
Wushu matured and formed complete systems of offense and defense, with
the emergence of bronze weapons in quantity. During the period of
Warring States (770BC to 221BC), the heads of states and government
advocated Wushu in their armies and kept Wushu masters for their own
puposes. 

Military Wushu developed more systematically during the Tang and Song
dynaties (618 to 1279) and exhibitions of Wushu arts were held in the
armies as morale boosters and military exercises. In the Ming and Qing
dynasties, the general development of Wushu was at its height. 
Military Wushu became more practical and meticulous and was
systematically classified and summarized . General Qi Jiguang of the
Ming Dynasty delved into Wushu study and wrote "A New Essay on Wushu
Arts", which became an important book in China's military literature. 

The latter half of the 20th century has seen a great upswing in the
interest of Gongfu world wide.  The introduction of Gongfu to the
Western world has seen to it that its development and popularity will
continue to grow. 

Description: 

Styles of Gongfu encompass both soft and hard, internal and external
techniques.  They include grappling, striking, nerve-attack and much
weapons training. 

The Shaolin styles encompass both Northern and Southern styles, and
therefore are the basis of the following outline. 
 
I  Shaolin Wushu styles
   A. External Styles (Hard, Physical)
      1.  Northern
          a. Northern Shaolin
          b. Chang Quan (Long Fist)
          c. Praying Mantis
          d. Eagle Claw
          e. Monkey
          f. Drunken, et al

      2.  Southern
          a. Southern Shaolin  
          b. Wing Chun
          c. Five Animal System (Dragon, Snake, Tiger, Leopard, Crane)
          d. Tiger and Crane Systems, et al

   B. Internal Styles (Soft, Mental/Spiritual)
      1.  Taijiquan
      2.  Others (Bagua, Xingyi, et al)


Training:

II  Shaolin Wushu Methods
    A. Hard or External Styles
       1. Stresses training and strengthening of the joints, bones, 
          and muscles
       2. Requires rigorous body conditioning
       3. Consists of positioning and movement of the limbs and body,
          correct technique, muscular strength, speed, etc.

    B. Soft or Internal Styles
       1. Stresses development of internal organs where "Qi" is 
          produced
       2. Allows one to develop mental capability to call upon this 
          "Qi"
       3. Concerned with breathing, poise, and tone of the core body 
          structures

    C. Long or Northern Styles
       1. Stresses Flexibility, quickness, agility, and balance 
          similar to the attributes of a trained and well-conditioned
          gymnast
       2. Uses many kicks along with hand techniques
       3. Legs specialize in long-range tactics

    D. Short or Southern
       1. Stresses close-range tactics, power, and stability
       2. Uses mostly hand techniques

Gongfu almost always seems to incorporate forms and routines.  They
emphasize solo practice as well as group practice. (They even have
forms for two or more people).  They train in multiple types of
weapons.  There is also a great emphasis on sparring in the harder
styles, and sensitivity training in the soft styles. 

Sub-Styles: see above


16.40) Xingyiquan (Hsing Yi Ch'uan)

(Contributor: William Breazeal - breazeal@tweedledee.ucsb.edu)

INTRODUCTION:

Xingyiquan is one of the three orthodox "internal" styles of
Chinese martial art (the other two being Taijiquan and Baguazhang). 
"Xing" refers to form and "Yi" to the mind or intent.
"Quan" literally means fist and denotes a method of unarmed combat.
Xingyiquan is commonly refered to as "Form and Mind" or "Form and
Will" boxing. The name illustrates the strong emphasis placed on
motion being subordinate to mental control. 

ORIGIN:  Shanxi Province, China. 

HISTORY: 

The exact origins of Xingyiquan are unknown. The creation of the
Art is traditionally attributed to the famous general and patriot Yue
Fei (1103- 1141) of the Song Dynasty. There is, however, no historical
data to support this claim. The style was originally called "Xin Yi Liu 
He Quan"(Heart Mind Six Harmonies Boxing). The Six Harmonies
refer to the Three Internal Harmonies (the heart or desire coordinates
with the intent; the intent coordinates with the qi or vital energy;
the qi coordinates with the strength), and the Three External
Harmonies (the shoulders coordinate with the hips; the elbows
coordinate with the knees and the hands coordinate with the feet). 

The earliest reliable information we have makes reference to Ji Longfeng 
(also known as Ji Jige) of Shanxi Province as being the
first to teach the art of Xin Yi Liu He Quan. Ji Longfeng was
active near the end of the Ming Dynasty (early 1600's) and was a
master of spear fighting (he had the reputation of possessing "divine"
skill with the spear). He is recorded as stating "I have protected
myself in violent times with my spear. Now that we are in a time of
"peace" and our weapons have all been destroyed, if I am unarmed and
meet the unexpected, how shall I defend myself?" In answer to his own
question, Ji Longfeng reportedly created a style of weaponless
combat based on his expertise with the spear. He refered to his art as
"Liu He," the Six Harmonies. 

Ji Longfeng had two very famous students. One was from from Hebei 
province and was named Cao Jiwu. The other was from Henan 
Province and was named Ma Xueli. It was at this point in history
that the Xin Yi Liu He Quan (now also refered to as Xingyiquan)
divided into three related yet separate styles, the Shanxi,
Henan and Hebei schools. After spending 12 years studying
Xingyiquan with Ji Longfeng, Cao Jiwu entered the Imperial Martial
Examinations and placed first (this was the most prestigious honor one
could possibly win as a martial artist in old China, and assured the
victor a high government position). Cao passsed on his art to two
brothers, Dai Longbang and Dai Linbang. 

Dai Longbang passed his Art on to Li Luoneng (also known as Li
Nengran). Li holds the distinction of being the greatest Xingyi Boxer in
the styles' history and one of the top Chinese boxers of all time. Li
Luoneng taught his art in his native Shanxi Province and also
taught a great number of students in Hebei Province (his duties as a
bodyguard involved escorting various members of wealthy families to
and from Hebei). Two of Li's most famous Shanxi students were Song
Shirong and Zhe Yizhai. His most famous Hebei student was the
formidable Guo Yunshen (who reportedly defeated all comers with his
"Beng Quan," a straight punch to the body). Guo Yunshen passed on
his art to Wang Fuyuan, Liu Qilan and Sun Ludang among others;
Liu Qilan passed on the Art to the most famous practitioners of
this century, including Li Cunyi and Zhang Zhangui (also known as
Zhang Zhaodong). There are many practitioners of all three
sub-systems active today, and Xingyiquan is still a popular and
well respected style of martial art in China. 

DESCRIPTION: 

The art is divided into two main systems, the Ten Animal and Five
Element respectively. The Five Element system is further divided into
two major branches, the Hebei and Shanxi styles. The Ten animal
style is closest to the original Xin Yi Liu He Quan in form and
practice. The movements in the forms are patterned after the spirit of
various animals in combat, including the Dragon, Tiger, Monkey, Horse,
Chicken, Hawk, Snake, Bear, Eagle and Swallow. The Five Element based
systems have five basic forms (including Splitting, Drilling,
Crushing, Pounding, and Crossing) as the foundation of the art. These
basic energies are later expanded into Twelve Animal forms which
include variations of the animal forms found in the Ten Animal styles
as well as two additional animals, the Tai (a mythical bird) and the
Tuo (a type of water lizard, akin to the aligator). Training in all
systems centers on repetitive practice of single movements which are
later combined into more complicated linked forms. 

The direction of movement in Xingyiquan forms is  predominately
linear. Practitioners "walk" through the forms coordinating the
motions of their entire bodies into one focused flow. The hands, feet
and torso all "arrive" together and the nose, front hand and front
foot are along one verticle line when viewed from the front (san jian
xiang jiao). The arms are held in front of the body and the
practitioner lines up his or her centerline with opponent's
centerline. A familiar adage of Xingyiquan is that "the hands do
not leave the (area of the) heart and the elbows do not leave the
ribs." There are few kicks in the style and the techniques are of a
predominately percussive nature. Great emphasis is placed upon the
ability to generate power with the whole body and focus it into one
pulse which is released in a sudden burst. 

Xingyi is characteristically aggressive in nature and prefers to
move into the opponent with a decisive blow at the earliest
opportunity. The style prizes economy of motion and the concept of
simultaneous attack and defense. As the name of the style implies, the
form or "shape" of the movements is the outward, physical
manifestation of the "shape" of one's intent. A fundamental principle
underlying all styles of Xingyiquan is that the mind controls and
leads the movement of the body. 

TRAINING: 

Training in Henan (Ten Animal) Xin Yi Liu He Quan includes basic
movements designed to condition and develop the striking ability of
the "Seven Stars" (the head, shoulders, elbows, hands, hips, knees and
feet). From there the student will progress to learning the basic
animal forms. Form practice consists of repeating single movements
while walking foward in various straight line patterns. Later, the
single movements are combined into linked forms. The techniques are
relatively simple and straightforeward and rely on the ability to
generate force with almost any part of the body (the Seven Stars).
Also included at more advanced levels are weapons forms (including the
straight sword, staff and spear). 

The Five Element based styles of Xingyiquan (Shanxi and Hebei)
traditionally begin training with stance keeping (Zhan Zhuang). The
fundamental posture is called "San Ti" (Three Bodies) or "San Cai"
(Three Powers, refering to heaven, earth and man). It is from this
posture that all of the movements in the style are created and most
teachers place great emphasis upon it. After stance keeping the
student begins to learn the Five Elements (Wu Xing). These are the
basic movements of the art and express all the possible combinations
of motion which produce percussive power. After a certain level of
proficiency is acquired in the practice of the Five Elements, the
student goes on to learn the Twelve Animal and linked forms. The
Twelve Animal forms are variations of the Five Elements expressed
through the format of the spirit of animals in combat. There are
several two-person combat forms which teach the student the correct
methods of attack and defense and the applications of the techniques
practiced in the solo forms. Five Element based styles also include
weapons training (the same weapons as the Henan styles). 

SUBSTYLES: 

As mentioned above, Xingyiquan is divided into three related yet
distinct styles: Henan Xin Yi Liu He Quan and Shanxi/Hebei 
Xingyiquan. 

Henan Xin Yi Liu He Quan is characterized by powerful swinging
movements of the arms and the ability to strike effectively with every
part of the body. This system is very powerful and aggressive in
nature and the movements are simple and straightforeward. 

Hebei style Five Element Xingyiquan emphasizes larger and more
extended postures, strict and precise movements and powerful palm and
fist strikes. 

Shanxi style Five Element Xingyiquan is characterized by
smaller postures with the arms held closer to the body, light and
agile footwork and a relatively "softer" approach to applying
technique (Shanxi Xingyi places a greater emphasis on evasiveness
than the other styles). 


16.41) Yoseikan Budo 

(Contributor: Tobias Ratschiller - tRatschiller@pass.dnet.it) 

Yoseikan Budo ("the house in which is taught with courage and honesty
the way of the warrior") was founded in the early 60's by Hiroo
Mochizuki Sensei, son of Minoru Mochizuki, one of the great martial
artists of the 20th century.  Mochizuki Hiroo Sensei has high Dan
rankings in several martial arts, among them Aikido, Jujutsu, Wado-Ryu
Karate, and Iaido. Yoseikan Budo is today spread throughout Europe,
Africa and the USA. The FYBDA (Federation Internacional de Yoseikan
Budo et Disziplines Asimilees) is the worldwide umbrella organization,
which is subdivided in national Academies and regional federations. 

Mochizuki Hiroo Sensei realized that most basic techniques are based
on a wavy movement beginning in the hip, which produces much more
power than when movement is limited to only extremities.  These basic
elements are taught and applied to all YB techniques.  YB consists of
(modified) techniques of Karate, Judo/Ju-Jutsu and Aikido. The use of
classical weapons as Bokken, Tanto, Bo, Nunchaku etc is taught as well
as traditional and new forms (kata).   Beginners usually study basic
techniques for a year or so, including mae-geri, mawashi-geri etc,
nage-waza, falls, foot-work, kata, etc.  From 3rd Kyu to 1st Kyu more
aikido-techniques and the use of weapons are taught.  Competitions are
held and consist of Kata, Randori, Tanto-Tanto, etc. 

There was a split of the umbrella organization in the early years,
leading to a sub-style (found primarily in the UA) with the name YB
that focuses primarily on Aikido-techniques. 

====================================================================   
Disclaimer and Copyright Notice

Some answers given may reflect personal biases of the author and the
martial arts FAQ listing's contributors.  The answers contained herein
pertain to discussions on the rec.martial-arts group, and are by no
means exhaustive.

The martial arts FAQ list owes its existence to the contributors on
the net, and as such it belongs to the readers of rec.martial-arts.
Copies may be made freely, as long as they are distributed at no
charge, and the disclaimer and the copyright notice are included.

--
Randy Pals      | "To subdue an enemy without fighting
IPACT, Inc.     |  is the highest skill."
pals@ipact.com  |  Sun-Tzu     
======================================================================


		  rec.martial-arts FAQ - Part 4 of 4
		  ==================================
	
Note: The sole author/maintainer of the Groaner FAQ is Lauren Radner.
Please address any replies to Lauren (radner@bushido.cray.com).
 

           The Groaner FAQ for Martial Arts Newsgroups (ver 1.0)
                           by Lauren Radner (with lots of help)

One of the primary reasons for creating the rec.martial-arts.moderated
newsgroup was to avoid "Groaner" topics... you know, the kind of
thread-from-hell that pops up over and over, with just enough
variation that you probably can't killfile it successfully. 

In short, every time you see one of these come up again, you *groan*.

In these threads, nobody's mind is going to be changed, tempers will
probably flare, and the topics may even be based on assumptions that
are unprovable, insulting, or just plain wrong.

Maybe you got directed here by someone who's been around longer, and
told you something like, "Go read the Groaner FAQ, number 19".

Most of these are *not* "Frequently Asked Questions". Many of them are
more like "Frequently Made Assertions" (TKD sucks. Kata sucks. 90% of
all fights go to the ground. Gracies are invincible. etc.). Few of those
are ever raised as actual, *legitimate* *questions*. Even if they are,
they almost immediately devolve into rude and foaming assertions, or,
at least, wearisome assertions, anyway.

Many of these are off charter in rec.martial-arts.moderated for exactly
these reasons.

A "Groaner" is any of the following:

1) A question guaranteed to start a flame war or a style war, no matter
   how innocently asked.

      For example, "Is <style A> any good in a street fight?"

      Anybody who practices <style A> will say yes. Anybody who doesn't
      will say no (that's why they practice <style B> instead).

2) A question so vague that it generates no useful answers, or a flame war,
   or a style war.

      For example, "Which martial art is best?" averages about three posts
      before devolving into a flurry of "Mine!" "No! Yours sucks! Mine's
      the best!". Everybody else is wondering "Best for *what*?" and
      doesn't bother to answer your question.

3) An old chestnut that people are tired of refuting or correcting. This is
   the martial arts equivalent of an urban myth. These topics elicit the
   same response that you have when you see "Craig Shergold Needs Your
   Cards" in your e-mail inbox.

      For example, "Belts have all those colours because you start out
      with a white belt, and the more you work out, the dirtier it gets,
      until it eventually turns black, when you're really, really good."

4) A statement about which there are strong contradicting opinions, and
   nobody is EVER going to change anybody's mind. These are the religious
   wars of martial arts newsgroups.

      For example, "Chi(Qi,ki) does/doesn't exist", or "Kata is/isn't
      useless".

5) A statement guaranteed to annoy, and impossible to prove.

      For example, "Bruce Lee would have kicked Stephen Seagal's a**!",
      or "<style/person> must be the best in the world because <it/he/she>
      has never been defeated!"

      (I would like to point out here that I am undefeated in all of Asia.
      Of course, I have never fought in *any* of Asia. Which pretty much
      guarantees I'm undefeated there.)


The purpose of the Groaner FAQ is to beg you, PLEASE, have the courtesy
not to start these up again. There's nothing new that can be said, and the
bandwidth and flaring tempers are intolerable. If you've read the below
and *Really* think you truly have something *New* to add, well then, sigh,
I can't stop you. But don't say I didn't warn you.

Right now, this is a "work in progress". A team of us have identified
what we consider to be "Groaners", and we're churning out answers as
best and as fast as we can, meaning, when we can stand to think about
them ourselves. At this point, only the "FINISHED" answers are appended.
You'll see the rest handled in due time, I hope. A screen-wide line of
"=====" separates each answer.

===========================================================================
F = "FINISHED"- Groaners whose answers are complete (or nearly so).
P = "PARTIAL" - Groaners that have some foundation for an answer, but
                aren't finished.
N = "NOTHING" - Groaners that haven't been touched (We don't like thinking
                about these either, ya know).

F -  1) My martial art is better than yours. (see "What is a martial art")
P -  2) X is/isn't effective "on the street".
N -  3) <Movie Star> is/isn't a superior martial artist.
N -  4) <Movie Star A> could/couldn't whip <Movie Star B's> ass.
F -  5) Wing Chun Roolz. (see "What is a martial art")
N -  6) Bruce Lee was the best martial artist ever, philosophically and
          physically ahead of his time.
N -  7) TKD was practiced by one-celled amoebae who passed it down to
        Jhoon Rhee, and is therefore the oldest martial art.
P -  8) Guns/knives do/don't make you invincible.
F -  9) A three-day course does/doesn't make you invincible.
N - 10) Gracie Brothers are/aren't invincible.
N - 11) Kata are/aren't useless.
N - 12) How do you fight an attack dog?
N - 13) TKD is/isn't a dessert topping.
F - 14) Style X is trash/wonderful because it does/doesn't include a
          philosophic aspect. (see "What is a martial art")
P - 15) The belt system colours are like that because as a white belt gets
          dirtier...
P - 16) Which constitutes a worse attack, gun versus knife?
P - 17) Will I get sued/jailed if I use my martial arts?
P - 18) Do sprays work, do tasers work, do whistles work?
F - 19) What's the best martial art for self-defense?
F - 20) 90% of all fights end up on the ground.
F - 21) Is a gun the best martial arts defense?
F - 22) What are the chances of an unarmed martial artist versus a
          gun-wielder?
P - 23) So I'm sparring and the other guy starts to bleed, can I catch
          AIDS?
===========================================================================

===========================================================================
Below answers these Groaners:

 1) My martial art is better than yours. (see "What is a martial art")

 5) Wing Chun Roolz. (see "What is a martial art")

14) Style X is trash/wonderful because it does/doesn't include a
         philosophic aspect. (see "What is a martial art")

===========================================================================

WHAT IS A MARTIAL ART?

The term "martial art" is used in (at least) two different ways. This
can be confusing. Some dictionary definitions only make things worse.

The dictionary definition handy at the moment defines a martial art
as "Any of several Oriental arts of combat or self-defense, as karate,
judo, or tae kwon do, usually practiced as a sport."

That definition is guaranteed to offend just about everyone who reads
this group.

Typically this group uses "Martial Art" in one of two ways:

1) The first definition is a generic one, which defines a "Martial Art"
   as the study of any kind of combat and/or self-defense techniques.

   This definition includes non-oriental arts like boxing. This definition
   includes both those arts practiced primarily as a sport, and those arts
   practiced primarily for self-defense. This definition includes those
   arts that emphasize only physical technique. This definition also
   includes those arts that emphasize a philosophical or mental aspect in
   addition to physical techniques. In its broadest usage, this definition
   includes learning how to drive a tank or drop bombs out of a plane as a
   Martial Art. This explains the somewhat facetious references you will
   see to "Gun Fu", the martial art of learning how to use firearms
   (implying, as the dictionary definition does, that a martial art must
   be oriental to be legitimate).

2) The second definition is much narrower, and draws a distinction
   between a "Martial *ART*" and a "Martial *WAY*". To offer a gross
   simplification:

   A martial *art* is the study of an art that emphasizes only physical
   techniques. Perfection of technique is the primary concern.

   A martial *way* emphasizes the study of both physical techniques and
   a philosophical or mental aspect as well. Perfection of the self is
   the primary concern.

   The emphasis on this distinction is very clear for those arts that have
   Japanese names.

   Typically, Japanese martial *art* style names end in "jutsu", such as
   "jiu-jutsu", "aiki-jiujutsu", or "ken-jutsu".

   Typically Japanese martial *way* style names end in "do", such as
   "ju-do", "aiki-do", or "ken-do".

A lot of bandwidth has been wasted by those arguing about whether something
is or isn't a martial art, without first establishing which definition -
including the dictionary definition - is being used.

According to the dictionary definition, boxing is *not* a martial art.
According to definitions one and two, above, boxing *is* a martial art.

According to the dictionary definition and definition one, above, karate
*is* a martial art. According to definition two, above, karate (frequently
written as karate-do) is *not* a martial art (it is a martial *way*).

In the end, it is really the attitude of the individual doing the
practicing that determines whether, for *them*, what they are learning
is a "martial art" or a "martial way". The person standing next to you
in your school may or may not be practicing with the same attitude as
you are - one of you may be treating what you learn as a "martial way",
and the other may be approaching the same material as a "martial art".

A Note About Posting Etiquette In rec.martial-arts.moderated
and rec.martial-arts
--------------------------------------------------

A word of caution.

Posting that your martial *art* is superior to another martial *art*
will always get you into trouble, since it is a breach of not only
netiquette, but the charter of this group.

You will get into trouble for the following reasons:

1) If you are proclaiming superiority because your "Art" has a
   philosophical aspect that some other art lacks, you will seriously
   annoy those who use the definition of "martial ART" as meaning "the
   study of technique with no inherent emphasis on philosophy". You will
   be forever embroiled in a semantic clash based on the differences
   between definition one, and definition two, above.

2) Proclaiming superiority of one art over another involves some extremely
   annoying assumptions, such as that:

   a) You are fully aware of all the philosophic principles (if any) and
      physical techniques and applications of the art you are condemning.

   b) You are fully aware of all the philosophic principles (if any) and
      curriculum intended by the founder(s)/leader(s) (if any) of the
      art you are condemning.

   c) You are intimately familiar with the motivations, philosophies,
      skill level, abilities, method of practice, and experiences of each
      and every practitioner of the art you are condemning, especially
      those practitioners who may read your post (trust us, you aren't).

   d) You have enough familiarity with the philosophical foundations
      (if any) and physical techniques of whatever you practice, and
      you exemplify these sufficiently, that you can legitimately
      represent yourself as an authority of your style.

   e) Your definition of "better" is somehow universally accepted as the
      One True Basis For Evaluation. (Better for what? Defending oneself?
      Becoming limber? Winning trophies? Subduing without injuring an
      aggressor? Killing an aggressor? Meeting people? Learning Japanese?
      Being lethal to music? Building self-esteem? Firing a gun with the
      most accuracy?)

Posting that one art is superior to another is bad manners.

A posting which also violates any of the above is a combination of
arrogance and stupidity for which you will probably never be forgiven.

An unfortunate side-effect is that you will probably ruin your credibility
as far as any future postings on *any* martial arts topic to this group.
Except for whoever agreed with you to begin with, of course.


========================================================================
The below answers this Groaner:

15) The belt system colours are like that because as a white belt gets
    dirtier...
========================================================================

   What do all those different colored belts mean?  Where do they come
   from?

   The belt system, as a formalized method of indicating rank, was
   popularized by Professor Jigaro Kano, founder of Kodokan Judo, around
   the beginning of this century.  There are varying opinions as to
   whether the practice predated Kano's use of it, and where it may have
   come from, but it certainly wasn't common (the more traditional
   practice in Japanese martial arts was, and is, the granting of scrolls
   indicating various levels of abilities).  The practice was adopted by
   Karate, formerly a fairly obscure Okinawan folk art, as that art was
   brought into the mainstream of Japanese martial arts.  Many arts have
   since adopted it -- for example, some Western schools teaching Chinese
   martial arts use it, though this practice is somewhere between uncommon
   and unheard of in China itself.

   Some of these schemes are elaborately hierarchial; some schools
   use no belt ranking system at all. White belts almost always
   indicate beginners, black belts indicate those who have reached
   some level of ability.  There are various colors used for rankings
   both below black belt, and for high ranking black belts, and various
   explanations as to what they mean.  The color scheme -- and the
   implications for school etiquette -- vary from system to system and
   perhaps from school to school.

   An often heard story holds that the colours are explained as
   follows: a trainee's belts, which, traditionally, were never
   washed, became progressively dirtier with time (starting out white,
   becoming yellow with sweat, green with grass stains, and so on),
   finally changing to black over the years. This explanation, alas,
   is almost certainly fanciful. 

   The best source of information on the meanings of belt colors
   and the proper behavior with respect to rank is, as always, one's
   teacher.

-------------------------------------------------------------------
That's the Tactful answer to the "Belt Colours Groaner".... here's
the not-so-tactful (and therefore, much more fun) answer, with
thanks to the ever-thorough and factual Steve Gombosi:
-------------------------------------------------------------------

From: sog@rainbow.rmii.com (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 20 Feb 1996 14:48:45 -0700

In article <1996Feb19.173413.29755@walter.cray.com>,
 <radner@bushido.cray.com> wrote:

>What does it take to put a stake through the heart of this one?

A bigger hammer, obviously...

>Gombo? It's time for your biweekly post on this one. I do hope you just
>have one version of it in a file somewhere, that you can just cut and
>paste routinely for a response. If you don't, post just one more time and
>I'll save it for you and do you the favour in the future. How's that?

So, you want me to chime in on the Thread That Will Not "Dye", eh?

Your wish is my command, O Redheaded One...but I'm afraid most of my
saved posts evaporated when my former employer (Cray Computer) went down
the tubes. Bill Rankin was kind enough to send the following from a couple
of years ago - I'm flattered to know he thinks my drivel is worth
saving. The original was in response to the following from Danial
Travers:

 >Danial E. Travers writes >
 >
 >> In tradtional days before Jigoro invented Judo, the martial artist of
 >> okinawa only used white belts. When the belt turned black, you were a
 >> black belt.

To which I responded:

 >Ahem. I didn't know you were on a first-name basis with Kano. Anyway,
 >"in the traditional days before Kano invented Judo", there *was* no
 >kyu/dan ranking system. Kano invented it when he awarded "shodan" to
 >two of his senior students (Saito and Tomita) in 1883. Even then, there
 >was no external differentiation between yudansha (dan ranks) and mudansha
 >(those who hadn't yet attained dan ranking). Kano apparently began the
 >custom
 >of having his yudansha wear black obis in 1886. These obis weren't the
 >belts karateka and judoka wear today - Kano hadn't invented the judogi
 >yet, and his students were still practicing in kimono. They were the wide
 >obi still worn with formal kimono. In 1907, Kano introduced the modern
 >gi and its modern obi, but he still only used white and black.
 >
 >Karateka in Okinawa didn't use any sort of special uniform at all in the
 >old days. The kyu/dan ranking system, and the modern karategi (modified
 >judogi) were first adopted by Funakoshi in an effort to encourage
 >karate's acceptance by the Japanese. He awarded the first "shodan" ranks
 >given in karate to Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and
 >Kasuya on April 10, 1924. The adoption of the kyu/dan system and the
 >adoption of a standard uniform based on the judogi were 2 of the 4
 >conditions which the Dai-Nippon Butokukai required before recognizing
 >karate as a "real" martial art. If you look at photographs of Okinawan
 >karateka training in the early part of this century, you'll see that they
 >were training in their everyday clothes, or (!) in their underwear.

The Korean dobok is, of course, a (slightly) modified karategi. I'll be
happy to let Dakin expound on the events that led to its adoption in
Korea, since he's the author of the definitive scholarly history of
TKD and related arts (when is it gonna be *published*, Dakin???). As far
as Mike's Shuai Chiao statement is concerned, I have read other authors
who claim that the Chinese  adopted the convention during the Japanese
occupation. I have a lot of respect for Mike's opinions, but I've never
seen any real evidence one way or the other. There certainly isn't any
evidence that Kano got either the belt convention or the uniform itself
from the Mainland - especially since the uniform can be traced to
traditional Japanese undergarments.

Steve

-------------------------------------------
.... and... to further clarify:

-------------------------------------------

From: sog@rmi.net (Stephen O Gombosi)
Newsgroups: rec.martial-arts
Subject: Re: Belt colors -- why black?
Date: 22 May 1996 16:12:43 GMT

Rick Shank <ricks@lagrange.amd.com> wrote:
>Stephen O Gombosi <sog@rmi.net> wrote:
>>Neil Brydges  <Neil.Brydges@dpb.co.nz> wrote:
>>>One reason I heard for belts being black was that you started off as a
>>>white belt. As you trained the belt gathered dirt and eventually after
>>>many years became black. This was then modified in more recent times

<snip>

>>... The kyu/dan ranking system, and the white/black belt
>>distinction that goes with it, is a recent (post-1880) invention.

>But your accounting does not deny that the motivation for the chosen
>colors was consistant with Neil's version does it?

Well, let's examine this fable in a little more detail.

First:  the rank system predates the practice uniform itself (although only
        by a few years). The obi distinction is a bit later than the rank
        system and a bit earlier than the modern uniform and its (modified)
        obi. Kano originally had his students practice in formal kimono,
        as some traditional jujutsu systems *still* do, complete with
        a wide, traditional obi (really closer to a sash than the modern
        "belt"). Let's just say that Kano's students were as likely to
        show up with a dirty kimono and obi as you are to show up for a
        job interview in a mud-caked suit.

Second: the notion that there would be a certain cachet associated with
        filth in a culture as obsessed with cleanliness and ritual purity
        as Japan is pretty absurd to begin with.

Third:  very high ranks in Japanese and Okinawan arts are often indicated
        by red and/or red&white belts. It's hard to see how this is
        consistent with the idea that colors result from progressive
        staining or overdyeing. To clarify: such systems tend to reserve
        red obis for 9th or 10th dan. If the staining theory is correct,
        why is this the case? Note that this accounts for the unease
        many practitioners of such systems feel around 14 year-old TKD
        red belts ;-).

Steve

========================================================================
Below answers the following Groaner:

9) A three-day course does/doesn't make you invincible.
========================================================================

Can you really learn to defend myself after only a three-day course?

Many people are so uncomfortable with the notion of being attacked that
they "freeze". Many people have been so conditioned against responding to
an attack that they simply don't feel *capable* of resisting. There are
short "self-defense" courses which seek to break these inhibitions by
confronting students with an "attacker" in a safe, supportive environment
where physical resistance is not only permitted, but strongly encouraged.
Many people have reported that such courses have been useful to them. If
you feel you're in the same boat, you may wish to investigate these
courses. Note that *none* of these courses can provide you with the sort
of conditioned, automatic response that constant repetitive training
provides, nor will they do much to increase the power or skill with which
you execute those techniques. In other words, they're not a *substitute*
for long-term training in a martial art. What they *can* do is help break
down the psychological barriers which may impede you from defending
yourself to the limit of your current knowledge and abilities.

========================================================================
Below answers the following Groaner:

19) What's the best martial art for self-defense?

========================================================================

The answer is "it depends".

Before you can answer this question (and, make no mistake about it, you
*are* the one who is going to have to answer it), you need to ask
*yourself* some other questions:

1) What do you *mean* by the term "self-defense"? What sort of situations
   do you envisage that require some sort of "self-defense"? Single or
   multiple opponents? Armed or unarmed? Size relative to you? Do you
   expect to be grabbed, thrown, kicked, or punched? Can you speculate
   on the motivations for an attack? Do you expect merely to be robbed,
   or do you consider rape, maiming, or murder a possibility? These
   are very unpleasant questions to think about, but they're necessary
   to figure out what your *personal* definition of "self-defense" is.
   Essentially, what you have to figure out is:

   a) What do you consider an "attack" that requires some sort of response?
   b) What sort of response do you, deep in your heart of hearts, consider
      appropriate?

   Note that the law where you reside may have a very different
   definition from the one you have in mind.

2) Who are you? What sort of personality type are you? Are you timid
   or assertive? What are your physical attributes? Note that an art
   which works well for a 220lb (100kg, for those of you in *rational*
   countries) 18 year-old female body-builder may prove useless for
   a 70 year-old man half her size, or for a small child.

3) How much time and effort are you *really* willing to put into this?
   Note that most people *drastically* overestimate this - you're probably
   no exception to the rule. Almost any martial art can be used for
   "self-defense" *IF* you're willing to invest the effort to become
   truly proficient at it. This includes a lot of arts which don't look
   too practical at first glance. A lot of martial arts practice is
   repetitive, boring, painful, sweaty, exhausting WORK. How much of
   that are you really prepared to endure solely for something as nebulous
   as "self-defense"?

Now that we've scared you sufficiently, let's discuss some specifics.
Almost all martial arts have some "self-defense" application, but that
application may be of marginal utility to you.

For example, the art of Shindo Muso Ryu Jodo is probably hard to beat if
you have to fight a traditional Japanese swordsman while armed with only
a stick.  But few people find themselves in that situation these days.
Nevertheless, such an art develops excellent timing and an instinctive
sense of distance - both of which are of great utility in defending
oneself.

More mundane, and, if you will, "practical" specialties include throwing,
punching, kicking, groundfighting, and so forth.  There is endless
argument about which of these is more "street applicable", with
not much general consensus.  Some are probably better for one class
of attacks, some for another.

To sum up, what you need to do is peruse the various style descriptions
in the "Martial Arts FAQ", and read the "Newbie Guide" which was written
explicitly to help you begin to look for a school that suits you, even
if you know relatively little about martial arts. Both are available at:
http://www.users.fast.net/~paiyili/faq.htm#top .

Look these FAQs over in light of the answers you've given to the questions
above. Then, see what's available in your area. If you still can't
decide, feel free to ask on rec.martial-arts.moderated (and rec.martial-
arts).

If you phrase your question carefully, you can avoid being flamed
and probably get a lot of helpful advice. In other words, *don't*
ask "What's the best martial art?", "What's the best martial art for a
street fight?", "What's the best martial art to learn self-defense?".
Instead, ask something more like, "I'm a 28-year-old female, about 5'2",
strong, but not aerobically fit. I have a two-year-old child I take with
me everywhere I go. When I go shopping, I'm always afraid that some guy
is going to try to rob or rape me in one of the parking ramps. Of course
I can't run away and leave my two-year-old, and I don't really want to
hurt anybody, just get away safely. I can devote four nights a week to
practicing *something*. Does anybody have any suggestions?

========================================================================
Below answers the following Groaner:

20) 90% of all fights end up on the ground.

========================================================================

Many people feel that ground-fighting is an important aspect to consider
in a potential attack, citing an often quoted (but never attributed)
statistic that "90% of all fights end on the ground".

This may or may not be true. It's kind of hard to tell, since the sources
for that statistic are unknown. Note that even if it is true, it may
simply mean that 90% of all fighters are incapable of punching or kicking
effectively enough to do any real damage, or that 90% of the people who get
into fights are too drunk to stay on their feet.

Having said that, if you ever *are* taken to ground, being able to fight
there is a useful skill. Note that this doesn't necessarily imply
grappling.

Note also that being on the ground can place one at a disadvantage when
dealing with multiple assailants (especially armed ones), and can make
escape or evasion rather difficult. Not to mention the condition of the
ground itself at the time (broken glass? gravel? mud? snow?).

There are frequent discussions about whether ground-fighting is, or is
not, an essential aspect of most attacks, and whether one needs to
be versed in ground-fighting tactics to be considered sufficiently
versed in self-defense techniques, in order to be prepared for an attack.
There is not, however, a lot of consensus on the answer.

========================================================================
Below answers the following Groaner:

21) Is a gun the best martial arts defense?

========================================================================

Should you get a gun?

Especially in the United States, there's a lot of concern about the
use of firearms in self-defense as well as their use by assailants.

In the martial arts newsgroups, there is considerable disagreement
about the entire topic of gun ownership and usage. Never-ending debates
are easily resurrected about whether a gun:

  ...is safe; will be available when needed; can be made readily
  available if needed; might be taken from you and used against you;
  can be brought into play fast enough against someone [unarmed/armed
  with a knife/armed with a gun]; the legalities of if and when a gun
  can be used; etc....

Three key questions if you are considering the purchase of a gun for
protection:

 o Are you willing to put the time and effort into learning how to
   use it, and maintaining those skills?

 o Are you able to deal with the psychological consequences of
   injuring, permanently maiming or disabling, or killing someone
   as a result of you pulling the trigger?

 o Are you able to deal with the possible legal consequences of
   injuring, permanently maiming or disabling, or killing someone
   as a result of you pulling the trigger?


If you want advice on the purchase or use of such weapons, it's probably
best to seek it in the newsgroups devoted to firearms: rec.guns, and
for the verbosely masochistic, talk.politics.guns. The NRA certifies
instructors in a well-proven basic pistol syllabus, and can probably
help you find a local gun club that offers an NRA-type course. Most gun
stores and ranges will also be able to direct you toward one, perhaps
more efficiently (note that this is neither an endorsement nor a
rejection of the NRA's political views). If you feel you must have a
gun for self-defense, at least have the good sense to learn how to own
it responsibly and use it safely.

========================================================================
Below answers the following Groaner:

22) What are the chances of an unarmed martial artist versus a gun-wielder?

========================================================================

As far as defending oneself from firearms is concerned, the best
advice is to avoid getting yourself into situations where this might
be necessary.  From close range, it's certainly possible for an unarmed
person to effectively deal with a gun - but it's *very* difficult and
*very* dangerous. The odds of failure are pretty high, and the cost of
failure is death. Remember that the next time you see someone kick a gun
out of someone's hand on TV. If the assailant is out of reach, unarmed
techniques are practically useless.

========================================================================


Acknowledgements
----------------

Thanks to the following people for contributing their wisdom, prose,
suggestions, and encouragement to this guide.  (The appearance of
their names here does not signify agreement with everything written
here, of course.)

   Stephen Chan            Steve Gombosi          David Poore
   Terry Chan              Peter Hahn             Lauren Radner
   Joe Chew                Michael Lawrie         Bill Rankin
   Doug Cohen              Mary Malmros           Michael Robinson
   Bud Glunt               Jeff Pipkins           Andy Vida-Szucs

(C) Copyright 1997, Lauren B. Radner.  All rights reserved.
-------------------------------------------------------------------------
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From: pals@ipact.com (Randy Pals)
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Subject: rec.martial-arts Newbie Guide
Summary: How to choose an art and a school for those new to the martial arts
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Last-modified: 17 Jun 1995

Posting-Frequency: monthly in *.answers, every two weeks in rec.martial-arts

Note:  The Newbie Guide has been posted by Randy Pals (pals@ipact.com),
but the sole author/maintainer of the NG is Jeff Pipkins.  Please address
any replies to Jeff (Pipkins@bangate.compaq.com).


           The Newbie Guide to Martial Arts Training (ver 2.6)
                           by Jeff Pipkins


So, you've never really had any martial arts training, but you'd like
to start.  Where do you go?  Which school is the best?  This guide
will help you find your answers if you're willing to invest some effort.

HOW TO LOOK
-----------

You probably already know that there are many different styles of
martial arts.  Because variety abounds, it's only natural to ask which
style is "best".  Unfortunately, it's just not that simple.  The
question itself is not even complete, but even if there were a one-
word answer, chances are that answer wouldn't help you anyway.  Not
unless you're also willing to pick up and move to a school where the 
"best" style is taught.  And even then, it's very important to realize
that two schools that teach the same style, that have the same name on 
their signs, are often different, many times drastically different.
So the name on the sign can tell you absolutely nothing about the
quality of the school.  So, it's natural thing to want to ask which
style is best and then go look that up in the phone book.  But it is 
also possibly the worst way to go about becoming a martial arts student.

The more pragmatic approach is to first make a survey of the schools
in your area.  There are probably more schools near you than you
realize, because many schools advertise very little or not at all.
This guide will give you tips on finding them.  Then, you should visit
several of the schools, many times, before deciding where you want to
train.  This guide will help you by giving you some hints on what to
look for and what to ignore.

This guide is here to help you find a place to train, but to gain
the benefits, you must be willing to put in some hard work.  Choosing
a school is an important decision you shouldn't take lightly.  Commit
yourself to spending the time and effort it takes to choose wisely.
If it takes you 2 or 3 months of searching and visiting to decide,
that is certainly time very well spent, and it will be well worth it
to have found a good school that suits you well.


WHERE TO LOOK
-------------

There is little correlation between the cost and the quality of
martial arts training.  So why not look for quality first among the
cheaper prices?!  Here are some places to look to find M.A. schools:

   1. Friends, or friends of friends
   2. Bulletin boards at martial-arts supply stores
   3. Bulletin boards at Asian bookstores
   4. Local colleges (also check "continuing education" courses)
   5. Community/Civic Center Programs
   6. YMCA/YWCA/Jewish Community Centers (Programs at these places
      do not typically require that you be of any particular
      religious affiliation in order to participate.)
   7. Classified ads from newspapers and local free papers (these can
      often be found on your way out of the grocery store).
   8. Cultural heritage festivals
   9. Bulletin boards at Oriental restaurants.  (Hint: if you
      decide to ask someone who works there, don't assume that
      they know anything about martial arts.  Also, don't assume
      that they are, say, Chinese just because they work at or
      own a Chinese restaurant.  Beware of stereotypes, especially
      where someone may take offense.)
  10. Road signs
  11. Yellow Pages under "Karate..." or "Martial Arts"

Numbers 1-10 aren't intended to be in any particular order, but personally,
I would only consider #11 after exhausting the other 10 options.  But when it 
comes down to that, I would first consider the ones that are near the route 
I take between home and work.  You can usually find a list of many, but 
certainly not all, schools by looking in the Yellow Pages under "Karate..." 
(even if most styles there aren't Karate), or sometimes under "Martial Arts". 
Remember that there is little that can appear in the Yellow Pages to 
recommend one place over another.  Consulting the Yellow Pages for a martial 
arts school should be considered a last resort.  You will have to visit a 
school to make any comparison at all.  If you live in a small town, you 
might just visit all of them.  If you live in a big city, that might not be 
feasible.  If you have a really large number of choices, be of good cheer -- 
you don't have to find the absolute "best" school, just a very good school 
where you can learn and be happy.  But do try to visit more than just a few 
schools.  Also, you must visit a school more than once to form a valid 
opinion.


HOW MUCH
--------

Cost is neither the most nor the least important factor in your decision.  
You must weigh it according to your own priorities.  Prices vary widely.  
I've paid as little as US$35/quarter (3 mos.) at a college, which is 
considered extremely low.  I've paid as much as US$75/mo at a commercial 
school, which is considered higher than average.  Some schools give you a 
price break if you pay lump sum for several months.  Some schools require 
you to sign a long-term contract to join.  To discuss all of the different 
ways to pay and the associated legalities is beyond the scope of this 
humble document.  

Many schools charge an additional fee for each belt test.  The fee may be 
different depending on rank.  They might charge US$15 for your first test, 
and US$1000 for your black belt test.  Be sure to ask.  Some schools require 
that you belong (and therefore pay dues to) a world-wide organization.  
When inquiring about costs, be sure to ask about costs that senior students
pay, as well as what beginners pay.

You will probably have to spend some bucks on an appropriate uniform or two.
Uniforms vary with the school, but don't be surprised if you have to pay 
US$60 or more for what looks like a pair of white pajamas.  You may also 
need other equipment, such as sparring gear/pads, training weapons, etc.  
Most schools will let beginners get by without a uniform for a while at 
first; be sure to ask to get details.  If you do this, the clothes you wear 
in the interim should be comfortable, secure, and modest.  It's prudent
to avoid wearing your favorite florescent orange aerobic/dance skins or your
prize-winning swimwear.  Plain old sloppy sweats are a good bet.

Some arts just inherently have a higher equipment cost associated with them. 
Kendo may be the most expensive in this regard because of all the armour 
needed to practice safely (though this may be offset by the higher
availability of nonprofit instructors).  You may think that Sumo is the 
cheapest since they don't wear very much, but don't forget the cost of 
all that food.

There's nothing mystical about the martial arts that automatically keeps
a school from trying to rip you off.  It's not the norm, but it's not all
that uncommon, either.  If you get a high-pressure sales pitch and you feel 
like you're being hustled, just walk out.  If you're being treated like 
they're trying to sell you a used car, then respond in kind -- you don't 
have to finish the conversation, just walk out.  As with any business deal, 
the rule is caveat emptor -- let the buyer beware!


WHAT TO LOOK FOR
----------------

Perhaps the first thing to look at is the schedule.  You can't learn if
you can't attend the classes.  Depending on the style and school (and size 
of the school), there may be separate classes for beginner/intermediate/
advanced, so be aware that the schedule may change on you as you advance.

Find out who teaches most of the classes.  In many cases it isn't the
head instructor.  If the classes are split beginner/intermediate/advanced,
chances are good that the head instructor doesn't teach the beginner
classes.  But does he teach most of the advanced classes?  And who will
you be spending most of your class time with?

Talk to several students.  Ask them how long they've studied there, what
they like about it, who teaches most of the classes, etc.  Remember that
they aren't likely to say anything critical there in the school; just ask
what they like about it and read between the lines the best you can.

Take special notice of the atmosphere.  I mean the attitudes, not the decor.
Are they friendly/respectful toward one another?  After a sparring match, 
do they smile at each other or grit their teeth and show disdain?  Does the 
instructor seem to be interested in growing a student along and pruning them 
carefully, or does he mow them down and use them to prove that he truly is a 
god?  Are there an unreasonable number of injuries in class caused by a lack 
of control?  Look for healthy and unhealthy attitudes.  Ideally, the student 
is encouraged to compete with himself/herself, not with other students.

You MUST visit a school more than once in order to form a valid opinion.
That is, unless you get the high-pressure sales pitch and walk out the
first time.  But aside from that, if you only visit one class, you'll still 
have no idea what a typical class is like.  Classes vary from one to another.
There are good days and bad days for everyone, even instructors.  The usual 
instructor may be on vacation.  There might even be different types of 
classes on different days of the week (on one day we do weapons training, on 
another we do punches and kicks, on another we do throws and pins, etc.)  So 
when narrowing down your choices, visit more often so you can get a good idea
of what it would be like to train there.

Be aware that many schools do not have continuous enrollment.  You may
have to wait until next week, next month, or even next semester (if the
school meets at a college) for the next beginner's class to start.  This
is pretty much par, so don't let this offend or discourage you.  Use the
waiting time to do more visiting!

The choice of who will be your first teacher is an extremely important
one.  Unfortunately, as a beginner, you are completely unqualified to
judge the skill of instructors.  You should realize that this is a basic
fundamental dilemma.  If you have a friend who is a skilled martial artist,
you could ask them to come with you -- but how will you judge the skill
of your friend?  This is the beginner's dilemma.  It's like getting lost
in an unfamiliar town, and everyone you ask gives you different directions. 
Most of them are probably wrong, some lie to you on purpose, and more than 
one of them may have given you correct instructions (though one route may 
be longer than another).  There is no way that a guide like this can tell 
you how to judge the skill of an instructor.  That only comes with years 
of experience.  So you must make your decision based on whether you like 
the school itself, and the attitudes there, and other non-technical things.  
There really is no way out of this dilemma.  I'm not saying this to 
discourage, but because it's important for you to recognize your own 
limitations and to be honest with yourself about them.


WHAT NOT TO LOOK FOR
--------------------

Some things you should NOT base your decision on:

   1. The RACE or GENDER of the instructor is completely unimportant.
      Don't automatically assume that an instructor is good merely
      because he's an Asian male.  Likewise, don't assume one is not
      good because she's a non-Asian female.

   2. It's not important whether the building is real nice and fancy.
      Many people are getting excellent training in their instructor's
      garage or back yard!

   3. Do not allow your decision to be swayed by unrelated features, 
      such as the availability of exercise machines, hot tubs, and 
      tanning beds.

   4. Don't make your decision based on the garmets worn during practice.
      Students in one school may wear something that looks like a skirt,
      while those in another school may wear something that looks like
      star-spangled pajamas.  Pay attention to the techniques and attitudes
      rather than the garmets.  (But personally, I'd be suspicious of the 
      star-spangled pajamas...)

   5. In some arts like Sumo, the size of the instructor is important, but
      this is an unusual exception.  For the vast majority of styles, the
      size and strength of the instructor are not important.  You should
      not generally be concerned with whether you are built the same way
      as the instructor.

   6. If you are not interested in martial arts as a sport, then don't be
      impressed by a large collection of huge, shiny trophies.  If you are
      interested in it as a sport, you should still curb your enthusiasm of 
      trophies somewhat.  In many tournaments, the trophies are plentiful, 
      and nearly everyone takes one home for something or other.  Some get
      one just for being the only one present in their particular category.  
      So at least read what's written on the trophies.  If you still find 
      yourself overly impressed by them, visit your local trophy shop.


RANK
----

In most (but not all) styles, there is a ranking system.  There is no
universal ranking system.  Without any training at all, you can buy a 
black belt for US$7.50, tie it on your pajamas, declare that you have just 
created a new martial art style, and promote yourself to 10th degree black 
belt without breaking any laws (at least not in the U.S.)  As a newbie,
you must be aware that this is not only possible, but that it has been
done many times.

A typical Japanese ranking system would be to rank non-black belts from
10th kyu (low) up to 1st kyu (high), and black belts from 1st dan (low)
to 10th dan (high).  Depending on the style, there might be only 5 kyu
ranks, or only 5 dan ranks, etc.  Typically, 9th dan is the highest, and
there is only one (usually in Japan).  Korean ranking systems are typically 
very similar, but the word "gup" is used instead of "kyu" (hence the
slang term "guppies" for beginners).  The ranking system of Chinese
styles differ considerably; some use sashes instead of belts, but many
don't have much of a ranking system at all.  There are martial arts from
other countries than these, and their ranking systems may be drastically
different.

Don't be overly concerned with the rank of the instructor.  You won't be 
able to even tell the difference between a 3rd degree black belt and a 9th 
degree black belt for a long, long time.  You should, however, be a little 
suspicious of those claiming unusually high ranks.  Most of the 9th dans 
out there are those who have quit some other school and started a school of 
their own, and then promoted themselves to 9th dan.  There is no universal 
governing body that assigns ranks to everyone.  Each style assigns their 
own ranks as they please.  You CANNOT compare ranks between different
schools!  A certain colored belt in one school doesn't mean the same as
the same color belt in another school.  Some schools don't even have belts.
Some don't even have ranks.  Don't let the rank game distract you from
what is really important.

Some schools belong to world-wide organizations.  These have the advantage
that you can transfer your rank to another member school.  They usually
have the disadvantage of dues that each student must pay to the organization.
Often there are two or more rival organizations for a given style.  The 
politics involved in such things are extremely involved.  In deciding on a 
school, I would tend to place little significance on their organization, and 
much more significance on the quality of training at that particular school.


WHEN YOU VISIT
--------------

   1. When visiting for the first time, call ahead to make sure visitors 
      are welcome.  It wouldn't be a bad idea to ask about proper protocol
      while you're at it.  Some schools have shoe racks on the way in
      the door where you should leave your shoes; most ask that you bow
      in the doorway when you enter; some ask that you stand during
      opening/closing ceremonies; etc.

   2. When visiting for the first time, wear normal street clothes;
      whatever you wear to work is usually appropriate (depending on
      what you do for a living...)

   3. Be very polite.

   4. If you're offered a hand, shake hands.  If someone bows to you,
      bow back -- about the same height, in the same manner that
      they bow, and don't look at them while you are bowing, unless
      they look at you.

   5. Be quiet during class; don't do anything to draw attention to
      yourself while the class is in progress.

   6. Get there early, and stay afterwards so you can ask questions.

   7. Don't discuss other schools at all, if possible.  If you cannot
      avoid the subject altogether, then at least don't say anything
      derogatory about another school.

   8. Don't try to impress them with your (limited) knowledge of 
      different styles and your (equally limited) vocabulary of foreign
      words (especially if they're from the wrong foreign language).


Acknowledgements
----------------

I'd like to thank the following people for contributing their wisdom, 
suggestions, and encouragement to this guide.  (The appearance of 
their names here does not signify agreement with everything written 
here, of course.)

   Stephen Chan            Peter Hahn              Bill Rankin 
   Terry Chan              Michael Lawrie          Michael Robinson 
   Joe Chew                Mary Malmros            Andy Vida-Szucs 
   Doug Cohen              Joe Pfeiffer            Diane Winters 
   Bud Glunt               David Poore             Tom Yurkiw 
   Steve Gombosi           Lauren Radner 

-------------------------------------------------------------------------
(C) Copyright 1993-5, Jeff D. Pipkins.  All rights reserved.

The Newbie Guide amounts to nothing more than my personal opinions, which 
at your own risk, you are free to use, ignore, or disagree with.  You
must not change the Newbie Guide in any way, but you are free to make 
copies of it as long as the copy is verbatim and complete, including this
message and my ".sig" quote at the bottom. You may distribute such copies 
as long as you do not charge any fees for that.

Good luck!
--Jeff Pipkins

The Newbie Guide is periodically posted to rec.martial-arts on USENET.
Requests for latest copy, questions, suggestions, and constructive 
criticisms are all welcome via email at the following address.  

Pipkins@bangate.compaq.com
------------------------------------------------------------------- [sig #10]
I am NOT authorized to represent | 
my employer.  Use my opinions    | I've already told you more than I know...
ONLY at your OWN risk.           | 

