Martial Arts Review and Video Clip

Nine Cutting Fingers of Ninjutsu

2008-10-25T17:53:00.000-07:00

Ninjutsu was developed by groups of people mainly from the Iga Province and Kōka, Shiga of Japan. Throughout history the shinobi have been seen as assassins, scouts and spies. They are mainly noted for their use of stealth and deception. They have been associated in the public imagination with activities that are considered criminal by modern standards. Throughout history many different schools (ryū) have taught their unique versions of ninjutsu. An example of these is the Togakure-ryū. This ryū was developed after a defeated samurai warrior called Daisukz Togakure escaped to the region of Iga. Later he came in contact with the warrior-monk Kain Doshi who taught him a new way of viewing life and the means of survival (ninjutsu).

Ninjutsu was developed as a collection of fundamental survivalist techniques in the warring state of feudal Japan. The ninja used their art to ensure their survival in a time of violent political turmoil. Ninjutsu included methods of gathering information, and techniques of non-detection, avoidance, and misdirection. Ninjutsu can also involve training in disguise, escape, concealment, archery, medicine, explosives, and poisons.

Skills relating to espionage and assassination were highly useful to warring factions in feudal Japan. Because these activities were seen as dishonorable, Japanese warriors hired people who existed below Japan's social classes to perform these tasks. These persons were literally called "non-humans" (非人, hinin). At some point the skills of espionage became known collectively as ninjutsu. And the people who specialized in these tasks were called shinobi no mono. Somewhat later they were called ninja.

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Morihei Ueshiba

2008-10-18T17:57:00.000-07:00

Aikido was created by Morihei Ueshiba (植芝盛平 Ueshiba Morihei, 14 December 1883–26 April 1969), referred to by some aikido practitioners as Ōsensei ("Great Teacher"). Ueshiba envisioned aikido not only as the synthesis of his martial training, but also an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the koryū (old-style martial arts) that Ueshiba studied into a wide variety of expressions by martial artists throughout the world.

Aikido Basic Techniques : Aikido Philosophy

2008-10-18T17:50:00.000-07:00

The term dō connects the practice of aikido with the philosophical concept of Tao, which can be found in martial arts such as judo and kendo, and in more peaceful arts such as Japanese calligraphy (shodō), flower arranging (kadō) and tea ceremony (chadō or sadō). The term aiki refers to the martial arts principle or tactic of blending with an attacker's movements for the purpose of controlling their actions with minimal effort. One applies aiki by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique. Historically, aiki was mastered for the purpose of killing; however in aikido one seeks to control an aggressor without causing harm. The founder of aikido declared: "To control aggression without inflicting injury is the Art of Peace." A number of aikido practitioners interpret aikido metaphorically, seeing parallels between aikido techniques and other methods for conflict resolution. These kanji are identical to the Korean versions of the characters that form the word hapkido, a Korean martial art. Although there are no known direct connections between the two arts, it is suspected that the founders of both arts trained in Daitō-ryū Aiki-jūjutsu.

ninjutsu Shinobi: Winds of the 34th Generation

2008-10-17T21:40:00.000-07:00

Ninja is the on'yomi reading of the two kanji 忍者 used to write shinobi-no-mono (忍の者), which is the native Japanese word for people who practice ninjutsu (忍術, sometimes erroneously transliterated as ninjitsu). The term shinobi (historically sino₂bi₂ written with the Man'yōgana 志能備), has been traced as far back as the late 8th century to a poem to Ōtomo no Yakamochi. The underlying connotation of shinobi (忍) means "to steal away" and—by extension—"to forbear", hence its association with stealth and invisibility. Mono (者), likewise pronounced sha or ja) means a "person."

How to be Ninja

2008-10-17T21:32:00.000-07:00

In Japanese history, a ninja (忍者, ninja) is a warrior, trained in martial arts, and specializing in a variety of unorthodox arts of war. The methods used by ninja included assassination, espionage, stealth, camouflage, specialized weapons, and a vast array of martial arts were added after the 20th century.

The exact origins are unknown, but their roles may have included sabotage, espionage, scouting and assassination missions as a way to destabilize and cause social chaos in enemy territory or against an opposing ruler, perhaps in the service of their feudal rulers (daimyo, shogun), or an underground ninja organization waging guerilla warfare.

Tying the judo belt

2008-10-17T04:03:00.000-07:00

In Japan, the use of belt colours is related to the age of the student. Some clubs will only have black and white, others will include a brown belt for advanced kyū grades and at the elementary school level it is common to see a green belt for intermediate levels.

For dan ranks, the first five are coloured black, 6th, 7th, and 8th dan have alternating red and white panels, and for 9th and 10th dan the belts are solid red. However, holders of grades above godan (5th dan) will often wear a plain black belt in regular training.

Some countries also use colored tips on belts, to indicate junior age groups. Historically, women's belts had a white stripe along the centre.

Examination requirements vary depending on country, age group and of course the grade being attempted. The examination itself may include competition and kata. The kyū ranks are normally awarded by local instructors (sensei), but dan ranks are usually awarded only after an exam supervised by independent judges from a national judo association. For a rank to be recognized, it must be registered with the national judo organization or the Kodokan.

VITAL ALE 1 RANKING

2008-10-17T03:58:00.000-07:00

Jūdōka are ranked according to skill and knowledge of judo, and their rank is reflected by their belt colour. There are two divisions of rank: below-black-belt-level "grades" (kyū), and black-belt-level "degrees" (dan). This ranking system was introduced into the martial arts by Kano and has since been widely adopted by modern martial arts. As initially designed, there were six student grades ranked in descending numerical order, with 1st kyū being the last before promotion to first degree black belt (shodan). There are ordinarily 10 dan ranks, which are ranked in ascending numerical order, though in principle there is no limit to the number of dan ranks.

Waza-ari-awasete-ippon

2008-10-17T03:53:00.000-07:00

Judo scoreboards show the number of waza-ari, yuko and koka scores scored by each player. Often an ippon is not represented on the scoreboard, because upon award of an ippon the match is immediately terminated. Some computerised scoreboards will briefly indicate that an ippon has been scored.

Scoreboards normally also show the number of penalties imposed on each player, and sometimes the number of medical visits for each. (Only two "medical" attentions are allowed for each competitor during a match — most often for minor bleeds.)

Electronic scoreboards also usually include timers for measuring both competition time and osekomi time.

A match with the first player scoring one waza-ari, two yuko, and two koka, beating his opponent who scored one fewer kokas would be displayed on the scoreboard as: "122" vs. "121"; while in print such a result would often be represented as: "1W2Y2K" vs. "1W2Y1K".

Scoring Ippon

2008-10-17T03:39:00.000-07:00

The object in a judo match is to throw the opponent to the ground on his shoulder; to pin him to the ground principally on his back; or to force him to submit to a choke, strangle or an armlock. Any of these score ippon (一本), immediately winning the match.

Judo has four grades of score: ippon, waza-ari, yuko, and koka. An ippon literally means "one point" and wins the match. An ippon is awarded for (a) a throw that lands the opponent largely on their back in a controlled manner with speed and force; (b) for a mat hold of sufficient duration (twenty five seconds); or (c) for opponent submission. A waza-ari is awarded for a throw that does not quite have enough power or control to be considered ippon; or for a hold of twenty seconds. A waza-ari is a half-point, and, if two are scored, they constitute the full point needed for a win.

Yuko and koka are lower grades of score, and only count as tie-breakers - they are not cumulative with one another. Scoring is lexicographic; a waza-ari beats any number of yuko, but a waza-ari and a yuko beat a waza-ari with no yuko. It is not uncommon for a match to be decided based on koka.

A fifteen-second hold down scores yuko and a ten-second hold down scores koka. If the person who secured the hold down already has a waza-ari, they only need to hold the hold down for twenty seconds to score ippon by way of two waza-ari (waza-ari-awasete-ippon). Throws further lacking the requirements of an ippon or a waza-ari might score a yuko or a koka. So-called "skillful takedowns" are also permitted (e.g. the flying arm-bar) but do not score.

If the scores are identical at the end of the match, the contest is resolved by the Golden Score rule. Golden Score is a sudden death situation where the clock is reset to match-time, and the first contestant to achieve any score wins. If there is no score during this period, then the winner is decided by Hantei, the majority opinion of the referee and the two corner judges.

Judo: Why Flavio Canto is not allowed to do his newaza?

2008-10-17T03:35:00.000-07:00

The traditional rules of judo are intended to avoid injuries to the participants and ensure proper etiquette. Some later additions to the rules were motivated by a desire to make the sport more interesting to observers.

Penalties may be given for being inactive during the match, or for using illegal techniques. Fighting must be stopped if a participant is outside the designated area on the mat (tatami). If the referee and judges need to discuss something during groundwork, the referee will call sonomama (which means "do not move") and both fighters must stop in the position they are in. When they are done, the referee says yoshi and the match continues.

All scores and penalties are given by the referee. The judges can make a decision that changes the score or penalty given by the referee.

There are slight differences to IJF rules to accommodate blind judo.

Saga of Steven. Steven No Gi Light-weight Division Part 4

2008-10-17T03:33:00.000-07:00

There are currently seven weight divisions, subject to change by governing bodies, and may be modified based on the age of the competitors:

Men
Under 60 kg	60~66 kg	66~73 kg	73~81 kg	81~90 kg	90~100 kg	Over 100 kg
Women
Under 48 kg	48~52 kg	52~57 kg	57~63 kg	63~70 kg	70~78 kg	Over 78 kg

Judo and the Olympic victory

2008-10-17T03:31:00.000-07:00

The first time judo was seen in the Olympics was at the 1932 Games in Los Angeles, where Kano and about 200 judo students gave a demonstration. Judo became an Olympic sport for men in the 1964 Games in Tokyo. With the persistence of Rusty Kanokogi, an American, and many others, judo became an Olympic sport for women as well in 1988. It is often stated that the men's judo event in 1964 was a demonstration event, but according to the International Judo Federation (IJF) and International Olympic Committee, Judo was in fact an official sport in the 1964 games. Dutchman Anton Geesink won the first Olympic gold medal in the open division of Judo by defeating Aiko Kaminaga of Japan. Judo then lost the image of being "Japanese only" and went on to become one of the most widely practised sports in the world. The women's event was a demonstration event in 1988, and became an official medal event 4 years later. Men and women compete separately, although they often train together. Judo has been a Paralympic sport (for the visually impaired) since 1988. Judo is also one of the sports at the Special Olympics.

Collegiate competition in the United States, especially between UC Berkeley and San Jose State, contributed towards refining judo into the sport seen at the Olympic Games and World Championships. In the 1940s Henry Stone and Yosh Uchida, the head coaches at Cal and SJSU, developed a weight class system for use in the frequent competitions between the schools. In 1953, Stone and Uchida successfully petitioned the Amateur Athletic Union to accept judo as a sport, with their weight class system as an official component. In 1961, Uchida represented the United States at the IJF meetings in Paris, where the IJF adopted weight classes for all future championships. The IJF was created largely based on the earlier European Judo Union, where weight classes had also been used for many years.

Koryu Uchinadi Shime-waza

2008-10-17T03:30:00.000-07:00

Chokes and strangulations (締め技, shime-waza) enable the one applying the choke to force the adversary into unconsciousness and even death. Strangulation cuts off the blood supply to the brain via compression on the sides of the neck, while a choke blocks the airway from the front of the neck. The terms are frequently interchangeable in common usage, and a formal differentiation is not made by most jūdōka. In competition, the jūdōka wins if the opponent submits or becomes unconscious. A strangle, once properly locked in, can render an opponent unconscious in only a few seconds, but normally causes no injury.

Kansetsu-Waza

2008-10-17T03:26:00.000-07:00

Joint locks (kansetsu-waza) are effective combat techniques because they enable a jūdōka to control his opponent through pain-compliance, or if necessary, to cause breakage of the locked joint. Joint locks on the elbow are considered safe enough to perform at nearly full-force in competition to force submission from one's opponent. Judo has, in the past, allowed leglocks, wristlocks, spinal locks and various other techniques that have since been disallowed in competition to protect athletes' safety. It was decided that attacking those other joints would result in many injuries to the athletes and would cause a gradual deterioration of these joints. Even so, some jūdōka still enjoy learning and fighting each other informally using these techniques that are banned from formal competitions, and many of these techniques are still actively used in other arts such as sambo, Brazilian Jiu-Jitsu, and jujutsu.

Judo - Do Jime

2008-10-17T03:24:00.000-07:00

If the person being held down has wrapped his legs around any part of his opponent's lower body or trunk, he is pinning his opponent as much as he is being pinned, because his opponent cannot get up and flee unless the person on the bottom lets go. While his legs are wrapped around his opponent, the person on the bottom can employ various attacking techniques, including strangles, armlocks and "body scissors" (do-jime), while controlling the opponent so that he cannot effectively strike from above. In this position, often referred to as the "guard" in English, the person on top does not have enough control over his adversary for the position to be considered osaekomi. (Note that while the guard is commonly used, do-jime is no longer legal in competition judo.) The person on top can try to pass his opponent's legs and in turn hold down or submit him, or he may try to break out of his opponent's guard and stand up. The person on the bottom can try to submit his opponent from his guard or roll his opponent over to get on top of him.

BJJ Instruction: Standing Traditional Guard Smash Pass

2008-10-17T03:21:00.000-07:00

In competition, combat may continue on the ground after a throw occurs or if the contestants otherwise legally end up on the ground; a contestant is not allowed to simply drop to the ground to commence ground fighting.

On the ground, the contestants aim to either obtain a hold down, or to get their opponent to submit either by using a choke or strangulation or armlock (locks on joints other than the elbow are not allowed for safety reasons.)

Hold downs (押さえ込み, osaekomi) are important since in a real fight the person who has control of his opponent can hit him with punches, knees, headbutts, and other strikes. If osaekomi is maintained for twenty-five seconds, the person doing the holding down wins the match. An osaekomi involves holding an opponent principally on their back, and free of their legs.

According to the rules as they stood in 1905, it was only necessary to hold down an opponent, on his shoulders, for two seconds - said to reflect the time necessary for a samurai to reach his knife or sword and dispatch his held opponent. The newer longer requirements reflect the combat reality that a fighter must immobilize his opponent for a substantial amount of time in order to strike effectively.

The score for a hold down is determined by how long the hold down is held. A hold down may sometimes result in a submission if the opponent cannot endure the pressure from the hold down.

judo standing fight

2008-10-17T03:18:00.000-07:00

In the standing phase, which has primacy according to the contest rules, the opponents attempt to throw each other. Although standing joint-lock and choke/strangulation submission techniques are legal in the standing phase, they are quite rare due to the fact that they are much harder to apply standing than throws are. Some jūdōka, however, are very skilled in combining takedowns with submissions, where a submission technique is begun standing and finished on the ground.

Strikes (i.e. punches, kicks, etc...) are not allowed due to their certainty of injury, but an athlete is supposed to "take them into consideration" while training by, for example, not fighting in a bent-over position for long, since this position is vulnerable to knee-strikes and other striking attacks.

The main purpose of the throwing techniques (nage waza) is to take an opponent who is standing on his feet, mobile and dangerous, down onto his back where he cannot move as effectively. Thus, the main reason for throwing the opponent is to control the opponent and to put oneself in a dominant position. In this way the practitioner has more potential to render a decisive outcome. Another reason to throw the opponent is to shock his body through smashing him forcefully onto the ground. If an opponent executes a powerful yet fully controlled throw, he can win a match outright (by ippon) on the basis that he has displayed sufficient superiority. A lower score is given for lesser throws. A score for a throw is only given when executed starting from a standing position.

In keeping with Kano's emphasis on scientific analysis and reasoning, the standard Kodokan judo pedagogy dictates that any throwing technique is theoretically a four phased event: off-balancing (kuzushi); body positioning (作り, tsukuri); execution (掛け, kake); and finally the finish or coup de grâce (極め, kime). Each phase follows the previous one with great rapidity - ideally they happen almost simultaneously.

National Combat Judo,hand to hand combat

2008-10-17T03:16:00.000-07:00

In judo, there are two main phases of combat: the standing (tachi-waza) and the ground (ne-waza) phase. Each phase requires its own (mostly separate) techniques, strategies, randori, conditioning and so on. Special training is also devoted to "transitional" techniques to bridge the gap. Jūdōka may become quite skilled in one phase and be rather weak in the other, depending on where their interests most lie, although most are balanced between the two.

Judo's balance between both the standing and ground phases of combat gives judoka the ability to take down opponents who are standing up and then pin and submit them on the ground. This balanced theory of combat has made judo a popular choice of martial art or combat sport.

Combat Judo Randori

2008-10-17T03:14:00.000-07:00

Judo emphasizes a free-style sparring, called randori, as one of its main forms of training. Part of the combat time is spent sparring standing up, called tachi-waza, and the other part on the ground, called ne-waza. Sparring, even subject to safety rules, is much more practically effective than only practicing techniques on their own, which is what jujutsuka were used to doing. Using full strength develops the muscles and cardio-vascular system on the physical side of things, and it develops strategy and reaction time on the mental side of things, and helps the practitioner learn to use techniques against a resisting opponent. A common saying among judoka is "The best training for judo is judo."

There are several types of sparring exercises, such as ju renshu (both judoka attack in a very gentle way where no resistance is applied); and kakari geiko (only one judoka attacks while the other one relies solely on defensive and evasive techniques, but without the use of sheer strength.)

Nage No Kata (Judo teaching video)

2008-10-17T03:08:00.000-07:00

Forms (kata) are pre-arranged patterns of attack and defence, which in judo are practised with a partner for the purpose of perfecting judo techniques. More specifically, their purposes include illustrating the basic principles of judo, demonstrating the correct execution of a technique, teaching the philosophical tenets upon which judo is based, allowing for the practice of techniques that are not allowed in competition, and to preserve ancient techniques that are historically important but are no longer used in contemporary judo.

Knowledge of various kata is a requirement for the attainment of a higher rank.

There are seven kata that are recognised by the Kodokan today:

Free practice forms (Randori no Kata), comprising two kata:

Throwing forms (Nage no Kata)
Grappling forms (Katame no Kata)

Old style self-defence forms (Kime no Kata)
Modern self-defence forms (Kodokan no Kata)
Forms of "gentleness" (Ju no Kata)
The five forms (Itsusu no Kata)
Ancient forms (Koshiki no Kata)
Maximum-efficiency national physical education kata (Seiryoku Zen’yo Kokumin Taiiku no Kata) There are also other kata that are not officially recognised by the Kodokan but that continue to be practised. The most prominent example of these is Go no sen no kata, a kata that focuses on counter-attacks to attempted throws.

Judo Techniques

2008-10-17T03:05:00.000-07:00

While judo includes a variety of rolls, falls, throws, hold downs, chokes, joint-locks, and strikes, the primary focus is on throwing (投げ技, nage-waza), and groundwork (ne-waza). Throws are divided in two groups of techniques, standing techniques (tachi-waza), and sacrifice techniques (捨身技, sutemi-waza). Standing techniques are further divided into hand techniques (手技, te-waza), hip techniques (腰技, koshi-waza), and foot and leg techniques (足技, ashi-waza). Sacrifice techniques are divided into those in which the thrower falls directly backwards (真捨身技, ma-sutemi-waza), and those in which he falls onto his side (橫捨身技, yoko-sutemi-waza).

The ground fighting techniques are divided into attacks against the joints or joint locks (関節技, kansetsu-waza), strangleholds or chokeholds (絞技, shime-waza), and holding or pinning techniques (押込技, osaekomi-waza).

A kind of sparring is practised in judo, known as randori (乱取り, randori), meaning "free practice". In randori, two adversaries may attack each other with any judo throw or grappling technique. Striking techniques (atemi-waza) such as kicking and punching, along with knife and sword techniques are retained in the kata. This form of pedagogy is usually reserved for higher ranking practitioners (for instance, in the kime-no-kata), but are forbidden in contest, and usually prohibited in randori for reasons of safety. Also for reasons of safety, chokeholds, joint locking, and the sacrifice techniques are subject to age or rank restrictions. For example, in the United States one must be 13 or older to use chokeholds, and 16 or older to use armlocks.

In randori and tournament (shiai) practice, when an opponent successfully executes a chokehold or joint lock, one submits, or "taps out", by tapping the mat or one's opponent at least twice in a manner that clearly indicates the submission. When this occurs the match is over, the tapping player has lost, and the chokehold or joint lock ceases.

a new Judogi control equipment

2008-10-17T03:04:00.000-07:00

Judo practitioners traditionally wear white uniforms called jūdōgi, which simply means "judo uniform", for practicing judo. Sometimes the word is seen shortened simply to gi (uniform). The jūdōgi was created by Kano in 1907, and similar uniforms were later adopted by many other martial arts. The modern jūdōgi consists of white or blue cotton drawstring pants and a matching white or blue quilted cotton jacket, fastened by a belt (obi). The belt is usually coloured to indicate rank. The jacket is intended to withstand the stresses of grappling, and as a result, is much thicker than that of a karate uniform (karategi).

The modern use of the blue judogi was first suggested by Anton Geesink at the 1986 Maastricht IJF DC Meeting. For competition, a blue jūdōgi is worn by one of the two competitors for ease of distinction by judges, referees, and spectators. In Japan, both judoka still use a white judogi and the traditional red sash (based on the colours of the Japanese flag) is affixed to the belt of one competitor. Outside Japan, a coloured sash may also be used for convenience in minor competitions, the blue jūdōgi only being mandatory at the regional or higher levels. Japanese practitioners and purists tend to look down on the use of blue jūdōgi.

Greatest Judoka of all time

2008-10-17T03:01:00.000-07:00

A practitioner of judo is known as a judoka or 'judo player', though traditionally only those of 4th Dan or higher were called "judoka". The suffix -ka, when added to a noun, means a person with expertise or special knowledge on that subject. For example, Benkyo-ka means "scholar". Other practitioners below the rank of 4th dan were called kenkyu-sei or "trainees". However, today the term judoka is used worldwide to refer to any practitioner of judo without any particular level of expertise being implied.

A judo teacher is called sensei. The word sensei comes from sen or saki (before) and sei (life) – i.e. one who has preceded you. In Western dojos it is common to call any instructor of dan grade sensei. Traditionally, that title was reserved for instructors of 4th dan and above.

LEARN JUDO WITH ME, VLADIMIR PUTIN

2008-10-17T02:56:00.000-07:00

The word "judo" shares the same root ideogram as "jujutsu": "jū" (柔, "jū"), which may mean "gentleness", "softness", "suppleness", and even "easy", depending on its context. Such attempts to translate jū are deceptive, however. The use of jū in each of these words is an explicit reference to the martial arts principle of the "soft method" (柔法, jūhō). The soft method is characterized by the indirect application of force to defeat an opponent. More specifically, it is the principle of using one's opponent's strength against him and adapting well to changing circumstances. For example, if the attacker was to push against his opponent he would find his opponent stepping to the side and allowing his momentum (often with the aid of a foot to trip him up) to throw him forwards (the inverse being true for pulling.) Kano saw jujutsu as a disconnected bag of tricks, and sought to unify it according to a principle, which he found in the notion of "maximum efficiency". Jujutsu techniques that relied solely on superior strength were discarded or adapted in favour of those that involved redirecting the opponent's force, off-balancing the opponent, or making use of superior leverage.

The second characters of judo and jujutsu differ. Where jujutsu (柔術, jūjutsu) means the "art" or "science" of softness, judo (柔道, jūdō) means the "way" of softness. The use of "dō" (道, "dō"), meaning way, road or path (and is the same character as the Chinese word "tao"), has philosophical overtones. This is the same distinction as is made between Budō and Bujutsu. Use of this word is a deliberate departure from ancient martial arts, whose sole purpose was for killing. Kano saw judo as a means for governing and improving oneself physically, mentally, emotionally and morally. He even extended the physical principle of maximum efficiency into daily life, evolving it into "mutual prosperity". In this respect, judo is seen as a holistic approach to life extending well beyond the confines of the dojo.

Jigoro Kano - Judo Demonstration

2008-10-17T02:53:00.000-07:00

By this time, Kano was devising new techniques, such as the "shoulder wheel" (kata-guruma, known as a fireman's carry to Western wrestlers who use a slightly different form of this technique) and the "floating hip" (uki goshi) throw. However, he was already thinking about doing far more than just expanding the canons of Kitō-ryū and Tenjin Shin'yō-ryū. Full of new ideas, Kano had in mind a major reformation of jujutsu, with techniques based on sound scientific principles, and with focus on development of the body, mind and character of young men in addition to development of martial prowess. At the age of 22, when he was just about to finish his degree at the University, Kano took nine students from Iikubo's school to study jujutsu under him at the Eisho-ji, a Buddhist temple in Kamakura, and Iikubo came to the temple three days a week to help teach. Although two years would pass before the temple would be called by the name "Kodokan", or "place for teaching the way", and Kano had not yet been accorded the title of "master" in the Kitō-ryū, this is now regarded as the Kodokan's founding.

Judo was originally known as Kano Jiu-Jitsu or Kano Jiu-Do, and later as Kodokan Jiu-Do or simply Jiu-Do or Judo. In the early days, it was also still referred to generically simply as Jiu-Jitsu.

Jigoro Kano Koshiki no Kata Omote

2008-10-17T02:51:00.000-07:00

Cian was a small, frail boy, who, even in his twenties, did not weigh more than a hundred pounds (45 kg), and was often picked on by bullies. He first started pursuing jujutsu, at that time a dying art, at the age of 17, but met with little success. This was in part due to difficulties finding a teacher who would take him on as a student. When he went to university to study literature at the age of 18, he continued his martial arts studies, eventually gaining a referral to Fukuda Hachinosuke (c.1828–c.1880), a master of the Tenjin Shin'yō-ryū and grandfather of Keiko Fukuda (born 1913), who is Kano's only surviving student, and the highest-ranking female jūdōka in the world. Fukuda Hachinosuke is said to have emphasized technique over formal exercise, sowing the seeds of Kano's emphasis of free practice (randori) in judo.

A little more than a year after Kano joined Fukuda's school, Fukuda became ill and died. Kano then became a student in another Tenjin Shin'yō-ryū school, that of Iso Masatomo (c.1820–c.1881), who put more emphasis on the practice of pre-arranged forms (kata) than Fukuda had. Through dedication, Kano quickly earned the title of master instructor (shihan) and became assistant instructor to Iso at the age of 21. Unfortunately, Iso soon took ill, and Kano, feeling that he still had much to learn, took up another style, becoming a student of Iikubo Tsunetoshi (1835–1889) of Kitō-ryū. Like Fukuda, Iikubo placed much emphasis on free practice. On the other hand, Kitō-ryū emphasized throwing techniques to a much greater degree than Tenjin Shin'yō-ryū.

Jigoro Kano founder of Judo

2008-10-17T02:43:00.000-07:00

The early history of judo is inseparable from its founder, Japanese polymath and educator Jigoro Kano (嘉納治五郎 Kanō Jigorō, 1860–1938). Kano was born into a well-to-do Japanese family. His grandfather was a self-made man: a sake brewer from Shiga prefecture in central Japan. However, Kano's father was not the eldest son and therefore did not inherit the business. Instead, he became a Shinto priest and government official, with enough influence for his son to enter the second incoming class of Tokyo Imperial University.

Hojo Undo

2008-10-16T04:08:00.000-07:00

Okinawan karate uses supplementary training known as hojo undo. This utilizes simple equipment made of wood and stone. The makiwara is a striking post. The nigiri game is a large jar used for developing grip strength. These supplementary exercises are designed to increase strength, stamina, speed, and muscle coordination. Sport Karate emphasises aerobic exercise, anaerobic exercise, power, agility, flexibility, and stress management. All practices vary depending upon the school and the teacher.

Makotokai Karate Kumite basics

2008-10-16T04:06:00.000-07:00

Sparring in Karate is called kumite (組手:くみて). It literally means "meeting of hands." Kumite is practiced both as a sport and as self-defense training.

Levels of physical contact during sparring vary considerably. Full contact karate has several variants. Knockdown karate (such as Kyokushin) uses full power techniques to bring an opponent to the ground. In Kickboxing variants ( for example K-1), the preferred win is by knockout. Sparring in armour (bogu kumite) allows full power techniques with some safety. Sport kumite is free or structured with no-contact or light contact and points are awarded by a referee.

In structured kumite (Yakusoku - prearranged), two participants perform a choreographed series of techniques with one striking while the other blocks. The form ends with one devastating technique (Hito Tsuki).

In free sparring (Jiyu Kumite), the two participants have a free choice of scoring techniques. The allowed techniques and contact level are usually determined by the age, rank and sex of the participants. Depending upon style, take-downs and sweeps are also allowed.

Free sparring is performed in a marked or closed area. The bout runs for a fixed time (2 to 3 minutes.) The time can run continuously (Iri Kume) or be stopped for referee judgment. Points are awarded based on the criteria: good form, sporting attitude, vigorous application, awareness/zanshin, good timing and correct distance.

Shotokan Karate - Kata Unsu (M. Nakayama)

2008-10-16T04:05:00.000-07:00

Kata (型: かた) means literally "shape" or "model." Kata is a formalized sequence of movements which represent various attack and defense postures. These postures are based on idealized combat applications.

Some kata use low and wide stances. This practice develops leg strength, correct posture, and gracefulness. Vigorous arm movements enhance cardiovascular fitness and upper body strength. Kata vary in number of movements and difficulty. The longer kata require the karateka to learn many complex movements. Diligent training and correct mindfulness lead to real understanding of combat principles.

Kata were developed before literacy was commonplace in Okinawa or China. Physical routines were a logical way to preserve this type of knowledge. The various moves have multiple interpretations and applications. Because the applicability for actual self-defense is so flexible there is no definitively correct way to interpret all kata. That is why only high ranking practitioners are qualified to judge adequate form for their own style. Some of the criteria for judging the quality of a performance are: Absence of missteps; correct beginning and especially ending; crispness and smoothness; correct speed and power; confidence; and knowledge of application. Kata with the same name are often performed differently in other styles of karate. Kata are taught with minor variations among schools of the same style. Even the same instructor will teach a particular kata slightly differently as the years pass.

To attain a formal rank the karateka must demonstrate competent performance of specific required kata for that level. The Japanese terminology for grades or ranks is commonly used. Requirements for examinations vary among schools.

Karate - Kihon - Yoko Geri Keage - Chudan Oi Tsuki

2008-10-16T04:03:00.000-07:00

Karate styles place varying importance on kihon. Typically this is performance in unison of a technique or a combination of techniques by a group of karateka. Kihon may also be prearranged drills in smaller groups or in pairs.

Karate practice

2008-10-16T03:59:00.000-07:00

Karate can be practiced as budo, as a sport, as a combat sport, or as self defense training. Traditional karate places emphasis on self development (budo). Modern Japanese style training emphasizes the psychological elements incorporated into a proper kokoro (attitude) such as perseverance, fearlessness, virtue, and leadership skills. Sport karate places emphasis on exercise and competition. Weapons (kobudō) is important training activity in some styles.

Mestre Brasilia teaches at a Capoeira Event

2008-10-16T03:36:00.000-07:00

Capoeira regional groups periodically hold Batizados ("baptisms" into the art of capoeira). Members being "baptized" are normally given a corda (cord belt) and an apelido (capoeira nickname) if they haven't already earned one. Batizados are major events to which a number of groups and masters from near and far are normally invited. Sometimes a Batizado is also held in conjunction with a Troca de Corda (change of belts), in which students already baptized who have trained hard and been deemed worthy by their teachers are awarded higher-ranking belts as an acknowledgment of their efforts. Such ceremonies provide opportunities to see a variety of different capoeira styles, watch mestres play, and see some of the best of the game. Sometimes they are open to the public.

Batizados and Trocas de Cordoes do not occur in capoeira Angola, which does not have a system of belts. However, some contemporary schools of capoeira have combined the study of both arts and may require their students to be learned in the ways of capoeira Angola before being awarded a higher belt.

Mega Encontro de Capoeira Contemporânea - 2007

2008-10-16T03:34:00.000-07:00

Contemporânea is a term for groups that train multiple styles of capoeira simultaneously. Very often students of Capoeira Contemporânea train elements of Regional and Angola as well as newer movements that would not fall under either of those styles. This is controversial because many practitionersargue that Angola must be practiced alone, or that Regional can only be practiced alone for the student to truly understand the form of the game. Other practitioner argue that a capoeirista should have a working knowledge of traditional and modern capoeira, and encourage training both forms simultaneously. This is an issue of great disagreement amongst capoeiristas.

The label Contemporânea also applies to many groups who do not trace their lineage through Mestre Bimba or Mestre Pastinha and do not strongly associate with either tradition.

In recent years, the various philosophies of modern capoeira have been expressed by the formation of schools, particularly in North America, which focus on, and continue to develop their specific form of, the modern art. This has become a defining characteristic of many schools, to the point that a seasoned student can sometimes tell what school a person trains from, based solely on the way they play the game. Some schools teach a blended version of the many different styles. Traditionally, rodas in these schools will begin with a period of Angola, in which the school's mestre, or an advanced student, will sing a ladainha, (a long, melancholy song, often heard at the start of an Angola game). After some time, the game will eventually increase in tempo, until, at the mestre's signal, the toque of the berimbaus changes to that of traditional Regional.

Each game, Regional and Angola stresses different strengths and abilities. Regional emphasizes speed and quick reflexes, whereas Angola underscores a great deal of thought given to each move, almost like a game of chess. Schools that teach a blend of these try to offer this mix as a way of using the strengths of both games to influence a player.

Capoeira Regional Berimbau Rhythms- Cavalaria

2008-10-16T03:33:00.000-07:00

Regional is the more common form of Capoeira, it is practiced much more widely in Brazil. Capoeira Regional was developed by Mestre Bimba to make capoeira more effective and bring it closer to its fighting origins, and less associated with the criminal elements of Brazil. The Capoeira Regional style is often considered to consist of faster and more athletic play than the more traditional Capoeira Angola.

Later, modern regional came to be (see the next section about capoeira Contemporânea). Developed by other people from Bimba's regional, this type of game is characterized by high jumps, acrobatics, and spinning kicks. This regional should not be confused with the original style created by Mestre Bimba.

Regional ranks capoeiristas (capoeira players) by ability, denoting different skill with the use of a corda (colored rope, also known as cordel or cordão) worn as a belt. Angola does not use such a formal system of ranking, relying instead upon the discretion of a student's mestre. In both forms, though, recognition of advanced skill comes only after many years of constant practice^[

Capoeira Angola

2008-10-16T03:31:00.000-07:00

Capoeira Angola is considered to be the "dancier" form of capoeira and is often characterized by deeply held traditions, sneakier movements and with the players playing their games in closer proximity to each other than in regional or contemporanea. Capoeira Angola is often characterized as being slower and lower to the ground than other major forms of capoeira, although in actual practice, the speed varies in accordance to the music. Capoeira Angola is also known for the chamada, a physical call-and-response used to challenge an opponent or to change the style in the roda.

The father of the best known modern Capoeira Angola schools is considered to be Grão-Mestre Pastinha who lived in Salvador, Bahia. Today, most of the Capoeira Angola schools that are accessible in the United States come from mestres in Pastinha's lineage. He was not the only Capoeira Angola mestre, but is considered to be the "Father of Capoeira Angola", bringing this style of Capoeira into the modern setting of an academy. Capoeira Angola is much more commonly practised outside of Brazil, with "academias" being more commonly found in Europe and the US much less so then in Brazil proper.

Capoeira Malandragem - Ass Kickers

2008-10-16T03:29:00.000-07:00

As students master the basic moves, their game naturally acquires a more cunning slant as they begin to perfect the art of trickery, or malandragem. This involves a lot of improvisation and modifications of basic moves into a flurry of feints and fakes to trick the opponent into responding wrongly. These attempts can be blatant or subtle at discretion of the players. Effective malandragem lies in the development of sharp observation skills and a keen innate ability to anticipate the moves of the opponent and prepare an appropriate response. Some capoeiristas take this aspect of the art to heights akin to the guile of theatrics and drama. Games displaying elaborate performances and even staging skits reenacting historic cultural aspects of capoeira are commonly demonstrated amongst the most learned of the arts.

Learn real Capoeira Angola in London Mestre Pacheco Chamada!

2008-10-16T03:27:00.000-07:00

The Chamada is a ritual that takes place within the game of Capoeira Angola. Chamada means 'call', and consists of one player 'calling' their opponent to participate in the ritual. There is an understood dialogue of gestures of the body that are used to call the opponent, and to signal the end of the ritual. The ritual consists of one player signalling, or calling the opponent, who then approaches the player and meets the player to walk side by side within the roda. The player who initiated the ritual then decides when to signal an end to the ritual, whereby the two players return to normal play. The critical points of the chamada occur during the approach, and the chamada is considered a 'life lesson', communicating the fact that the approach is a dangerous situation. Approaching people, animals, or life situations is always a critical moment when one must be aware of the danger of the situation. The purpose of the chamada is to communicate this lesson, and to enhance the awareness of people participating in the ritual.

During the ritual, after the opposing player has appropriately approached the caller of the chamada, the players walk side by side inside the circle in which the game is played. This is another critical situation, because both players are now very vulnerable due to the close proximity and potential for surprise attack.

Experienced practitioners and masters of the art will sometimes test a student's awareness by suggesting strikes, head-butts, or trips during a chamada to demonstrate when the student left themselves open to attack. The end of a chamada is called by the player that initiated the ritual, and consists of a gesture inviting the player to return to normal play. This is another critical moment when both players are vulnerable to surprise attack.

The chamada can result in a highly developed sense of awareness and helps practitioners learn the subtleties of anticipating another person's intentions. The chamada can be very simple, consisting solely of the basic elements, or the ritual can be quite elaborate including a competitive dialogue of trickery, or even theatric embellishments.

Capoeira moves

2008-10-16T03:26:00.000-07:00

There are also styles of moves that combine both elements of attack and defense. An example is the au batido. The move begins as an evasive cartwheel which then turns into a blocking/kick, either as a reflexive response to a blocking move from the opposing player or when an opportunity to do so presents itself, e.g., at an opponent's drop of guard. Two kicks called meia-lua-de-frente and armada are often combined to create a double spinning kick.

Re: Capoeira Armada and Esquiva : Defense and Attack: Part 2

2008-10-16T03:23:00.000-07:00

Capoeira defenses consists of evasive moves and rolls. A series of ducks called esquivas, which literally means "dodge", are also staple of a capoeiristas' defensive vocabulary. There are typically different esquivas for every step of the Ginga, depending on the direction of the kick and intention of the defender. A common defense is the rolê, which is a rolling move that combines a duck and a low movement. This move allows the defensive players to quickly evade an attack and position themselves around the aggressor in order to lay up for an attack. It is this combination of attacks and defense which gives a game of capoeira its perceived 'fluidity' and choreography.

Other evasive moves such as rasteira, vingativa, tesoura de mão or queda allow the capoeirista to move away or dangerously close in an attempt to trip up the aggressor in the briefest moment of vulnerability (usually in a mid-kick.)

Capoeira Attack

2008-10-16T03:19:00.000-07:00

Capoeira primarily attacks with kicks, sweeps, and head strikes. Some schools teach punches and hand strikes, but they are not as common. A possible explanation for the primary use of feet is the common West African belief that hands are for creation and feet for destruction. Another common explanation is that slaves in Brazil were commonly shackled at the wrists, restricting them from using their hands. Lastly, striking with the hands is often seen as unelegant and disruptive to the flow of the game. Elbow strikes are commonly used in place of hand strikes. "Cabeçadas" or headbutts are as common as they are in many of the fighting arts of the African Diaspora. Knee strikes are sometimes seen. Capoeira also uses acrobatic and athletic movements to maneuver around the opponent. Cartwheels called "aú" (a very common acrobatic movement), handstands (bananeira), headspins (pião de cabeça), hand-spins (pião de mão), handsprings (gato), sitting movements, turns, jumps, flips (mortal), and large dodges are all very common in capoeira though vary greatly depending on the form and rhythm. Fakes and feints are also an extremely important element in capoeira games and the setting of traps or illusory movements are very common.

Capoeira Moves & Games : Learn the Capoeira Ginga

2008-10-16T03:18:00.000-07:00

Ginga

The ginga (literally: rocking back and forth; to swing) is the fundamental movement in capoeira. Capoeira Angola and Capoeira Regional have distinctive forms of ginga. Both are accomplished by maintaining both feet approximately shoulder-width apart and then moving one foot backwards and then back to the base, describing a triangular step on the ground. This movement is done to prepare the body for other movements.

The rest of the body is also involved in the ginga: coordination of the arms (in such a way as to prevent the body from being kicked), torso (many core muscles may be engaged depending on the player's style), and the leaning of the body (forward and back in relation to the position of the feet; the body leans back to avoid kicks, and forward to create opportunities to show attacks). The overall movement should match the rhythm being played by the bateria.

Abadá-Capoeira - Jogos Mundiais

2008-10-16T03:15:00.000-07:00

Capoeira does not focus on injuring the opponent. Rather, it emphasizes skill. Capoeiristas often prefer to show the movement without completing it, enforcing their superiority in the roda. If an opponent cannot dodge a slow attack, there is no reason to use a faster one. Each attack that comes in gives players a chance to practice an evasive technique.

Capoeira Roda / Jogo

2008-10-16T03:13:00.000-07:00

The Roda ( Hoh-Dah ) or "Roda de Capoeira" is the circle of people within which capoeira is played. Its circular shape is maintained to keep focus on the players and musicians and retain the energy created by the capoeira game. The people who make up the roda's circular shape clap and sing along to the music being played by the musicians in the bateria for the two partners engaged in a capoeira "game" (jogo). The "mouth" of the roda is located directly in front of the bateria. It is at this point where the players begin every game and generally where any new players must enter. In some capoeira schools an individual in the audience can "buy in" to engage one of the two players and begin another game.

The minimum roda size is usually a circle of about 3 meters (10 feet) in diameter. Though they can be smaller and are often larger, up to 10 meters in diameter (30 feet). The rhythm being played on the berimbau sets the pace and goals of the game played within the roda. Slow music limits the game to slow yet complex ground moves and handstands.

Contact in capoeira is generally not made but rather feigned or done theatrically. In capoeira Angola - the game rarely involves contact but the danger and possibility of it is always present. In capoeira contemporanea, during some rhythms (e.g., Benguela, Iuna) strikes are shown but not finished while in others (e.g., São Bento Grande de Regional) the players have more freedom to strike each other and make contact. Often games with contact are played at a fast pace, however it is the specific 'toque' played on the berimbau, regardless of its speed, which dictates the type of game to be played.

For the participants, the roda is a microcosm of life and the world around them. Most often in the roda, the capoeirista's greatest opponent is himself and philosophy plays a large part in capoeira. A good teacher will strive to teach respect, safety, Malicia, and freedom.

Modern capoeira is often criticized by more traditional practitioners of capoeira as being in the process of losing its playfulness and dialogue due to the prevalence of impressive acrobatics and martial elements over the playful and intricate interactions of capoeira Angola. Dominance in the roda is as much psychological and artistic as it is a question of who is taken down.

Capoeira is uniquely social. Networking with other groups and students from other teachers can teach a capoeirista more about the art and improve their skills.

Capoeira music

2008-10-16T03:10:00.002-07:00

Music is integral to capoeira. It sets the tempo and style of game that is to be played within the roda. The music is composed of instruments and song. The tempos differ from very slow (Angola) to very fast (são bento regional). Many of the songs are sung in a call and response format while others are in the form of a narrative. Capoeiristas sing about a wide variety of subjects. Some songs are about history or stories of famous capoeiristas. Other songs attempt to inspire players to play better. Some songs are about what is going on within the roda. Sometimes the songs are about life or love lost. Others are lighthearted or even silly things, sung just for fun. Capoeiristas change their playing style significantly as the songs or rhythm from the berimbau commands. In this manner, it is truly the music that drives capoeira.

There are three basic kinds of songs in capoeira. A ladainha (litany) is a narrative solo usually sung at the beginning of a roda, often by the mestre (master). These ladainhas will often be famous songs previously written by a mestre, or they may be improvised on the spot. A ladainha is usually followed by a chula or louvação, following a call and response pattern that usually thanks God and one's teacher, among other things. Each call is usually repeated word-for-word by the responders. The ladainha and chula are often omitted in regional games. Finally, corridos are songs that are sung while a game is being played, again following the call and response pattern. The responses to each call do not simply repeat what was said, however, but change depending on the song.

The instruments are played in a row called the bateria. Three instruments are berimbaus, which look like an archer's bow using a steel string and a gourd for resonance. It is played by striking the string with a stick, and the pitch is regulated by a stone. Legend has it that, in the old times, knives or other sharp objects were attached to the top of the berimbau for protection and in case a large fight broke out. In 'the little book of capoeira' - 'Nestor Capoeira, It is said Mestre Pastinha would tell of a small sickle sharpened on both edges which he would keep in his pocket. He was fond of saying "If it had a third edge I would sharpen that one too, for those who wish to do me harm." Pastinha also spoke of how this blade could be attached to the end of a berimbau. These three bows are the Berra boi (also called the bass or Gunga), Medio, Viola, and lead the rhythm. Other instruments in the bateria are: two pandeiros (tambourines), a reco-reco (rasp), and an agogo (double gong bell). The atabaque (conga-like drum), a common feature in most capoeira baterias, is considered an optional instrument, and is not required for a full bateria in some groups.

Capoeira Around the World

2008-10-16T03:10:00.001-07:00

Capoeira is growing worldwide. There have been comparisons drawn between the Afro-North American art form of the blues and capoeira. Both were practiced and developed by Afro-American slaves, both retained distinctive African aesthetics and cultural qualities; both were shunned and looked-down upon by the larger Brazilian and North American societies within which they developed, and both fostered a deep sense of Afrocentric pride especially amongst poorer and darker-skinned Blacks. In the mid-1970s when masters of the art form -- mestre capoeiristas, began to emigrate and teach capoeira in the United States, it was still primarily practiced among the poorest and blackest of Brazilians. With its immigration to the U.S., however, much of the stigma with which it was historically associated in Brazil was shed. Today there are many capoeira schools all over the world (capoeira is gaining ground in Japan) and throughout the United States, and with its growing popularity in the U.S. it has attracted a broad spectrum of multicultural, multiracial students. Despite its Afrocentric history, the sport has gained popularity among non-Brazilian and non-African practitioners for the plasticity of its movements.

capoeira brasil (samba)

2008-10-16T03:07:00.000-07:00

For some time Capoeira was prohibited in Brazil. In 1890, Brazilian president Marechal Deodoro da Fonseca signed an act that prohibited the practice of Capoeira nationwide, with severe punishment for those caught. It was nevertheless practiced by the poorer population on public holidays, during work-free hours, and on other similar occasions. Riots, caused also by police interference, were common.

In spite of the ban, Mestre Bimba (Manuel dos Reis Machado) created a new style, the "Capoeira Regional" (as opposed to the traditional "Capoeira Angola" of Mestre Pastinha). Mestre Bimba was finally successful in convincing the authorities of the cultural value of Capoeira, thus ending the official ban in the 1930s. Mestre Bimba founded the first capoeira school in 1932, the Academia-escola de Capoeira Regional, at the Engenho de Brotas in Salvador-Bahia. He was then considered "the father of modern capoeira". In 1937, he earned the state board of education certificate. In 1942, Mestre Bimba opened his second school at the Terreiro de Jesus - rua das Laranjeiras. The school is still open until today and supervised by his pupil, known as "Vermelho-27".

Grupo Cafu Capoeira

2008-10-16T03:05:00.000-07:00

There is no written historical evidence to support the notion that Capoeira is a battle-ready fighting form, and many other proponents see it as a folk dance form developed by slaves from traditional African dances and rituals. While there is not much historical evidence about Capoeira in general, there is other information that supports this view. In his 1835 work "Voyage Pittoresque dans le Brésil" ("Picturesque Voyage to Brazil") ethnographic artist Johann Moritz Rugendas depicted "Capoeira or the Dance of War," lending historical credence to the idea that Capoeira originated as a dance, rather than a fighting form. There are also numerous other mock-fight slave dances throughout the New World including the Caribbean and other nations in South America.

The island of Martinique is famous for Danymé (also known as Ladja). As with Capoeira, there is a ring of spectators into which each contestant enters, moving in a counter-clockwise direction and dancing toward drummers. This move, known as Kouwi Lawon (or "Circular Run" in Creole) is an exact parallel to the Capoeira interlude called dá volta ao mundo, or "take a turn around the world." In Cuba a mock-combat dance called Mani was performed to yuka drums. A dancer (manisero) would stand in the middle of a ring of spectator-participants, and moving to the sound of the songs and drums, would pick someone from the circle and attempt to knock them down. Some of the manisero's moves and kicks were comparable to those of Brazilian capoeira, including its basic leg-sweep (rasteira), which is also used in samba duro, a dance originated from El Salvador. Exactly as in Martinique, the Cuban master drummer's patterns would mirror the contestants' actions, and supply accents to accompany certain blows.

Maya Talmon-Chvaicer suggested Capoeira may have been influenced by a ritual fight-dance called N'golo (the zebra dance) from Southern Angola, which was performed during the "Efundula, a puberty rite for women of the Mucope, Muxilenge, and Muhumbe tribes of southern Angola." Since the 1960s the N'golo theory has become popular amongst some practitioners of capoeira Angola, although it is not universally accepted.

Capoeira Training 25.03.2007

2008-10-16T03:02:00.000-07:00

Some proponents believe that Capoeira was first created and developed by slaves brought to Brazil from Angola, the Congo, the Gulf of Guinea and the Gold Coast, who used it as a way to practice their martial arts moves while making it appear to be a game or dance. Since the slave-masters forbade any kind of martial art, it was cloaked in the guise of an innocent-looking recreational dance. Others believe that Capoeira was practiced and used to fend off attacks by Portuguese slavers in Palmares,Brazil's most famous Quilombo maroon colony of escaped slaves.

Capoeira Resistencia History

2008-10-16T02:52:00.000-07:00

Capoeira's origins are not clear. It is a combination of African and Brazilian martial arts, but camps are generally divided between those who believe it is a direct descendant of African fighting styles and those who believe it is a uniquely Brazilian dance form distilled from various African and Brazilian influences.

Even the etymology of "Capoeira" is debated. The Portuguese word capão means "capon," or a castrated rooster, and could mean that the style appears similar to two roosters fighting. Kongo scholar K. Kia Bunseki Fu-Kiau also suggested "capoeira" could be derived from the Kikongo word kipura, which describes a rooster's movements in a fight Afro-Brazilian scholar Carlos Eugenio has suggested that the sport took its name from a large round basket called a "capa" commonly worn on the head by urban slaves. Others claim the term derives from the Tupi-Guarani words kaá (leaf, plant) and puéra (past aspect marker), meaning "formerly a forest."

How to Throw a Good Powerful Boxing Jab Punch, Boxing Lesson

2008-10-15T17:29:00.000-07:00

Punches

There are four basic punches in boxing: the jab, cross, hook and uppercut. If a boxer is right-handed (orthodox), his left hand is the lead hand and his right hand is the rear hand. For a left-handed boxer or southpaw, the hand positions are reversed. For clarity, the following discussion will assume a right-handed boxer.

- Jab is A quick, straight punch thrown with the lead hand from the guard position. The jab is accompanied by a small, clockwise rotation of the torso and hips, while the fist rotates 90 degrees, becoming horizontal upon impact. As the punch reaches full extension, the lead shoulder can be brought up to guard the chin. The rear hand remains next to the face to guard the jaw. After making contact with the target, the lead hand is retracted quickly to resume a guard position in front of the face. The jab is recognised as the most important punch in a boxer's arsenal because it provides a fair amount of its own cover and it leaves the least amount of space for a counter punch from the opponent. It has the longest reach of any punch and does not require commitment or large weight transfers. Due to its relatively weak power, the jab is often used as a tool to gauge distances, probe an opponent's defenses, harass an opponent, and set up heavier, more powerful punches. A half-step may be added, moving the entire body into the punch, for additional power. Some notable boxers who have been able to develop relative power in their jabs and use it to punish or 'wear down' their opponents to some effect
Cross - A powerful, straight punch thrown with the rear hand. From the guard position, the rear hand is thrown from the chin, crossing the body and traveling towards the target in a straight line. The rear shoulder is thrust forward and finishes just touching the outside of the chin. At the same time, the lead hand is retracted and tucked against the face to protect the inside of the chin. For additional power, the torso and hips are rotated counter-clockwise as the cross is thrown. Weight is also transferred from the rear foot to the lead foot, resulting in the rear heel turning outwards as it acts as a fulcrum for the transfer of weight. Body rotation and the sudden weight transfer is what gives the cross its power. Like the jab, a half-step forward may be added. After the cross is thrown, the hand is retracted quickly and the guard position resumed. It can be used to counter punch a jab, aiming for the opponent's head (or a counter to a cross aimed at the body) or to set up a hook. The cross can also follow a jab, creating the classic "one-two" combination. The cross is also called a "straight" or "right", especially if it does not cross the opponent's outstretched jab.

Hook - A semi-circular punch thrown with the lead hand to the side of the opponent's head. From the guard position, the elbow is drawn back with a horizontal fist (knuckles pointing forward) and the elbow bent. The rear hand is tucked firmly against the jaw to protect the chin. The torso and hips are rotated clockwise, propelling the fist through a tight, clockwise arc across the front of the body and connecting with the target. At the same time, the lead foot pivots clockwise, turning the left heel outwards. Upon contact, the hook's circular path ends abruptly and the lead hand is pulled quickly back into the guard position. A hook may also target the lower body and this technique is sometimes called the "rip" to distinguish it from the conventional hook to the head. The hook may also be thrown with the rear hand.

Uppercut- A vertical, rising punch thrown with the rear hand. From the guard position, the torso shifts slightly to the right, the rear hand drops below the level of the opponent's chest and the knees are bent slightly. From this position, the rear hand is thrust upwards in a rising arc towards the opponent's chin or torso. At the same time, the knees push upwards quickly and the torso and hips rotate anti-clockwise and the rear heel turns outward, mimicking the body movement of the cross. The strategic utility of the uppercut depends on its ability to "lift" the opponent's body, setting it off-balance for successive attacks. The right uppercut followed by a left hook is a deadly combination employing the uppercut to lift the opponent's chin into a vulnerable position, then the hook to knock the opponent out.

The Boxing Stance

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Stance

The modern boxing stance differs substantially from the typical boxing stances of the 19th and early 20th centuries. The modern stance has a more upright vertical-armed guard, as opposed to the more horizontal, knuckles-facing-forward guard adopted by early 20th century hookers such as Jack Johnson.

In a fully upright stance, the boxer stands with the legs shoulder-width apart and the rear foot a half-step behind the lead foot. Right-handed or orthodox boxers lead with the left foot and fist. Both feet are pointed slightly inward, and the right heel is off the ground. The lead (left) fist is held vertically about six inches in front of the face at eye level. The rear (right) fist is held beside the chin and the elbow tucked against the ribcage to protect the body. The chin is tucked into the chest to avoid punches to the jaw which commonly cause knock-outs. Some boxers fight from a crouch, leaning forward and keeping their feet closer together.

Left-handed or southpaw fighters use a mirror image of the orthodox stance, which can create problems for orthodox fighters unaccustomed to receiving jabs, hooks, or crosses from the opposite side. The southpaw stance, conversely, is vulnerable to a straight right hand.

North American fighters tend to favor a more balanced stance, facing the opponent almost squarely, while many European fighters stand with their torso turned more to the side. The positioning of the hands may also vary, as some fighters prefer to have both hands raised in front of the face, risking exposure to body shots.

Modern boxers can sometimes be seen tapping their cheeks or foreheads with their fists in order to remind themselves to keep their hands up (which becomes difficult during long bouts). Boxers are taught to push off with their feet in order to move effectively. Forward motion involves lifting the lead leg and pushing with the rear leg. Rearward motion involves lifting the rear leg and pushing with the lead leg. During lateral motion the leg in the direction of the movement moves first while the opposite leg provides the force needed to move the body.

Jeremy Flores professional boxing debut (tko) 1st round

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Professional bouts are usually much longer than amateur bouts, typically ranging from ten to twelve rounds, though four round fights are common for less experienced fighters or club fighters. There are also some two and three rounds professional bouts, especially in Australia. Through the early twentieth century, it was common for fights to have unlimited rounds, ending only when one fighter quit, benefiting high-energy fighters like Jack Dempsey. Fifteen rounds remained the internationally recognized limit for championship fights for most of the twentieth century, until the late 1980s, when championship bouts were shortened to twelve rounds to improve safety.

Headgear is not permitted in professional bouts, and boxers are generally allowed to take much more punishment before a fight is halted. At any time, however, the referee may stop the contest if he believes that one participant cannot defend himself due to injury. In that case, the other participant is awarded a technical knockout win. A technical knockout would also be awarded if a fighter lands a punch that opens a cut on the opponent, and the opponent is later deemed not fit to continue by a doctor because of the cut. For this reason, fighters often employ cutmen, whose job is to treat cuts between rounds so that the boxer is able to continue despite the cut. If a boxer simply quits fighting, or if his corner stops the fight, then the winning boxer is also awarded a technical knockout victory. In contrast with amateur boxing, professional male boxers have to be bare chested.

Amateur Boxing Raushee Warren[blue] in 2008 olympic trials

2008-10-15T17:18:00.000-07:00

Amateur boxing may be found at the collegiate level, at the Olympic Games and Commonwealth Games, and in many other venues sanctioned by amateur boxing associations. Amateur boxing has a point scoring system that measures the number of clean blows landed rather than physical damage. Bouts consist of four rounds of two minutes in the Olympic and Commonwealth Games, and three rounds of two minutes in a national ABA (Amateur Boxing Association) bout, each with a one-minute interval between rounds.

Competitors wear protective headgear and gloves with a white strip across the knuckle. A punch is considered a scoring punch only when the boxers connect with the white portion of the gloves. Each punch that lands cleanly on the head or torso is awarded a point. A referee monitors the fight to ensure that competitors use only legal blows. A belt worn over the torso represents the lower limit of punches - any boxer repeatedly landing low blows (below the belt) is disqualified. Referees also ensure that the boxers don't use holding tactics to prevent the opponent from swinging. If this occurs, the referee separates the opponents and orders them to continue boxing. Repeated holding can result in a boxer being penalized or ultimately disqualified. Referees will stop the bout if a boxer is seriously injured, if one boxer is significantly dominating the other or if the score is severely imbalanced. Amateur bouts which end this way may be noted as "RSC" (referee stopped contest) with notations for an outclassed opponent (RSCO), outscored opponent (RSCOS), injury (RSCI) or head injury (RSCH).

boxing rules

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Records of Classical boxing activity disappeared after the fall of the Roman Empire. However, there are detailed records of various fist-fighting sports that were maintained in different cities and provinces of Italy between the 12th and 17th centuries. There was also a sport in ancient Rus called Fistfight. The sport would later resurface in England during the early 18th century in the form of bare-knuckle boxing sometimes referred to as prizefighting. The first documented account of a bare-knuckle fight in England appeared in 1681 in the London Protestant Mercury, and the first English bare-knuckle champion was James Figg in 1719. This is also the time when the word "boxing" first came to be used.

Rome boxing

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Ancient Roman boxing

In ancient Rome, there were two forms of boxing both coming from Etruscan boxing. The athletic form of boxing remained popular throughout the Roman world. The other form of boxing was gladiatorial. Fighters were usually criminals and slaves who hoped to become champions and gain their freedom; however, free men, women and even aristocrats also fought. Eventually, fist fighting became so popular that even emperors started fighting, and the practice was promoted by Caesar Neronis. A fight between the agile Dares and the towering Entellus is described at length in the Roman national epic Aeneid (1st century BC).

In 393 A.D., the Olympics were banned by the Christian emperor Theodosius, and in 500 A.D., boxing was banned altogether by Theodoric the Great as being an insult to God because it disfigures the face, the image of God. However, this edict had little effect outside the major cities of the Eastern Empire. By this time, western Europe was no longer part of the Roman Empire. Boxing remained popular in Europe throughout the Middle Ages and beyond. It should be noted that wrestling, fencing and racing (both chariot and foot) were never banned by the late Romans, as they did not cause disfigurement.

ANCIENT BOXING -C.1900 - 2 IRISH BOXERS

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The ancient Greeks and the Etruscans called boxing pugilism (a term now synonymous with boxing). The Greeks and Etruscans were not the first to give rules to the sport, if we consider Mediterranean folks who preceded them, such as the Shardana and the Egyptians. In the Mediterranean area while clinching was strictly forbidden, there were (unlike in modern boxing) no weight classes. Fights were not separated into rounds and had no time limit. They ended at a knockout, or at a fighter abandoning the fight, or sometimes at the death of one of the fighters.Although gloves were used in practice, in competition fighters wrapped their hands in strips of hardened leather which protected the fist and caused unpleasant injuries for the opponent.

Homer's Iliad (ca. 675 BC) contains the first detailed account of a box fight (Book XXIII).According to the Iliad, Mycenaean warriors included boxing among their competitions honoring the fallen, though it is possible that the Homeric epics reflect later Greek culture. Another Greek legend holds that the heroic ruler Theseus, said to have lived around the 9th century BC, invented a form of boxing in which two men sat face to face and beat each other with their fists until one of them was killed. In time, the boxers began to fight while standing and wearing gloves (with spikes) and wrappings on their arms below the elbows, although otherwise they competed naked.

Boxing was first accepted as an Olympic sport in 688 BC, being called Pygme or Pygmachia. Participants trained on punching bags (called a korykos). Fighters wore leather straps (called himantes) over their hands, wrists, and sometimes breast, to protect them from injury. The straps left their fingers free. Legend had it that the Spartans were the first to box as a way to prepare for sword and shield fighting.

boxing training

2008-10-15T17:06:00.000-07:00

Early History of Boxing

Fist fighting is depicted in Sumerian relief carvings in the 3rd millennium BC, Both depictions show bare-fisted contests..In 1927 Dr. E. A. Speiser, an archaeologist, discovered a stone tablet in Baghdad, Iraq depicting two men getting ready for a prize fight. The tablet is believed to be 7,000 years old. Fist fighting or boxing is also described in several ancient Indian texts such as the Vedas, the ramayana, and the mahabarata. Evidence of boxing as a sport was found in excavations done in Mohenjadaro and Harappa. The earliest evidence for fist fighting with a kind of gloves can be found on Minoan Crete, (c. 1500-900 BC) and on Sardinia, if we consider the boxing statues of Prama mountains (c. 2000-1000 BC).

Irish Stick Fighting (Online Lesson 2) Glen Doyle Shillelagh

2008-10-15T17:02:00.000-07:00

Modern practice of Bataireacht has arisen among some practitioners from a desire to maintain or reinstate Irish family traditions, while for others a combination of historical and cultural interest has lead to their interest in bataireacht. Practitioners exist in Ireland, the United States and Canada, in movements started somewhat independently of each other. Bataireacht is also gaining popularity among the non-Irish, especially in the United States, as a form of self defense, since a cane or walking stick can be carried easily in modern society. As is the case with most martial arts, multiple versions exist.

A few forms of bataireacht survive to this day - some being traditional styles specific to the family which carried them through the years, like the "Rince an Bhata Uisce Bheatha" (whiskey stick dance) of the Irish Newfoundlanders Doyle family, or in the Ramsey family through John Ramsey in Northern Ireland. Others styles survive in the techniques used in the sport of hurling and of course in military sabre fencing which continues to have a great following in Ireland.

Additionally, members of the Western Martial Arts movement have "reconstructed" styles using period martial arts manuals, historical newspaper articles, magazines, pictorial evidence and court documents. Surviving instructional manuals which detail use of the shillelagh include those by Rowland Allanson-Winn, 5th Baron Headley, Percy Longhurst, and Donald Walker.

Only two formal schools can be found teaching traditional bataireacht, but of the more recent bata style, there are about 8 informal study groups.

Irish Stick Fighting (Online Lesson 1) Glen Doyle Shillelagh

2008-10-15T16:59:00.000-07:00

The Irish have used various sticks and cudgels as weapons of self-defense for centuries.

Since ancient times, the arts of stick fighting had been handed down from fathers to sons or learned in traditional military fencing schools.

The traditional Irish shillelagh is still identified with popular Irish culture to this day, although the arts of bataireacht are much less so. The sticks used for bataireacht are not of a standardised size, as there are various styles of bataireacht, using various kinds of sticks.

By the 18th century bataireacht became increasingly associated with Irish gangs called "factions". Irish faction fights involved large groups of Irish men (and sometimes women) who would engage in melees at county fairs, weddings, funerals, or any other convenient gathering. One social historian, Conley, believe that this reflected a culture of recreational violence.However, most historians (best summarized by James S. Donnelly (1983) in "Irish Peasants: Violence & Political Unrest, 1780"), agree that faction fighting had class and political overtones, as depicted for example in the works of William Carleton.

By the early 19th century these gangs had organized into larger regional federations, which coalesced from the old Whiteboys, into the Caravat and Shanavest factions. Beginning first in Munster the Caravat and Shanavest "war" erupted sporadically throughout the 19th century and caused some serious disturbances. Over time, traditional rules and methods of bataireacht and Shillelagh Law degenerated into more murderous fighting involving farm implements and guns.

As the push for Irish independence from Great Britain gained steam toward the end of the 19th century, leaders of the Irish community believed it was necessary to distance themselves from customs associated with factionism and division, to present a united military front to the British, hence the "United Irishmen" of the Republican movement. Foremost of these customs were the arts of bataireacht, and the shillelagh was soon replaced with the gun of the new unified faction of the Fenian Movement.

Muay Thai vs Bando

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Animal names are used to denote some of the forms that can be found in Bando. This is probably from the influence of animal styles from China and India. There are forms called Boar, Bull, Cobra, Deer, Eagle, Monkey, Paddle Bird, Panther, Python, Scorpion, Tiger and Viper.

The names indicate the characteristics of the forms. Thus the Python form includes crushing, strangling and gripping moves while the Tiger form applies to maneuvers which involve clawing and ripping. The Viper form stresses flexibility while the Deer form has been given that name because it is meant to develop alertness in the bandoist.

Bando fighting generally leaves the initiative to the opponent. It is a style of combat that relies heavily on countering moves. Thus when attacked, the bandoist would first withdraw and then begin the counter-attack.

Bando attacks include much handwork directed at the body. But the bandoist does not neglect using the head, shoulder, elbow, knee, and foot for offensive purposes. Attacking the private parts is also a favorite technique with bandoists.

The techniques of bando fighting are learned mainly through the practice of forms and with partners. The final stage of mastery includes participation in contests, which sometimes end in deaths.

bando fight

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Ba Than (Gyi)’s son was Maung Gyi. In the early 1960’s, formally began teaching Burmese bando at American University in Washington, D.C. In occident, of all there styles, the most popular and familiar is Hanthawaddy bando system.

The Bando System as taught within the American Bando Association today includes empty hand forms (aka) or kata as well as self defense, weapon forms or kata (Banshay), sparring, kickboxing (Lethwei), and grappling (Naban).

The American Bando Association incorporates 9 animal systems including: bull, boar, cobra, viper, python, panther, tiger, scorpion & eagle. A student first learns the Bando basics, and begins to learn the animal systems at higher ranks. The basis for the Bando System is a 9X9 matrix of techniques and principals. The student is encouraged to grasp the underlying principals of the system, as a single technique may only be useful in a specific situation, but the principal the technique is built on, will be useful in many situations.

The American Bando Association Belt Ranking System includes the White, Green, Brown, and Black colored belts. Some schools also include a Yellow belt which is considered as an advanced White belt. A student may not test for his Black Belt until he/she has 5 years in the system. In order to progress to Black Belt, a student must exhibit proficiency in Empty Hand Forms, Stick Weapons, Edge Weapons, Sparring or Kickboxing, and they must pass a physical fitness test.

Bando thaing- American bando association

2008-10-15T16:46:00.000-07:00

After WWII, Ba Than (Gyi), then director of physical education and athletics for the Union of Burma, tried to unite the techniques from the different bando styles and modernize them by founding a new Hanthawaddy bando system.

The International Bando Association was officially formed on March 9, 1946, in honor of those servicemen who fought and died in the China-Burma-India theater of World War II.

According to Donn Draeger's Asian Fighting Arts first copyrighted in 1969: "In 1933 the Military Athletic Club was formed at Maymyo [sic?] in northern Burma by Gurkha Officers. By the end of the decade the club included Chin, Burmese, Kachin and Karen army officers. G. Bahadur, a Gurkha, was elected the first chairman of the club. Another luminary was Ba Than (Gyi) who was to serve twenty five years as Director of Physical Education of Burma before retiring.''

"...the International Bando Association, was established recently by Ba Than (Gyi) in memory of those who died in the China-Burma-India area for the allied cause in World War II. As such, it continues the work of the Military Athletic Club, which lapsed in 1948. It has of course a more international character, and Maung Gyi, its teacher accredited to the United States, is the son of Ba Than (Gyi). Maung Gvi a versatile fighter in his own right, having studied Chinese, Indian, Japanese and Western methods."

arnis sparring

2008-10-15T16:41:00.000-07:00

Filipinos have made significant sacrifices to develop their arts. Throughout the ages multi-cultural, multi-national invaders of the Philippines imposed new dynamics for human conflict and combat. FMA, the “system-of-systems” transformed itself as a direct result of an appreciation of their ever changing environment and circumstances. The Filipinos' intrinsic need for self-preservation was the evolutionary genesis of these systems. They learned often out of necessity how to prioritize, allocate and utilize common resources in combative situations. Filipinos have been heavily influenced by the phenomenon of cultural and language mixture. The multitude of languages spoken in the 7,107 islands have not only diverged into dialects, but they have been constantly mixing with one another on all levels: vocabulary, grammar, syntax, and usage (see Languages of the Philippines). As a result, Filipino martial arts and its homogeneous systems comprise a vocabulary of heterogeneous terms. Change is the norm. Some of the specific mechanisms responsible for cultural and martial change extend from phenomena such as war, political systems, social systems, technology and trade.

Steven Segal Kicking real life ASS! Aikido Martial Art

2008-10-15T16:34:00.000-07:00

Steven F. Seagal (born April 10, 1951) is an American action movie actor, producer, writer, director, martial artist and singer-songwriter. He belongs to a generation of movie action hero actors (including Sylvester Stallone, Chuck Norris, Arnold Schwarzenegger, Dolph Lundgren, Jean-Claude Van Damme, and Bruce Willis) who were featured in many of the Hollywood blockbuster action films of the late 1980s and 1990s.

A 6' 4" (193 cm) 7th-dan black belt in aikido, Seagal began his adult life as an aikido instructor in Japan. He became the first foreigner to ever own and operate an aikido dojo in Osaka, Japan.He later moved to the Los Angeles, California area where he made his film debut in 1988 in Above the Law. Since then, Seagal has become a well recognized action star, mainly due to his action films of the 1990s such as Under Siege (1992) and Under Siege 2 (1995) where he played Navy SEALs counter-terrorist expert Casey Ryback. In total his movies have earned in excess of $850 million worldwide.

Seagal is also a recording artist and guitarist and the founder of Steven Seagal Enterprises. In addition to his professional achievements, he is also known as an environmentalist, an animal rights activist and, like other actors such as Richard Gere, is a supporter of Tenzin Gyatso the 14th Dalai Lama and the cause of Tibetan independence. Spiritualism and Buddhism play an important role in Seagal's life and he has been recognized by Tibetan lama Penor Rinpoche as a reincarnated Tulku (Chungdrag Dorje).According to Seagal in a November 2006 interview: "I was born very different, clairvoyant and a healer".

Karate de Okinawa

2008-10-15T16:29:00.000-07:00

Karate began as a fighting system known as "ti" (or "te") among the pechin class of the Ryukyuans. After trade relationships were established with the Ming dynasty of China by Chuzan King Satto in 1372, many forms of Chinese martial arts were introduced to the Ryukyu Islands by the visitors from China, particularly Fujian Province. A group of 36 Chinese families moved to Okinawa around 1392 for the purpose of cultural exchange and shared their knowledge of the Chinese martial arts. The political centralization of Okinawa by King Shohashi in 1429 and the 'Policy of Banning Weapons,' enforced in Okinawa after the invasion of the Shimazu clan in 1609, are also factors that furthered the development of unarmed combat techniques in Okinawa.

Masters of Mixed Martial Arts

2008-10-14T03:25:00.000-07:00

Mixed martial arts (MMA) is a full contact combat sport that allows a wide variety of fighting techniques, from a mixture of martial arts traditions and non-traditions, to be used in competitions. The rules allow the use of striking and grappling techniques, both while standing and on the ground. Such competitions allow martial artists of different backgrounds to compete. The term may also be used, less correctly, to describe hybrid martial arts styles.

Modern mixed martial arts competition emerged in American popular culture in 1993 with the founding of the Ultimate Fighting Championship. Initially based on finding the most effective martial arts for real unarmed combat situations, competitors of various arts were pitted against one another with minimal rules or concern for safety. In the following decade, MMA promoters adopted many additional rules aimed at increasing safety for competitors and to promote mainstream acceptance of the sport. Following these changes, the sport has seen increased popularity with pay per view reach rivaling boxing and professional wrestling.

Shaolin Monk Rain Demonstration

2008-10-14T03:17:00.000-07:00

Shaolin Kung Fu refers to a collection of Chinese martial arts that claim affiliation with the Shaolin Monastery. Of the tens of thousands of kung fu wushu styles, several hundred might have some relationship to Shaolin; however, aside from a few very well known systems, such as Xiao Hong Quan, the Da Hong Quan, Yin Shou Gun, Damo Sword, etc., it would be almost impossible to establish a verifiable connection to the Temple for any one particular art.

Taebo

2008-10-14T03:11:00.000-07:00

Tae Bo is an aerobic exercise routine developed by tae kwon do practitioner Billy Blanks, and was one of the first "cardio-boxing" programs to enjoy commercial success. Such programs use the motions of martial arts at a rapid pace designed to promote fitness. The name Tae Bo is a portmanteau of tae kwon do and boxing. Blanks later developed a backronym for the name as well: Total Awareness Excellence Body Obedience.

Kick Boxing

2008-10-14T03:07:00.000-07:00

Kickboxing(キックボクシング) refers to the sport of using martial-arts-style kicks and boxing-style punches to defeat an opponent in a similar way to that of standard boxing. Kickboxing is a standing sport and does not allow continuation of the fight once a combatant has reached the ground.

Kickboxing is often practised for general fitness, or as a full-contact sport. In the full-contact sport the male boxers are bare-chested wearing shorts and protective gear including: mouth-guard, hand-wraps, 10oz boxing gloves, groin-guard, shin-pads, kick-boots, and optional protective helmet (usually for those under 16)The female boxers will wear a tank top and chest protection in addition to the male clothing/protective gear. In European kickboxing, where kicks to the thigh are allowed using special low-kick rules, use of boxing shorts instead of long trousers is possible.

In addition, amateur rules often allow less experienced competitors to use light or semi-contact rules, where the intention is to score points by executing successful strikes past the opponent's guard, and use of force is regulated. The equipment for semi-contact is similar to full-contact matches, usually with addition of head gear. Competitors usually dress in a t-shirt for semi-contact matches, to separate them from the bare-chested full-contact participants.

Kickboxing is often confused with Muay Thai, also known as Thai Boxing. The two sports are similar, however, in Thai Boxing, kicks below the belt are allowed, as are strikes with knees and elbows.

There are many arts labelled kickboxing including Japanese, American, Indian, Burmese kickboxing, as well as French savate. The term kickboxing is disputed and has become more associated with the Japanese and American variants. Many of the other styles do not consider themselves to be 'kickboxing', although the public often uses the term generically to refer to all these martial arts. The term kickboxing was created by the Japanese boxing promoter Osamu Noguchi for a variant of Muay Thai and Karate that he created in the 1950s. The term was later used by the American variant. When used by the practitioners of those two styles, it usually refers to those styles specifically.

jeet kune do

2008-10-14T03:00:00.000-07:00

Jeet Kune Do (JKD) is the name Bruce Lee gave to his combat system and philosophy in 1967. Originally, when Lee began researching various fighting styles, he gave his martial art his own name of Jun Fan Gung Fu. However not wanting to create another style that would share the limitations that all styles have, he instead gave us the process that created it.

Bruce Lee said:

I have not invented a "new style," composite, modified or otherwise that is set within distinct form as apart from "this" method or "that" method. On the contrary, I hope to free my followers from clinging to styles, patterns, or molds. Remember that Jeet Kune Do is merely a name used, a mirror in which to see "ourselves". . . Jeet Kune Do is not an organized institution that one can be a member of. Either you understand or you don't, and that is that. There is no mystery about my style. My movements are simple, direct and non-classical. The extraordinary part of it lies in its simplicity. Every movement in Jeet Kune-Do is being so of itself. There is nothing artificial about it. I always believe that the easy way is the right way. Jeet Kune-Do is simply the direct expression of one's feelings with the minimum of movements and energy. The closer to the true way of Kung Fu, the less wastage of expression there is. Finally, a Jeet Kune Do man who says Jeet Kune Do is exclusively Jeet Kune Do is simply not with it. He is still hung up on his self-closing resistance, in this case anchored down to reactionary pattern, and naturally is still bound by another modified pattern and can move within its limits. He has not digested the simple fact that truth exists outside all molds; pattern and awareness is never exclusive. Again let me remind you Jeet Kune Do is just a name used, a boat to get one across, and once across it is to be discarded and not to be carried on one's back.

– Bruce Lee

Haganah: Gun Disarm

2008-10-14T02:55:00.000-07:00

The predecessor of Haganah was Hashomer (השומר, The Guild of Watchman) established in 1909, itself a successor or Bar-Giora, founded in 1907. It was a small group of Jewish immigrants who guarded settlements for an annual fee. At no time did the group have more than 100 members.

Kuban Celtic Martial Arts Event΄ 2007

2008-10-14T02:40:00.000-07:00

Bataireacht is a term used to describe the various stickfighting "martial arts" of Ireland. The term is found in all Irish language dictionaries including that of Dineen. Researcher and author John W. Hurley is attributed with reintroducing the term into modern usage among English speakers through his many articles and books.

"Bata" (or "bhata" depending upon context), is a general term which can mean any kind of stick. The actual bata or stick used for bataireacht is often referred to as a "Sail-Éille" or phonetically in English as "shillelagh". The word "cudgel" is also used in period texts. Traditionally, blackthorn, oak, ash and hazel were the most common types of woods used to make shillelagh fighting sticks. In the 19th century bataireacht became associated with Irish gang or "faction" fighting. Some evidence exists which indicates that, prior to the 19th Century, the term had been used to refer to a form of stick-fencing used to train Irish soldiers in broadsword and sabre techniques.

Wrestling world

2008-10-14T02:35:00.000-07:00

Wrestling is the act of physical engagement between two people in which each wrestler strives to get an advantage over, or control of, the opponent. Physical techniques which embody the style of wrestling are clinching, holding, locking, and leverage. Avoiding techniques likely to lead to serious injury, the basic principles of wrestling are closely related to those of military hand-to-hand combat or self-defence systems. Many styles of wrestling are known all over the world and have long histories. Amateu wrestling Bhas been an Olympic sport for over one hundred years and professional wrestling is a popular form of entertainment as well as an art form.

Saber Fencing Torinto

2008-10-14T02:28:00.000-07:00

Fencing is the art of armed combat involving cutting, stabbing or slapping weapons directly manipulated by hand, rather than shot, thrown or positioned, of European origin. Examples include swords, knives, pikes, bayonets, batons, clubs, and similar weapons. In contemporary common usage, "fencing" tends to refer specifically to European schools of swordsman and to the modern Olympic sport that has evolved out of them.

Fencing is one of the four sports which has been featured at every modern Olympic Games. Currently, three types of weapon are used in Olympic fencing:

Foil — a light thrusting weapon; the valid target is restricted to the torso; double touches are not allowed (see priority rules below).
Epee— a heavy thrusting weapon; the valid target area covers the entire body; double touches are allowed.
Sabre— a light cutting and thrusting weapon; the valid target area includes almost everything above the waist (excluding the back of the head and the hands); double touches are not allowed (see priority rules below).

Boxing

2008-10-14T02:25:00.000-07:00

Boxing (sometimes also known as English boxing or pugilism) is a combat sport in which two participants, generally of similar weight, fight each other with their fists. Boxing is supervised by a referee and is typically engaged in during a series of one to three-minute intervals called rounds. Victory is achieved if the opponent is knocked down and unable to get up before the referee counts to ten seconds (a Knockout, or KO) or if the opponent is deemed too injured to continue (a Technical Knockout, or TKO). If there is no stoppage of the fight before an agreed number of rounds, a winner is determined either by the referee's decision or by judges' scorecards.

Although fighting with fists comes naturally to people, the ancient Greeks provide us our first historical records of boxing as a sport; they codified a set of rules and staged tournaments with professionals. The birth hour of boxing as a sport may be its acceptance as an Olympic game as early as 688 BC. Modern boxing evolved in Europe, particularly Great Britain.

In some countries with their own fighting sports, the sport is referred to as "English Boxing" (e.g. in France to contrast with French boxing). There are numerous different styles of boxing practiced across the world.

Muay Thai

2008-10-14T02:21:00.000-07:00

Muay Thai (IPA: /muɑɪ.tʰɑɪ/, pronounced [muāitʰāi]; Thai: มวยไทย, lit. Thai Boxing) is a form of hard martial art practiced in several Southeast Asian countries including Thailand. The art is similar to others in Southeast Asia such as: Pradal Serey in Cambodia, Lethwei in Myanmar, Tomoi in Malaysia, and Muay Lao in Laos. Muay Thai has a long history in Thailand and is the country's national sport. Traditional Muay Thai practiced today varies significantly from the ancient art Muay Boran and uses kicks and punches in a ring with gloves similar to those used in Western boxing.

Muay Thai is referred to as "The Art of the Eight Limbs", as the hands, shins, elbows, and knees are all used extensively in this art. A practitioner of Muay Thai ("nak muay") thus has the ability to execute strikes using eight "points of contact," as opposed to "two points" (fists) in Western boxing and "four points" (fists, feet) used in the primarily sport-oriented forms of martial arts.

WORLD ESKRIDO SAN FERNANDO CEBU PHILS.

2008-10-14T02:18:00.000-07:00

Eskrido, a version of Doce Pares, is a Filipino martial art that is a combination of Doce Pares, Aikido, and Judo, with lesser influences from other Japanese systems. It features standard eskrima stick techniques mixed with Jujutsu-style locks and throws that utilize the stick. The stickwork shows a strong sword influence, and indeed the sword, knife, and other Filipino weapons are also taught. It was founded by Ciriaco "Cacoy" Cañete, who continues to teach it in the Philippines and in seminars across the world.

Eskrima Master Demo

2008-10-14T02:16:00.000-07:00

"Eskrima" or "Escrima" refers to a class of Filipino Martial Arts that emphasize stick and sword fighting. The term and the art most probably originates from the Portuguese word "esgrima" which is the term for fencing.

Other terms which have entered into common usage include "Kali" and "Arnis de Máno" ("harness of the hand"); occasionally the abbreviation "FMA" ("Filipino Martial Arts") is used. Eskrima and Arnis are among the many names primarily used in the Philippines today to refer to these arts. The name Kali, although primarily used in the United States and Europe, is seldom used in the Philippines and in most cases is an unknown word. But due to the popularity of the term outside of the Philippines and the influence of foreign practitioners, the term Kali is increasingly being recognized and accepted in the Philippines. Kalis, as used in the Philippines, refers to a sword. It is commonly mistaken as synonymous to or a derivative form of kali (note: suffixation of "s" is not used in Filipino languages or dialects to indicate plurality). However, for all intents and purposes, Eskrima, Arnis, Arnis de Mano, Kali and FMA all refer to the same family of Filipino weapons-based martial arts.

The teaching of the basic skills in FMA are traditionally simplified. With limited time to teach flashy and intricate techniques, only skills that were proven effective in battle and could easily be taught en masse were used. This allowed villagers, generally not professional soldiers, a measure of protection against other villages, as well as foreign invaders. This philosophy of simplicity is still used today and is the underlying base of the FMA. Because of this approach, the FMA are often mistakenly considered to be "simple" fighting arts. However, this refers only to its systematization, not effectiveness. To the contrary, beyond the basic skills lies a very complex structure and a refined skillset that takes years to master.

Arnis - The World Of American Modern Arnis - Trailer

2008-10-14T02:09:00.000-07:00

Filipino martial arts (FMA) is an umbrella term used to describe the numerous martial art forms that originated in the Philippines, just as Silat describes the martial arts practiced throughout the Mala Archipelago. Filipino martial arts include Panantukan (empty-handed techniques), Eskrima/Kali/Arnis de Máno (blade and stick fighting) and Pananjakman (kicking).

King of Hapkido

2008-10-14T02:05:00.000-07:00

Hapkido (also spelled hap ki do or hapki-do) is a dynamic and eclectic Korean martial art. It is a form of self-defense that employs joint locks, pressure points, throws, kicks, and other strikes. Hapkido practitioners train to counter the techniques of other martial arts as well as common unskilled attacks. There are also traditional weapons including short stick, cane, rope, nunchucks, sword and staff which vary in emphasis depending on the particular tradition examined.

Hapkido contains both long and close range fighting techniques, utilizing dynamic kicking and percussive hand strikes at longer ranges and pressure point strikes, jointlocks, or throws at closer fighting distances. Hapkido emphasizes circular motion, non-resisting movements, and control of the opponent. Practitioners seek to gain advantage through footwork and body positioning to employ leverage, avoiding the use of strength against strength.

The art evolved from Daitō-ryū Aiki-jūjutsu or a closely related jujutsu system taught by Choi Yong Sul who returned to Korea after WWII, having lived in Japan for 30 years. This system was later combined with kicking and striking techniques of indigenous and contemporary arts such as taek kyun and tang soo do. Its history is obscured by the historical animosity between the Korean and Japanese peoples following the Second World War.

Gatka Demo

2008-10-14T02:02:00.000-07:00

Gatka Punjabi: ਗਤਕਾ, gatkā (Meaning: one whose freedom belongs to grace), is a defensive and offensive Sikh martial art associated with the Sikhs (but open to anyone) that focuses on infusing the physical martial art with both the spiritual and mental. Gatka is also the name of a stick used for practicing sword fighting. Gatka originated in the Punjab region and was used by Sikh armies & forces against the Mughals, primarily in reaction to oppressive or aggressive policies. Gatka is rarely used in combat today, and has evolved into a sport and exhibition form shown at Sikh festivals. Gat: means grace, liberation, and respect in one's own power. Ka: means one who belongs or one who is part of a group.

Kuntao

2008-10-14T01:58:00.000-07:00

Kuntao or Kuntao Silat is a Hokkien term referring to martial arts practiced by the Chinese community of Southeast Asia and have usually been influenced by silat. The word kuntao means way of the fist (similar to Chuan Fa, or Fist Technique). Translating Kuntao as 'Way of the Fist' is too literal, it really means 'fighting art' or 'martial art'.Purely Chinese kuntao styles exist in China and Taiwan, but kuntao styles have been spread for centuries by merchants and other travelling Chinese people. Forms of kuntao are practiced in Indonesia, Singapore, Malaysia (particularly Borneo) and the Philippines (where it is often called Kuntaw) as well as in some other countries. Some kuntao styles were not changed but many were. This happened because the styles had to be adapted to a new environment, fighting in different terrain, fighting local styles, defending or fighting with local weapons.

Most Indonesian kuntao styles began to integrate techniques from silat styles and some even changed their name from "kuntao" to "silat". For example, Liu Seong Kuntao is a hybrid kuntao-silat system. Kuntao Silat is the Martial Arts practiced by several ethnic groups in the south of the Philippines. It is said that it is the combination of indigenous Silat and Chinese Kuntao which arrived in the Philippines by Chinese merchants.

Kuntao is a relatively little known art in the United States. Considered by practitioners to be a "true" form of Kung Fu (pre temple destruction) it is often called "Chinese Boxing" or "Taiwanese Boxing" by its practitioners because it is traditionally practiced in a aura of secrecy; in fact few martial artists were familiar with the style until very recently (early 21st century). Only with the advent of MMA (Mixed Martial Arts) in the U.S. has the art even begun to approach mainstream dissemination. Even so, few traditional Kuntao schools exist in the states today.

WUSHU MASTERS CHINA

2008-10-14T01:55:00.000-07:00

Kung fu and wushu are popular terms that have become synonymous with Chinese martial arts. However the Chinese terms kung fu (Chinese: 功夫 pinyin: gōngfū) and wushu (traditional Chinese: 武術; simplified Chinese: 武术; pinyin: wǔshù) have very different meanings. Wushu can describe greatly varying martial arts traditions. Kung fu can be used in a context without any martial arts whatsoever. Colloquially, kung fu (or gung fu) alludes to any individual accomplishment or cultivated skill obtained by long and hard work. In contrast, wushu is a more precise term that refers to general martial activities. The term wushu has also become the name for a modern sport similar to gymnastics involving the performance of adapted Chinese bare-handed and weapons forms (tàolù 套路) judged to a set of contemporary aesthetic criteria for points.

Various Bando/Banshay thaing styles of Burma

2008-10-14T01:47:00.000-07:00

a self defense martial art from Burma. The earliest meanings of Bando were "self-discipline, self-development, and self-improvement".Later, it came to mean, "self-protection, or self-defense". Bando includes the empty-hands methods and animal forms: eagle, bull, cobra, panther, monkey, and boar. There are a number of schools and styles. The main branches are:

Nan twin thaing (Royal Palace style)
Pyompya thaing (School of the ”hard-soft way”)
Neganadai thaing (Snake style)
Shan thaing, a martial art influenced by Chinese styles (Shan province is close to the Chinese border).

Bando's origins are closely linked to Budhhist temples and their teachings, the temples also traditionally functioned as educational centres. People from India, such as those who preached Budhism, brought their culture and martial arts to the Himalayas and Southeast Asia. The Chinese whom the Burmese once regarded as kin also influenced Burmese culture. The mix of Chinese and Indian Martial Arts, particularly the animal styles were what originally gave birth to bando.

Peragaan Tarung Derajat (TNI)

2008-10-14T01:44:00.000-07:00

Tarung Derajat adalah beladiri yang diturunkan ilmunya dari ajaran Jalaksana Bandung Karate Club (BKC) oleh seorang ahli beladiri Bandung yang bernama Iwa Rahadian Arsanata, dan kemudian diturunkan oleh muridnya yang bernama GH.Achmad Derajat atau sering dipanggil dengan AA Boxer. Kemudian Ahmad Drajat ini keluar dari perguruan BKC dan mendirikan Boxer yang merupakan basic dari perguran BKC jaman dahulu. Tradisi Latihan Tarung Derajat yang cukup keras ini diambil dari gaya tarung BKC, sebelum masuk keanggotaan FORKI. Asosiasi resmi beladiri ini adalah KODRAT (Keluarga Olahraga Tarung Derajat). Olah raga ini mempunyai spesifikasi perpaduan lima unsur daya gerak yang terdiri dari "kekuatan", "kecepatan", "ketepatan", "keberanian", dan "keuletan". Tarung Derajat merupakan olah raga beladiri (seni keperkasaan) yang murni melatih kekuatan fisik (tubuh), dengan kata lain dalam Tarung Derajat tidak terdapat materi tentang tenaga dalam. Walaupun Tarung Derajat dikenal -- oleh masyarakat -- sebagai olahraga fisik yang keras, tapi sama sekali ia tidak mengajarkan anggotanya untuk bersikap jumawa. Bahkan sejak awal Sang Guru, Aa Boxer, sebagai pencipta olahraga ini berkomitmen bahwa Tarung Derajat merupakan olahraga beladiri yang menekankan pembentukan akhlak, serta pribadi mandiri yang berhati nurani serta mempunyai watak yang lembut dan bijaksana. Hal ini tercermin dalam beberapa motto filosofis (doktrin) Aa Boxer: "Aku Ramah Bukan Berarti Takut, Aku Tunduk Bukan Berarti Takluk", "Jadikanlah Dirimu Oleh Diri Sendiri", "Aku Belajar Tarung Derajat untuk Mengalahkan Diriku Sendiri, Tapi bukan untuk Dikalahkan Orang Lain".

Kendo championship final

2008-10-14T00:16:00.000-07:00

Kendo (剣道, kendō), or "way of the sword", is the Japanese martial art of sword-fighting. Kendo is heavily influenced by traditional Japanese swordsmanship, Kenjutsu.

Kendo is a physically and mentally challenging activity that combines strong martial arts values with sporting-like physical elements.

Practitioners of kendo are called kendōka (剣道家, kendōka), meaning "one who practices kendo", or kenshi (剣士, kenshi), meaning "swordsman".

Kendo is practiced wearing traditionally styled clothing and protective armour (bōgu), using one or two bamboo swords (shinai) as weapons. Kendo may be seen as an Asian style of fencing. However, the movements in kendo are different from European fencing because the design of the sword is different, as is the way it is used. Unlike western style fencing, kendo employs strikes with a defined 'edge' and tip of the shinai. Kendo training is quite noisy in comparison to other martial arts or sports. This is because kendōka use a shout, or kiai, to express their spirit, and when a strike or cut is performed, the front foot contacts the floor in a motion similar to stomping, called fumikomi-ashi.

There are estimates that about six million people world-wide practice either Kendo, with approximately four million in Japan, one million in South Korea, and millions more in Europe and the United States. The "Kodansha Meibo" (a register of dan graded members of the All Japan Kendo Federation) shows that as of January 2003, there were 1.3 million registered dan graded kendo practitioners in Japan. The number of kendo players not yet graded to a dan level is not included: those kendōka would outnumber considerably the dan graded players.

Kendo is one of the modern Japanese budō and embodies the essence of Japanese fighting arts.

Brazilian Jiu-Jitsu Demonstration

2008-10-14T00:12:00.000-07:00

Brazilian Jiu-Jitsu (BJJ) is a martial art and combat sport that focuses on grappling and especially ground fighting with the goal of gaining a dominant position and using joint-locks and chokeholds to force an opponent to submit or be knocked out depending on what submission method is used. The art was based on early 20th century Kodokan Judo , which was itself then a recently-developed system (founded in 1882), based on multiple schools (or Ryu) of Japanese Jujutsu.

It promotes the principle that a smaller, weaker person using leverage and proper technique can successfully defend against a bigger, stronger assailant. It primarily uses Judo takedowns to gain the dominant position. BJJ can be trained for self defense, sport grappling tournaments (gi and no-gi) and mixed martial arts (MMA) competition. Sparring (commonly referred to as 'rolling') and live drilling play a major role in training, and a premium is placed on performance, especially in competition.

capoeira

2008-10-13T23:53:00.000-07:00

Capoeira (IPA: [ka.pu.ˈej.ɾɐ]) is a brazilian art form that ritualizes movement from martial arts, games, and dance. It was created in Brazil some time after the 16th century in the regions known as Bahia, Pernambuco, Rio de Janeiro, Minas Gerais, and São Paulo. Participants form a roda or circle and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The game is marked by fluid acrobatic play, feints, and extensive use of groundwork, including sweeps, kicks, and headbutts. Less frequently used techniques include elbow-strikes, slaps, punches, and body throws. Its origins and purpose are a matter of heated debate, with the spectrum of argument ranging from views of Capoeira as a uniquely Brazilian folk dance to claims that it is a battle-ready fighting form directly descended from ancient African technique.

Kungfu

2008-10-13T23:49:00.000-07:00

Shorinji Kempo Power

2008-10-13T23:46:00.000-07:00

Kenpō (拳法, Kenpō) is the name of several martial arts. The word kenpō is a Japanese translation of the Chinese word "quánfǎ. This term is often informally transliterated as "kempo," as a result of applying Traditional Hepburn romanization (which provides for use of the letter "m" when ん precedes a labial consonant such as "p"), but failing to use a macron to indicate the long vowel. The generic nature of the term combined with its widespread, cross-cultural adoption in the martial arts community has led to many divergent definitions.

Aikido Master Steven Seagal 1996

2008-10-13T23:45:00.000-07:00

Aikido (合気道, aikidō) is a Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. Aikido is often translated as "the Way of unifying (with) life energy" or as "the Way of harmonious spirit." Ueshiba's goal was to create an art that practitioners could use to defend themselves while also protecting their attacker from injury.

Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather than opposing it head-on. This requires very little physical energy, as the aikidōka (aikido practitioner) "leads" the attacker's momentum using entering and turning movements. The techniques are completed with various throws or joint locks. Aikido can be categorized under the general umbrella of grappling arts.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba's involvement with the Ōmoto-kyō religion. Ueshiba's early students' documents bear the term aiki-jūjutsu. Many of Ueshiba's senior students have different approaches to aikido, depending on when they studied with him. Today aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques learned from Ueshiba and most have concern for the well-being of the attacker. This attitude has been at the core of criticisms of aikido and related arts.

Pencak Silat Techniques

2008-10-13T23:34:00.000-07:00

Silat is an umbrella term used to describe the martial art forms practiced throughout the Mala Archipelago. Internationally it is now called Pencak Silat. Silat is a combative art of fighting and survival and it has been evolved in Indonesia, Malaysia and Brunei Darussalam civilizations for centuries into social culture and tradition. During the colonization era, both in Malaysia and Singapore as British Colonies and in Indonesia as Dutch colonies, practitioners (locally known as pesilat) used the martial art as a form to liberatefrom foreign authorities.

The distinctive forms of silat with other Asian martial arts, such as kung fu, tae kwon do or karate, lie on the cultural aspect. Silat is not only for combative purposes. When accompanied with traditional instruments, such as kendang, silat transforms into a folk dance. In Minangkabau area (the West Sumatra province of Indonesia), silat was the oldest men's tradition known as silek and it is one of the components to perform the Minangkabau folk dance of randai. In Malaysia, one form of silat known of silat pulut also shows the harmonic silat styles as a dance accompanied by traditional instruments, and so in Brunei Darussalam "silat cakak" also performed with the presence of "gulintangan". A silat form in West Java province of Indonesia, known as pencak, is usually accompanied with music, notably by the traditional Sundanese suling instrument.

Ninja and Ninjutsu in Iran

2008-10-13T23:30:00.000-07:00

Ninjutsu (忍術, Ninjutsu) sometimes used interchangeably with the term ninpō (忍法, ninpō) is the martial art, strategy, and tactics of unconventional warfare and guerilla warfare practiced by the shinobi (also commonly known outside of Japan as the ninja). A female ninja is called a Kunoichi. While there are several styles of modern ninjutsu, according to the Koryu.com, not all can be related to the historic practice of ninjutsu in Japan so as to be considered a koryū.

Best of Judo

2008-10-13T23:22:00.000-07:00

Judo (柔道, jūdō), meaning "gentle way", is a modern Japanese martial art (gendai budō) and combat sport, that originated in Japan in the late nineteenth century. Its most prominent feature is its competitive element, where the object is to either throw one's opponent to the ground, immobilize or otherwise subdue one's opponent with a grappling maneuver, or force an opponent to submit by joint locking the elbow or by applying a choke. Strikes and thrusts (by hands and feet) - as well as weapons defences - are a part of judo, but only in pre-arranged forms (kata) and are not allowed in judo competition or free practice (randori).

Kyokushin Karate fight

2008-10-13T23:02:00.000-07:00

Karate (空手, Karate) ( karate-do (空手道, karate-do) is a martial art developed in the Ryukyu Islands from indigenous fighting methods and Chinese kenpō.It is primarily a striking art using punching, kicking, knee and elbow strikes and open-handed techniques such as knife-hands and ridge-hands. Grappling, locks, restraints, throws, and vital point strikes are taught in some styles. A karate practitioner is called a karateka.