< ÛÛßßßßßß ÛÛßßßßßÛ ÛÛßßÛßßÛ ÛÛßßßßßÛ ÛÛ ÛÛßßßßßß ßßßßÛßßß ÛÛßßßßßß > < ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛÜÜÜÜÜÛ ÛÛ ÛÛÜÜÜÜÜ ÛÛ ÛÛÜÜÜÜÜ > < ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ ÛÛ > < ÛÛÜÜÜÜÜÜ ÛÛÜÜÜÜÜÛ ÛÛ ÛÛ ÛÛ ÛÛÜÜÜÜÜ ÛÛÜÜÜÜÜÜ ÛÛ ÛÛÜÜÜÜÜÜ > < > < ÛÛßßÛßßÛ ÛßßßßßÛ ÛÛßßßßßÛ ßßßßÛßßß ÛÛ ÛßßßßßÛ ÛÛ > < ÛÛ ÛÛ ÛÛ ÛÜÜÜÜÜÛ ÛÛÜÜÜÜÜÛ ÛÛ ÛÛ ÛÜÜÜÜÜÛ ÛÛ > < ÛÛ ÛÛ Û ÜÛ ÛÛ ÜÛ ÛÛ ÛÛ Û ÜÛ ÛÛ > < ÛÛ ÛÛ Û Û ÛÛ ÛÛÜ ÛÛ ÛÛ Û Û ÛÛÜÜÜÜÜ > < > < ÛßßßßßÛ ÛÛßßßßßÛ ßßßßÛßßß ÛÛ ÛÛßßßßßß ßßßßÛßßß > < ÛÜÜÜÜÜÛ ÛÛÜÜÜÜÜÛ ÛÛ ÛÛ ÛÛÜÜÜÜÜÜ ÛÛ > < Û ÜÛ ÛÛ ÜÛ ÛÛ ÛÛ ÜÛ ÛÛ > < Û Û ÛÛ ÛÛÜ ÛÛ ÛÛ ÜÜÜÜÜÜÜÛ ÛÛ > 2.0 The Complete Martial Artist is an overview of the combat oriented arts gathered and compiled together to form a reference base and manual for both beginners and black belts alike. Higher ranking teachers may utilize it to look up a throw, a weapon's name, and a non-martial artist may read through at his leisure for a quick summary of what goes where. I have attempted to cover all arts alike, although it became literally impossible considering the 100 variations of karate, traditional vs. non- traditional judo, ninpo that is fake vs. the actual Togakure-Ryu Ninpo Taijutsu, and on and on and on... I have been involved in martial arts for seven years, both as a student and a teacher (sometimes I think being a teacher IS being a student). I have ranks in Judo, Tai Kwon Do Karate, Kenpo Karate, Jujuitsu, and Ninpo Taijutsu. My leaning is toward Ninpo Taijutsu (I hold a second-degree black belt), so if some variations of YOUR martial arts aren't covered as well as mine, you know why ! I also lean very heavily toward realistic combat fighting. My theory is "If it doesn't work, trash it, no matter how traditional it is." Please, if you don't have a higher rank in your martial arts, DO NOT TRY OUT THE DANGEROUS THROWS AND LOCKS. You will get hurt and injured, and possibly a bone or two broken. Take care of yourself ! I also do not rely heavily on the spiritual side of the arts. I understand that people are very good when they meditate, use finger weaving, etc., but I am combat oriented. When I see a finger weave or meditation that helps me defeat an enemy, then I'll try it out. All my teachers have relied on their own punch, kick to do the trick, shying quickly away from the religious aspect. They also pack a whopping punch ! I would like to dedicate this to my sensei Ralph Severe. Through the five years I knew him, he formed me into shape, taught me how to live my life how I wanted to, and has shown me things I never thought possible. To a man who has truly made an "art" out of the martial arts, thank you Ralph. You taught me well. Dave, 1993. =================================================== Considering all the ninja movies out there, I figured a section devoted to ninjutsu would be appropriate. The 1980's ninja craze has since faded (thank God), but many people have an innate curiosity about ninjutsu, how it works, what it consists of, etc. So here you go: 90% of ninjutsu is drops and rolls. In class, the instructor demonstrates a technique (being higher rank, I was the demonstratEE most of the time), then the class splits into pairs and practices. The instructor then comes around and critiques everyone. Rolls and drops are used for escaping and receiving an attack. If someone gets you in an arm lock, you must know how to receive it, rather than resisting, and roll away from the attack. Rolls are beneficial in other respects because of the ability to throw a shuriken (throwing star) at the opponent while rolling, or grabbing a piece of dirt to throw in their face once you got up. Unlike Judo, ninjutsu rolls are aimed at rolling on the ground and standing up (or kneeling in a ready position). No rolls end up with you laying flat on the ground (that seems stupid in combat since you would then be totally vulnerable). The first section involves DROPS, which is simply dropping to the ground. If someone swings a baseball bat at your head, you may not have time to roll. Instead, you should drop straight down, both hands slapping the ground, and one knee bent (so you can roll away or quickly leap in a direction). (forward drop) A straight forward drop. You should go down DAMN FAST, with one leg straight out, and another bent (so you can leap). Your hands should slap the ground, and arms should be slightly bent. Do not lay down. (side drop) From a kneeling position, fall to one side, with your arms straight forward. You should fall directly on the armpit area, and slap the ground with your arm. (back drop) Just drop backward with both arms out to the side. Be sure to slap the ground and not hit your head. Much much much much practice is required to learn not to bash your head on the ground. But I guarantee this: PRACTICE ON CONCRETE FLOORS AND YOU WON'T HIT YOUR HEAD AS OFTEN! (strikes as you drop) Hitting or kicking as you drop. This is difficult to explain so I will not even attempt. The next part is flowing drops. These are not quick falls to the ground, but rather drops that are well controlled, and not as sudden. But they are also harder to perform. (forward drop) (side drop) (back drop) (strikes as you drop) All the drops are the same as above, but more flowing. Motions toward the ground are smoother and more controlled. If it is necessary to stop the fall mid-way, it should be quite easy to do so. Now the next part involves rolls. To perform a roll, 1) kneel down 2) reach down and touch your toes 3) tuck your head 4) fall forward (or to the side) 5) roll over your back, and end up on your feet (forward roll) Follow the directions above, and end up on your feet. This is harder than it sounds. Rolls are FANTASTIC! You can roll away from a punch, roll away from a moving car trying to hit you, roll away from a kick or baseball bat. You can also roll INTO an opponent's legs (break them), or into a group of attackers to knock them down. And if you get good, try rolling with a HANBO, or sword, etc. (side roll) There are two variations. The first is simply a ZENPO roll (forward) to the side. The second is a barrel roll, where you just curl up and roll across your back, then end up on your feet. (back roll) Simply curl up and roll backward. (a cartwheel) Can be used for a variety of stuff. In order to move correctly, you must learn the several different methods of moving. These are fairly easy, but require a lot of practice. (body motion) < SHINOBI NO HAPPO SABAKI > (foot work in all directions) Moving your feet should be quick, yet maintain a good balance. Your knees should be bent for stability, and feet always flat on the ground. All movements should have a definite purpose. Since footwork is so important, it should be concentrated on more than any other aspect of training. No steps should be wasted: they all need a purpose. You need to also move from one KAMAE (posture) to another KAMAE. When you move, you should not end up in some fucked up position with half your weak points open. You should also be ready for an attack at every second of your moves. < SHINOBI NO YOKO ARUKI > (side walking) When moving to the side, you should not turn that way, and move, then turn back around to the attacker. You should face the attacker at all times, and merely cross or shuffle your legs to move to the side. The feet SLIDE either behind you or in front, the knees bend more, then you resume a ready position once where you want to go. If attacked during the move, your balance should be centered so that a kick could be delivered at any point. < SHOTENJUTSU > (climbing without hands) This is one of those "ninja secrets" you hear about. It is really quite simple: If you obtain enough speed, you can run "up" trees and short walls by running toward them, and up. To practice this, find a brick wall in your apartments or in a local park (maybe a thick tree). Now run toward it real fast, and once you are about to hit it, leap forward, legs rushing toward the wall. By the sheer force of momentum, you will be propelled up the wall. Now grab hold of the top, and climb over. The faster you run, and the more you practice, the higher you can reach. My instructor can scale an eight or nine foot wall with this method, and also climb fairly high up a tree. < SHIHO TENCHI TOBI > (leaping in all directions) Occasionally, you want to leap up to avoid something on the ground, or cover a large amount of ground quickly. Leaping can also intimidate an opponent, or force him backward (instead of pushing an opponent, simply leap into him). By the way, here's an important point: IF YOU WANT TO FORCE SOMEONE BACK, ATTACK HIGHER UP! KICKING HIS STOMACH WILL NOT FORCE HIM AS FAR BACK AS KICKING HIM IN THE HEAD! The leaps are: Yoko Aruki Tobi (cross leg behind to leap to side) Yoko Tobi (pendulum leg to leap to side) Ten Tobi (leap up cross legs) Chi Tobi (leap from height) Leaps can be used to avoid an attack to the legs (jump up with legs crossed), to jump out of a danger area, or to attack. < KEN KUDAKI > (fist destroying) When someone punches, there are several ways to destroy the attack (you'll notice that in ninjutsu, we DESTROY the punch rather than blocking or parrying it. These KUDAKI are designed for determined punches from an opponent, rather than non-serious punches (jabs, fakes) Ideally, these are only used at the point where an opponent makes a hard-core, determined effort to bash your head in. They don't work too well with jabs.) < OMOTE WITH PUNCH > (outside defense) Simply move outside of the punch, then attack the arm or back of the wrist. You can use a strong backfist, or KITENKEN and strike one of the kyusho on the outside of his arm. < URA WITH PUNCH > (inside defense) Move inside the attacking arm (watch out for his other fist!), then attack same as above. Since you are inside of his body, you have many more available kyusho, however you can easily be kicked or hit with his other arm (or a headbutt). < OMOTE WITH KICK > (outside with a kick defense) < URA WITH KICK > (inside with a kick defense) These involve swinging your leg up and hitting the arm (you gotta be damn quick!) with a downward motion to open up the opponent's head area, or an upward motion to open up his arm for an armlock or a strike to his legs. < USING A JAM TO STOP THE PUNCH> When you can tell the punch may be coming, you can easily slam your fist into the opponent's shoulder to completely stop the punch. You must hit directly below the clavicle with FUDO KEN or SHIKAN KEN, and use your body behind the jam. This must be timed correctly, and the moment is CRUCIAL to execution. You must practice for many hours to master this technique, which is especially difficult in real combat. < MOGURI >(diving under) Getting under the attack, and striking the leg, groin, or wherever. This is also very difficult (isn't everything?!). < VARIOUS PARRYING AND BLOCKING AND MOVING> There are various other techniques to a punch, involving parrying or basically blocking the movement. You can also use a scream at the precise point to halt a punch. But the main technique is MOVING OUT OF THE DAMN WAY. If your technique fails, you must already be angled out of the line of attack so you won't get hit. If you use a block without FIRST moving out of the line of attack, you may still get hit! < KERI KUDAKI > (destroying a kick) These are exactly like fist destroying, but with kicks. The only real addition to this is that you can catch a kick in mid-air, or after it hits you. Other defenses involve moving inside the opponent's body and lowering the impact of the kick, or angling yourself away from the impact center of the kick. < BASIC WEAPONS OF THE NINJA> (NIN GU) There are many rumours and junk speculation about what weapons the actual ninja used. In the movies, he is shown to be invincible and contain all sorts of weapons that he really did not carry. Here are the actual weapons that he could have on his person at any given time (realize that on the battlefield, the ninja would have completely different weapontry than if he was travelling long distances). < IGADAMA >(spiked balls) These were thrown on the ground for an opponent to step on. < TETSUBISHI >(caltrops) These were thrown in the eyes of an opponent. < KUSARI GAMA >(chain and sickle) Spiked ball that was swung around on a chain and smashed into the opponents face/hands/armor. < BAKUHATSU GAMA >(sickle, chain and carrier) < MAMUKI GAMA >(sickle, cord and snake) < OH GAMA >(large battlefield sickle and weighted chain) This thing was like a seven foot telephone pole with a chain on it to guide the huge weapon, and/or strike an opponent and/or wrap up an opponent. The ninja would move the huge pole back and forth against a sword, and strike the opponent with the chain (or throw the seven foot pole on top of the opponent (OUCH!)). < KYOKETSU SHOGE >(ringed cord and dagger) Used against horses or sword-wielding attackers. It was a huge knife with a twelve-foot rope attached, and a large metal ring on the end. You would swing the rope/ring around, then hurl it into an attacker's hands/face to knock the sword out of their hand, or wrap them up and cut them with the blade. < KUSARI FUNDO >(weighted chain) A farily simple weapon... three foot of thin chain with weights on the end. IT IS NOT SWUNG AROUND WILDLY, LIKE IN THE DAMN MOVIES. Instead, you wad it up in your hand, and throw an end toward an opponent's face, or wrap the chain around their neck/arm/head/leg and perform a muscle-tearing technique or other bone/joint lock. < SHINOBI SHOZOKU >(ninja suit) Black, like in the movies, is NOT used. You can easily see a solid black moving figure in the night. Instead, a very dark grey was used. 99% of the time, a ninja was dressed like an ordinary person, so he could wander through towns/villages without being noticeable. The best disguise was to dress LIKE EVERYONE ELSE. < SHURIKEN >(throwing stars) These are not thrown into someone's heart to kill them! They are simply a distraction. If going up against a swordsman and the ninja was empty-handed, he would pull out about ten SHURIKEN and shuffle them out like a deck of cards, into the face/hands of the swordsman, moving forward the entire time. That way, once the ten SHURIKEN were used, the ninja was close enough to the swordsman for a decent attack. < BO SHURIKEN >(pointed spikes) Same as SHURIKEN except they looked more like a pencil. They could have one or two points (sharpened at both ends or just at one end). < SHAKEN >(wheel blades) These were huge damn saw-blades that the ninja threw at opponents. Remember at the Hardware store, when you saw the BIG circular saw blades? Image someone throwing one of those at your face... < ITAKEN >(board blades) < BO >(six foot staff) < JO >(four foot staff) < HANBO >(three foot staff) < YARI >(spear) < KAMA YARI >(sickle spear) < NAGINATA >(long-handled short sword) A six or seven foot stick with a HUGE blade on the end. This thing is absolutely ominous-looking. If you saw someone carrying it, you would definitely clear out and RUN! < SHIKORO >(thin bladed saw) < YAJIRI >(heavy bladed saw) < KASUGAI >(clamps and staples) For climbing or tying up enemies. < MUSUBI BASHIGO >(loop ladder) There is a specific technique for throwing the rope over tree limbs and other items. You must first loop it correctly so that one end is heavier than the rest, then throw it correctly, then tie knots in specific places that can easily undone. < KASHA >(pully on rope) For transporting other ninjas over obstacles (or sometimes equipment). < METSUBUSHI >(blinding powder) For throwing into the eyes. Some types merely stunned the opponent, while others permanently blinded them. < UCHI DAKE >(fire starter) Similar to matches. < GANDO >(candle spotlight) < SODE ZUTSU >(wooden cannon) < TANEGASHIMA >(long rifle) < NAGE DEPPO >(grenades) < UMEBI >(land mines) < BISEN TO >(broad bladed pole weapon) < SUZU ZUE >(ring topped walking staff) < SHIKOMI ZUE >(staff with weighted chain) < SHINOI ZUE >(ninja canes with concealed blades/chains) < ONO >(battle axe) Rather ominous weapon that would scare you mighty quick. < HASHIGO YARI >(ladder spear) < TANTO >(knife) < TACHI >(long curved battlefield sword) < CHOKUTO >(straight short sword) Not used very much. The usual curved sword was used about 90% of the time. The curve made it easier to draw from the sheath, and to slice through bone and flesh. < NINJA TO >(the curved sword) < SHINOBI GATANA >(straigh long sword) < KATANA >(curved sword) < WAKASASHI >(curved short sword) < TESSEN >(iron fan) < SHUKO >(spiked hand band) < ASHUKO >(spiked foot band) < YAWARA >(short stick) < NEKO >(finger tip weapon) < YUMI >(short bow) < YA >(arrow) < FUKIYA >(blow gun) < TOAMI JUTSU >(use of fish net as a weapon) < MIZU GUMO >(inflated air bags for crossing water) These were used as boats to cross long distances of water. < SHINOBI KAI >(collapsable oar) Must be collapsable in order to transport it and make it reasonable to maintain over long distances. < TARU IKADA >(flotation pots) < KAMA IKADA >(raft) < TSUGI BUNE >(collapsable boat) < KUNAI >(digging and levering tools) < TSUBO GIRI >(borers) < NINJUTUS DISCIPLINES > < JUNAN TAISO >yoga-type stretching training < NINPO TAIJUTSU >unarmed combat techniques < TAIHENJUTSU >body movement, breakfalls, leaping < DAKENTAIJUTSU >striking and kicking techniques < JUTAIJUTSU >grappling and choking < BOJUTSU >staff fighting < HANBOJUTSU >staff fighting < NINJAKEN PO >fighting with the ninja sword < KENJUTSU >fencing skills < IAIJUTSU >fast sword drawing techniques < TANTOJUTSU >knife fighting techniques < SHURIKENJUTSU >blade throwing techniques < KUSARIJUTSU >short chain weapon techniques < KYOKETSU SHOGE >chord and blade combination weapons < KUSARIGAMA >chain and sickle < TEPPO >firearms < NINKI >specialized ninja gear and tools < FUKIYA >blowguns and darts < HEIHO >combat strategy < GOTONPO >use of natural elements for escape < MESO >meditation techniques < SHINPI >concepts of mysticism < NINPO MIKKYO >ninja secret knowledge (based upon BUDDHISM beliefs) < KUJI KIRI >balancing electromagnetic power fields < KUJI IN >energy channeling < YARI JUTSU >spear techniques < NAGINATA JUTSU >halberd techniques < HENSO JUTSU >disguise and impersonation < SHINOBI IRI >stealth and entering methods < BA JUTSU >horsemanship < SUI REN >water training < BO RYAKU >strategy of unconventional tactics (GUERILLA WARFARE) < CHO HO >espionage < TEN MON >weather (to predict weather for travel purposes) < CHI MON >geography (mapping) < DOKUEN JUTSU >use of poisoned smoke < ONIBI NO JUTSU >art of the demon's fire < IBURI DASHI >smoking out (of buildings, huts, etc) < THE NINE SCHOOLS OF NINJUTSU> < TOGAKURE RYU NINPO > (hidden door) The basic school in which we were taught. It involves the KIHON HAPPO, and most of the basic techniques. Involves SHURIKEN (throwing starts), SHUKO (hand claws), BISENTO (long weapon), YARI (similar to spear), ARCHERY (bow and arrow). Originated in Japan. < KUMOGAKURE RYU NINPO > (hidden cloud) Founded in 1500's, involving NINPO RYU. Originated in Japan. < GYOKUSHIN RYU NINPO > (jewel heart) Involves TAIJUTSU (body movement) and STRIKING SKILLS. Originated in Japan. < GIKAN RYU KOPPO NINPO > (example of justice) This is hard core, bone breaking techniques that are very dangerous. Most of the strategy of this school is to break and crush the opponent quickly, then defeat him. Involves JUTAIJUTSU (short weapon), TO (sword), KUSARI FUNDO (weighted chain weapon), and was originated in China from the GYOKKO and KOTO ryu. < GYOKKO RYU KOSHIJUTSU > (jewel tiger) Most of the techniques in this school are oriented toward moving around the attack, rather than directly facing it. You move outside the punch, and attack, then move around the next attack, and attack during the move. It's really quite effective. Involves KOSHIJUTSU and KIHON HAPPO (basic kata), and originated in China. < TAKAGI YOSHIN RYU JUTAIJUTSU> (raise your heart to high trees) Involves YARIJUTSU (spear weapon), NAGINATA (six foot stick with large blade attached), and TO (sword). Also BOJUTSU (six foot stick techniques), TAIJUTSU (body movement), and originated in Japan. < KUKISHINDEN RYU HAPPO HIKENJUTSU> (9 demon gods) Involves BOJUTSU (six foot stick techniques) and is around 3000 years old. Originated in Japan. < KOTO RYU KOPPOJUTSU > (knock down the tiger) This involves crushing the opponent. It is very similar to GIKAN, but with little differences that I will not go into it here. This involves BOJUTSU (six foot stick techniques) and was originated in Japan. < SHINDEN FUDO RYU KOPPOJUTSU > (immovable spirit) The final school has rapid, striking techniques that are oriented toward speed and quick strikes rather than crushing or moving. An opponent can easily be hit or kicked ten or more times per second with techniques here. Involves YARIJUTSU (spear techniques), and is based on striking skills. Originated in Japan. ======= ================================================================ < SHUKI KEN > The elbow strike. Can be used against the head, chest, or areas too dense for a lighter weapon. It can also be used in combination with other fists to create rapid-fire strikes toward the opponent. < FUDO KEN > The clenched fist. Probably the most popular weapon, can be used in a variety of ways. A fist may be thrust quickly as a distraction (a jab), lazily in a hooked fashion (hooked punch), or straightforward for a bone-breaking or damaging strike. < KITEN KEN > Open hand strike. Sometimes the open hand is used in a chopping manner (karate), a half-clenched manner (the Shuto open hand), or in a hooked fashion (a strike with the inside of the hand). This is one of the most popular fists (other than FUDO KEN), and is widely used in most martial arts. The first of the finger combinations, this fist is not widely used. Open your hand widely, then close your fingers slowly, touching the fingertips together and tightening the entire hand. You now have Sanshitan Ken. Its use is variable, since the actual striking point is smaller than using FUDO KEN. The fingertips are the focal place, so that a strike to an open nerve (possibly Waki Tsubo) does much more damage than most other fists. It can also poke between bones (the Shouler) to gain access to other nerves. The pinky strike. Most widely used where the martial artists can train their hands and fingers for endurance. In America, most artists refrain from actually toughening their hands, forehead, feet and toes because of the unattractiveness of the calluses that form on those areas. This fist can easily be used against the neck (Matsukaze), underarms (Jakkin) or other areas. Similar to Sanshitan Ken yet the fingers are pointed downward rather than forward. Used in the same areas as the other four finger strikes. The three finger strike. To make this fist, touch your last finger to your thumb, and point your first three fingers forward, hardening them and connecting your fingertips. Exactly like Sanshitan Ken except the first three fingers are widened and extended so that they strike different areas. For an attack to the face where you want to impact the eyes and the mouth, this would be superior to using other finger strikes. The thumb. For a "spear" strike, this is ideal. Simply form a tight fist and extend the thumb slightly over the edge of your other fingers. This fist is very popular for close fighting, whereas wrestling is involved, and a pointed object is needed. Just force the thumb into the inner leg (Koe), inside of the arm, or the neck. "The Claw". To make this fist, simply extend all five fingers, face them forward and tighten your hand. Against a softer area (The eyes), it can be used alone. For harder areas (Kage), strike first with the palm to damage the area, then claw (scratch) into the wounded area with the extended fingers. Striking with the palms. To make this fist, simply open your hand flatly. Once you have it formed, strike your target with the palms of your hand. This can be used against the ears (Yugasumi), the groin (Suzu), or other areas. The Thumb-Knuckle. To make this, form a fist and extend the knuckle of your thumb slightly. Once made, it can be used against the head, chest, etc. The half-fist. Probably the third most popular fist, just extend your fingers forward, then curl the tips inward and harden the fist. This is used widely in movies, and in karate books, yet is not very powerful unless trained harshly. The knuckles usually collapse from the impact when used. (again, we have the problem with calluses forming and creating a very unattractive hand). The knee. Obviously, the knee can be utilized against a variety of areas. It can be lifted and thrust forward against the opponent, you can simply kneel down and drive an opponent into it, or throw him into your knee. You can use it against the groin in close combat, etc. The heel. This can be hooked inward for damaging a leg, lifted and dropped downward (hammer kick), etc. The toe. Used against the groin or leg, this fist is also not widely utilized for the same callus reason as some of the above fists. The body as a weapon. Very few martial arts use this particular weapon, although just about every attack can be classified under this. Examples include falling on someone with your elbows/knees facing down- ward, bumping into an opponent, therefore pushing him off balance, or using odd parts of the body for an attack (shoulder, upper leg, the wrist, etc.). The forehead. The last fist is also one of the rarely used ones. Harsh training is needed to master this fist... hitting the forehead against bags, rocks, etc. must be included. Using the fist is seen quite a bit, though. A good headbutt to an opponent's nose, or hitting his chin swiftly has always been a good tactic. ========= ============================================================== These are kicks performed with the flat part of your foot. The toes are pointed upward, and the strike is a strong, crushing attack. These types of kicks would be to break down a door (to give a practical example to people who have NO idea of how these types of kicks operate). 1. ZENPO KERI kicks forward. Lift your knee up to your chest, then thrust it forward into the target. This kick may be used against the opponent's chest, leg, groin, etc. 2. SOKUHO KERI kicks sideways. This is the same, but aimed 90 degrees to the right or left. The targets are also similar. 3. KOHO KERI kicks backwards. You can put your hands on the ground and kick (looks like a donkey kick), or simply stand and kick. The targets are same as above. 4. TOBI KERI kicks any direction while leaping. (high toe kick) Simply lift your leg quickly, aiming your toes upward. Targets would be the head, underarm, neck, groin, throat and triceps, etc. (outside stomp kick) Similar to SOKUYAKU KEN, this strikes hard and fast at the target. Lift your leg upward, turn your foot slightly inward, and thrust it forward strongly. Targets would include groin, leg, inner leg, abdomen, etc. < TOKI KEN> (kick to foot) The kyusho Toki (top of the foot) is easily attacked at close quarters using an inner foot strike. Just step on or kick the kyusho, then twist to break the bone. < KO KEN >(turning kick) This kick is similar to a hooking back kick (Tae Kwon Do), except it is performed with much turning and much power. The leg remains close to the body, and then knee is bent. Make sure your leg remains tight, so that when the foot strikes the target, the weight of your leg is behind it. < KIRI GAISHI> (kicking with instep) This kick involves attacking a softer part of the opponent's body with your instep. You can easily attack his inner knee while his leg is extended, or kick into his groin. Any variations may be used (use it as a roundhouse-style kick, kick upward, kick backward, hook it into the knee, etc). Since there are over 100 variations of karate (Tae Kwon Do, Kenpo, etc), I can only briefly touch on the kicks contained therein. I will attempt to cover the major kicks taught in both traditional and non-traditional schools. Kicks that become monotonously rediculous (such as the spinning, double side turning crescent kick) are not covered for the obvious reason that you can "think them up" if needed, and they are only a combination of other basic kicks. < KARATE KICKS > < FRONT KICK> (or "snap kick") From a standing position, lift the knee straight up toward the opponent, then quickly snap the lower leg out, striking the target with the foot. < ROUNDHOUSE > Lift the leg and perform a snap kick, only aim it toward the side (at a horizontal angle). Traditional versions include lifting the knee up toward your side, turning the body and angling the leg perpendicular to the floor, then snapping the leg outward (although this is much slower than just thrusting the leg outward). Targets include the knee, the head, arm, abdomen, outer leg, neck, etc. Lift the leg to your side, then force it directly to your side with an upward motion. This can be done from a standing position, or as a "crossing" side kick. Since it's such a powerful kick, targets range from the abdomen to the head. Lift the leg up, and thrust it backward into the target with an upward motion. Targets are the same as a side kick, but there's usually more power associated with this kick. Facing your target, (or sometimes not) turn your body quickly, spinning around with your leg extended to the side. When you are halfway spun around to the target, hook your leg inward so that your heel strikes the target. The force of this strike is strong, mainly because you have the weight of your heel, leg, and body behind the kick. Timing is of the utmost importance though ! Targets include the head, knee, and other outside areas. Lift your leg as if doing a spinning hook kick, yet kick with the side of your foot and leg instead of the heel. Lift leg above the opponent's shoulder and come down quickly, striking the shoulder or arm. ========== =================================================== Various types of punches will not be covered here, mainly because there are so many. See FISTS for important information about striking and weapons used for that purpose. I do however want to briefly touch on the strategy and theory behind punching. Altogether, I have visited over 78 karate and martial arts studios, sometimes paying an extraordinary amount of money just to watch, and other times spending the day visiting with the instructors free. Unfortunately, there are many dangerously WRONG punching styles taught to men, women, and kids that I judge to be 100% ineffective. They are shown to cock their arms beside them and punch in short, strong bursts, boxing theory (which DEFINITELY works) is ignored or not taught at all. Students are taught that their punches should never impact the target, and the same students are not encouraged or forced to undergo impact training for arm/hand conditioning. Consequently, these same students are seriously injured in an encounter, or strike an opponent with almost no force, then wonder why ! Therefore, let's review the guidelines: < 1. PUNCHES SHOULD BE POTENT > The only way to improve the power behind a punch is bag training, and 100% force training. Get a 70 or 100 lb bag (preferrably vinyl) and beat the hell out of it. Practice proper form for all strikes, then place every bit of energy and concentration into the hit. Hang it up and beat it, then lay it on the ground, kneel beside it and beat it. You should devote at least 4 hours a week to this. < 2. PUNCHES SHOULD BE FAST > Striking the air, or purchasing a boxing speed bag are very good methods to improve speed. If a punch is not fast, chances are that the opponent will see it coming and manuever out of the way. Also try punching leaves on a hanging tree, or striking small targets placed in a haystack quickly. It isn't always necessary to bring your hand back once you have punched. Sometimes, like in a jab, it's absolutely necessary. Other times, however, in a full force strike to the neck, it's not needed. < 3. PUNCHES SHOULD BE ACCURATE > Usually, this is covered in speed training. < MISCELLANEOUS SCREWUPS AND OTHER WAZA> a) Punches should not always be drawn back. Things such as a jab should, but when striking an opponent who is on the ground, always extend the punch, then force it downward into him. If you are striking his stomach, hit with Fudo Ken, then drive the fist inward, turning it and causing more damage/breaking/pain. b) Punches should never be "cocked" at your side. This is highly contraversial with me ! WHY ? If you constantly have your hands to your side, your opponent knows exactly where the punch is coming from. Also, it's easily jammed by a foot, knee, elbow. And there's no guard for the upper body, or the lower. c) You should practice punching in all directions, not just forward. In combat, you MUST be able to punch upward, downward, sideways, behind you, in a hooking motion as well as a straight strike. Remember this while practicing your punches ! d) Learn boxing. Whether you watch it or take it from a trainer, boxing is the absolute best way to learn punching. If you don't believe me, go up and challenge a higher-level boxer for a ring fight. (the reason is simple... they devote much more time to the art of punching than other arts do. Obviously, greater practice creates a greater efficiency) e) Practice punching from the ground. In case you are knocked down, work at striking from a face-up position on the floor. f) Work with weight-training, for the obvious reason that someone who bench presses 310 lbs packs a more potent punch than other people. g) Retain flexibility in your arms and wrists. Look up various stretches for your arms/wrists in Yoga, Martial Art or Aerobic books, then use them often. A more flexible arm and wrist is less likely to injure than one that is not. h) Learn to jab. Most arts I've seen don't teach this, although it is highly effective in distracting an opponent for a more-powerful-punch setup. ==========< THROWS> ============================================================ < OSOTO GARI> (major outer reaping) Your right hand grips the lapel at the opponent's collar bone, and your left holds over his right arm (grabbing the sleeve). Take a short step forward with your left foot, then balance on it. Swing your right leg through the gap beyond his right leg, and reap strongly back with your right leg. Being almost behind him, the thrust of your leg should bring his right leg up and cause him to fall. < MOROTE SEOINAGE> (double arm shoulder throw) Grab his right sleeve with your left hand, and his left sleeve with your right. From a face-on position, turn completely around until your back is against him. Place your weight on the right foot and using it as a pivot, swing the left foot back and around to his left foot. Pull up on him quickly, and put your back hip (your butt) under his front hip, then lift him and throw. (be sure to get out of the falling path) < IPPON SEOINAGE> (one arm shoulder throw) Take hold of his left arm, grabbing as much sleeve as possible, then slide your right arm under that armpit, moving inside him like with MOROTE SEOINAGE. With a sturdy footwork, lift him up and over with your hips. < SEOI OTOSHI >(shoulder drop) With your left hand holding his sleeve and your right hand on his lower lapel, move your right leg over about a foot, and place your left leg where your right leg was. Transfer your weight to the ball of your left foot, and lift strongly upward with your right leg. This should lift him up and over (using the force of your leg with your arms pulling up). < UCHI MATA >(inner thigh) PLEASE BE CAREFUL with this throw, considering most injuries I have seen occur from this particular throw... Grab his collar with your right hand, and his sleeve with your left. Turn yourself around so that you are back-to-front with him, and place your entire body against his. Transfer your weight onto your left foot, and sweep up between his legs with your right leg. This movement should ideally bring his left foot hurdling in the air. Once it happens, pull his upper body down and left to throw. < HARAI GOSHI> (sweeping hip) This is exactly the same as Uchi Mata, except you sweep both legs into the air. (the body movement is different also, but it's extremely difficult to explain it here). < O GURUMA >(major wheel) (THIS IS ESPECIALLY HARD TO EXPLAIN, but here it goes...) The throw has almost the exact same movements as Harai Goshi, but your right leg remains motionless, and you more or less pull the opponent over it rather than sweeping him with it. You must also pull the opponent stronger, and with more of a fast, jerking action. < O GOHSI> (major hip) Move around so that you are back-to-front to him. Place your right arm around his waist (like your hugging him), and grab his right sleeve with your left arm. Lower your hip under his, then back up slightly and lift your hips upward sharply. This should lift him up, then throw him over. < TSURI KOMI GOSHI> (lift,pull hip-throw) This is similar to O GOSHI, but you place your right arm under his left armpit, then move your right hip under his right, lifting up sharply and finishing the throw by moving out to the left. < OSOTO NAGE> (back throw) Position yourself to the left side of him, wrapping your right hand around his neck, and your left grabbing his right sleeve. With your weight onto your left foot, lift your right foot upward behind him, and sweep sharply so that he falls backward. < TAI OTOSHI> (body-drop) Grap his lapel with your right hand, and his sleeve (at the elbow) with your left hand. Turn around so that you are back-to-front with him, then, having about a foot distance between your two bodies, lurch your right leg back and outside his body. Lift him up, and throw him over your extended leg, pulling his body forward and to the right. < O UCHI GARI> (major inner reaping) This is used when he has spread his feet more than shoulder width apart. Take a regular grip on the chest and sleeve, then push him forward while putting your right leg between his legs. With a hooking action, twist your right leg around and bring his left leg up, and throw him backward. < KO UCHI GARI> (minor inner reaping) Again, take a regular grip on lapel and sleeve, lunge forward through his legs, and hook his right foot sharply with your right, getting the back of his ankle. Then push strongly forward on his body, throwing him backward. < TSURI KOMI ASHI> (propping drawing ankle) Step forward and out to the right with your right foot. Transfer your weight to that foot, lifting your left foot up, to his right ankle. Make sure you are out to the right side, then grap the opponent's lapel and sleeve, twirling him sharply to the left. Alter his balance so that he is teetering on his right leg, then sweep it quickly with your left foot, hurling him forward and around. < HIZA GURUMA> (knee wheel) This is the same as Tsuri Komi Ashi, but the knee is locked and broken instead of the ankle. < KATA GURUMA> (shoulder wheel) When he is running or leaning toward you, bend down so that your body is perpendicular to his (your side is facing his stomach). Lift quickly and sharply upward, pulling his arms forward so that he lurches directly forward (head first). Lift with your knees, and don't attempt to use your lower back (especially with a larger person). This throw probably takes more practice than any other (because of the positioning and raw difficulty)! < SUTEMI NAGE> (sacrifice throws) These are throws that involve falling backward and throwing an opponent over your body. 1. Tomoe Nage involves putting your foot into his stomach. (or groin) 2. Uki Waza Nage involves falling like a dead weight, then throwing him to the side. 3. Yoko Gake Nage involves hooking his foot (like Tsuri Komi Ashi), but with a fall backwards. =========< DEATH THROWS> ======================================================= These are real combat throws that involve serious injury to the opponent. They are NOT to be used in sport competition. NOTE: The author is NOT responsible for any personal damage caused by trying out these throws. Use them at your own risk. Also, most of these throws (in real combat) require some sort of distraction before performing them. Possibly a kick to the groin, Shako Ken to the eyes, Shikan Ken into the armpit, etc. < UCHI OTOSHI> (inner drop) Set up like you are performing Seoi Otoshi (place your right arm through his left armpit), and once he is on your shoulders and back, drop straight down FAST. Having your right arm hooked into him like that will cause his face to slam into the floor quickly, and if he doesn't land correctly, he might break his right collarbone (from it striking the ground with his full weight behind it). < THROWS THAT IMPACT THE HEAD > Any shoulder and hip throws can be revised so that he hits his head against the floor. This usually hurts, will cause him to go unconcious, or is fatal. < THROWS INVOLVING CHOKES> When gripping an opponent, instead of taking his lapel, you may wrap your arm around his neck and perform a choke during the throw. NOTE: This include an attack to his frontal neck (the esophagus) that can be pulled, pinched, or thrust into while a throw is being performed. < ITAI NAGE >(pain throws) Most judo schools neglect this (unfortunately). It involves causing pain while throwing an opponent. Most throws above can be done by grabbing skin, muscle, groin, or any parts of the body that hurt or cause injury. You are much more likely to successfully perform a throw if he is in pain and NOT concentrating on what you are doing to him. < GYAKU KOSHI> (reverse hip throw) This is a regular hip throw, except you are behind him, throwing him from the back. This will usually sprain his back or cause it to break. < HANE KOSHI > Grab your opponent's arm, twisting it so that it is locked, elbow facing downward. Move into him, and place the locked arm onto your shoulder (now it should REALLY be locked). Making sure not to lose the elbow lock, move your back into him, and perform a hip throw, except lever his arm so that it breaks from you pulling sharply downward on it. Make sure to move out of the way, and allow him to fall out to your side. =========< CHOKES >============================================================= < GYAKU SHIME > Place your right hand against his neck, with the back of your hand against his esophagus. Grab his collar. With your left hand, grab his lapel. Now pull sharply with your left hand while forcing the knuckles of your right hand into his throat, and pulling his collar simultaneously. < GYAKU WAZA > "Forcing his limbs opposite their natural movement". This involves pulling his arm behind his back until the joint breaks, using a wrist lock to force his wrist to break, forcing his knee sideways where it usually doesn't turn, etc. < SANKAKU SHIME > Get behind the opponent, and wrap your right arm around his neck, lining up your the bone of your inner arm with his esophagus. Place your left arm behind his neck, and grab your right arm with it. Now force both arms together, driving the bone of your lower right arm into his neck, cutting off the breath. Another variation of this involves positioning your right arm so that it cuts off the jugular veins, and renders the opponent unconscious. The ear choke. Using Shako Ken, attack the opponent's ears by positioning your fingers around the outer ear and squeezing inward. There are multiple variations of this, like placing a finger in the inner ear and pinching, or forcing it farther in, pulling the skin of the lower ear, etc. < ITAI SHIME > The pain choke. Place your four fingers on the outside of his neck, and use both your thumbs to drive into the outer esophagus. Variations include pinching the esophagus directly with the thumbs, pinching the outer skin of the neck, grabbing the esophagus with on hand and pulling outward (or forcing inward), etc. < NAMA OTO SHIME > Body choke. This can involve many, many things. You may grab the collar, then force your foot into his stomach, causing a choke. You can wrap your legs around his waist, then squeeze inward to cause a hernia, etc. < HON SHIME > Place your right hand across his neck, grabbing the other collar. Grab the other collar with your left hand. With an upward motion, force your knuckles into his neck, pinching the skin and choking him. < GYAKU SHIME > This is the same as Hon Shime, except your right hand is facing "palm inward" on the neck, and the action involves turning your palm down in order to pinch the neck and perform the choke. < KATAHA SHIME > Step to the left side (his) of the opponent, and lift his left arm upward, while sliding your right arm under and behind it. With your left hand, reach around his neck and touch your hands together. Now SQUEEEEEEEZE to perform the choke. (there's really no "GOOD" way to describe how to choke, just try it out until your partner says "ouch"). < ASHI SHIME > Choking the leg. With the hundred thousand billion variations there are, I will go over only one. (the remainder will be left to your imagination) Grab his leg, lock it by pulling sharply outward, toward yourself, then press down on the knee, locking it even more. < OTHER VARIOUS CHOKES > 1. Choking the back of the neck (by grabbing skin, pressing into the soft part of the shoulder blades, etc.) 2. Choking the arm. (use something similar to the leg method described above) 3. Choking the hair. This was created by me ! Just step behind your opponent, grab a LARGE hunk of hair from the left side of his head with your right hand, then another chunk from the right part with your left hand. Now pull your hands together quickly and watch the wonderous expression on his face ! 4. Using the collar as a choking method. Step behind someone with a T-shirt on, grab both of the front collar with opposite hands, then bring your hands together for a choke. 5. Chokes to the upper neck. From behind him, dig your thumbs or forefingers into his upper neck. You may pinch the skin, or cut off his airflow with a constant pressure. 6. Chokes to an opponent who has fallen. Step on his neck, forcing your toes into the esophagus (possibly breaking it), fall downward quickly with your forearm extended to break the neck, fall with hands forward for a similar effect, etc ... ==========< STRATEGY> ========================================================== Strategy has long been the deciding point in a middle-ground battle. Whether it be with sword fighting or business dealings, strategy is and always be one of the most important factors in who wins and who loses. This chapter deals with a scientific japanese approach to strategy called the "HEIHO". And the advice can apply to everything from sword combat to going out on a date. Read this chapter with care and review it often. If lived by, this advice can and will change your life ! (Thanks to The Way and The Power by Fred Lovret, and The Book of Five Rings by Nihon Services Corporation (and Miyamoto Musashi), of which most of this text is taken from...) < GENERAL ADVICE > 1. Always be the same way in any situation, and keep your mind in the Middle Way attitude. 2. Never reveal what your intentions are. 3. Always wear clothing that does not restrict movement. 4. Observe without moving your eyes. The enhancement of the "sixth sense" was practiced during this period. Sensitivity training was done to heighten 5. Flexibility is a primary consideration, and not just in the physical sense. The ability to adapt to circumstances psycholo- gically and emotionally is crucial. 6. To practice whatever you do the same way all the time is a must. To practice a technique only halfheatedly builds bad habits, and lessens one's practice time of the proper technique. Remember that the context here is life and death swordplay, with razor- sharp, four-foot long lengths of steel. 7. Taking a position is not taking a position. When you raise your sword to the upper position, this is not a position from which to move. It is NOT a position of rest. All movement, all the time, is continous. It is all part of the final move, that of cutting the opponent. Always be on the alert. 8. Remember that cutting is the goal. If you stop, your mind at blocking or parrying, you cannot cut. Concentration on the little details of now will cause you to miss the big picture later. 9. "THE TIMING OF AN INSTANT". A suki is an interval, literally a space between two objects or in time, where something can enter. This suki may be considered as the "stopping" of the mind, a psychological or mental suki. It is in this moment that one must strike, when the opponent allows that gap to open. That is why it must be in the timing of an instant. 10. One of the main concepts is one of spontaneity. Your natural abilities act free from any conscious thought to act. There is no sign of effort; it is an impassive mind. Where there is no intention, there is no thought. 11. To stab at the mask: Here we are talking about diversion as a means of attack strategy. Once you have distracted him, gain the advantage by following with your attack. 12. Broaden your knowledge and know the justice and injustice of the world; know the good and the bad of things. Walk through the path of various arts and skills. After you can no longer be deceived by people in general, for the first time, you will attain the essence of the wisdom of Heiho. < THE KOTO > As for body posture, do not raise or lower the head or lean it to side. Do not let the eyes wander, and without wrinkling the forehead, form a furrow between the eyebrows. Steady your gaze and try not to blink; narrow your eyes a little more than usual. In the martial arts, it is essential to make the everyday stance the combat stance and the combat stance the everyday stance. You must examine this carefully. Vigilance in combat means keeping one's eyes wide open. Accuracy understanding the state of affairs in the distance and grasping the general situation from the movements near you is most important from the standpoint of Heiho. Finding out the ability of an opponent and not being deceived in the least by his superficial actions is above all the main object of Heiho. < TEKI O UTSU NI ICHI HYOSHI NO UCHI NO KOTO> The time for striking an opponent is referred to as the strike of a single moment. Take a position within sword's length of the opponent and before he can decide on a move, without moving your body, calmly and spontaneously strike in the timing of a moment. Timing of the blow before an opponent can decide to retreat, parry, or strike; this is the one timing. < NI NO KOSHI NO HYOSHI NO KOTO> This is the kind of situation where one aims a blow at an opponent and he withdraws even faster. In this case, first make as if to strike, then the moment after the opponent flinches for a moment and then relaxes, strike quickly. < EN NO ATARI TO UI KOTO> When one aims a blow and the opponent tries to catch and parry it, with a single movement, strike his head, hands, and legs. In a single movement, hit him everywhere. This strike must be mastered well. It is a style of hitting frequently encountered. < SHUKO NO MI TO UI KOTO> The idea of not extending one's hands. It is the trick or other technique of quickly leaning toward the opponent just when he is about to strike, where you bring your body close to that of the opponent without sticking out your hands. If one sticks out one's hands there is always a tendency for your body to be pulled away. Therefore move your whole body quickly closer into the opponent. < SHIKKO NO MI TO IU KOTO> Stick closely to the body of the opponent, and not to be separated from him. When one approaches the body of an opponent, stick your head, body, and legs very close to him. < TAKEKURABE TO UI KOTO> Comparing the height of the bamboo. Whenever you keep your body close to the body of the opponent, do not allow your body to scrunch up, but rather, stretch your legs, torso, and neck as well as keep close to the opponent so that one is face-to-face with him as if one could win by being the taller one. < NEBARI O KAKURU TO IU KOTO> When both you and your opponent attack with long swords, and the opponent parries your attack, with great determination, keep your long sword firmly against his. < MI NO ATARI TO IU KOTO> Push one's way into the space of the opponent, and to hit into the body of the opponent. Turning one's face slightly to the side, thrust out one's left shoulder and strike the chest of the opponent. If you continue to practice this charging in, it should get to the point that the opponent will be thrown eight, sometimes even twelve feet, even at times to the point of killing the opponent. < MITSU NO UKE NO KOTO> When the opponent comes charging into you, in order to parry the opponent's long sword, hold your long sword in a way so to stab the eyes of the opponent, making his long sword go off to your right side. < OMOTE O SASU TO IU KOTO> To stab at the face. When the long swords are equal, stab at the face of the opponent with the point of one's own long sword. The opponent will endeavor to move away his face and torso. Once this occurs, there are many ways to achieve victory. < HARI UKE TO IU KOTO> In combat, if the rhythm has been disrupted and cannot be regained, when the opponent strikes you, beat back the attack with the long sword by striking. To slap away is not done so strongly, nor is it parried so strongly. As one becomes an expert in slapping away, no matter how strongly the opponent strikes, as long as there is intention to slap him away even slightly, there is no chance that the point of your long sword will be dropped. < HITOTSU NO UCHI TO IU KOTO> By the means of one strike, it is possible to be sure of achieving victory. Unless one thoroughly studies Heiho, it is not possible to understand this. If these principles are well practiced, they can be used at will, and it will be possible to obtain victory as you please. < BA NO SHIDAI TO IU KOTO> Establishing the site of conflict so that it is advantageous is very important. The primary principal is to have the sun behind you. In a room also, it is the same in that the light should be behind you or to your right. One must strive to take a stance in which one is as high as possible so as to look down on the opponent. < MAKURA O OSAYURU TO IU KOTO> Do not allow the head to be raised. It is especially bad to be dragged around by the other side or to be placed on the defensive, particularly in the path of Heiho. When the opponent sets up a move, it is important to leave that which is of no use to the opponent and to hold down that which can be of use so as to make it impossible for the opponent is, in itself, to be placed in the defensive. < KUZURE O SHIRU TO IU KOTO> To know collapse is something which pertains to all things. Houses collapse, the body collapses, and the opponent collapses, all when their time comes and their rhythm is broken. In Heiho as it pertains to one-on-one also, there are usually times during the conflict when the rhythm of the opponent goes haywire and he begins to collapse. If you miss that by not being vigilant, it is possible that the opponent will recover and that a stalemate will develop. It is important to keep an eye out for such a collapse and to strike and chase with certainty so that the opponent does not have the opportunity to recover. To strike and chase in to strike with force; in one breath deliver a strike which will render the opponent incapable of recovery. < TEKI NI NARU TO IU KOTO> "To become the enemy" is to think as if one were the enemy. Look around you and you will see that even the thief who blockades himself in a house (when caught in the act) is considered by his opponents to be most formidable. In Heiho, as it pertains to combat, you ought to put yourself in the opponent's position. < KAGE O UGOKASU TO IU KOTO> "To move the shadow" refers to a method for when you cannot determine the intentions of the enemy. If the opponent adopts a stance with the long sord to the rear or to the side, and you cannot guess his intentions, if you try, make so as to strike; the opponent will reveal his intention with his long sword. When you know his plan, you can most certainly gain victory by means of an appropriate response to it. < UTSURAKASU TO IU KOTO> Everything can be transferred ! It is important to let the opponent see you relaxed in both body and spirit, and to achieve victory by means of an offensive move made with strength and speed. < MUKATSUKASURU TO IU KOTO> In all situations it is possible to upset, or unbalance, and to anger the other side. One way is to make him feel endangered; the second is to make him feel that it is impossible; the third is unforesen situations. It is important to achieve victory by first confronting the opponent with slow-paced approach, and then suddenly making a forcible attack. Take advantage of the agitated state of the opponent without giving the opponent even a moment to catch his breath. ==========< MORE ABOUT WEAPONS> ================================================ < HANBO> The three foot stick. Sticks are universal in all martial arts, and have many different variations of kata throughout. The three foot stick can be legally carried around when you're out for an evening walk, or for protection on airplanes, trains, and other mass transit. Since it's so short and compact, it can easily be used for thrusting attacks, and close combat wrist-locks and arm/leg breaks. < JO> The four and a half foot stick. This is not as well used as the hanbo, yet most arts have kata for it. < BO> The six foot stick. Used on the battlefield during Japan's feudal times, and is utilized in most martial art forms. The length is an extreme advantage against other weapons, and gives it a high momentum when swung fast, thus having the ability to break arms/legs easily. Most beginners tend to hold it in the middle, yet advanced artists realize that they need to get farther back on the weapon. < SAI> A three pointed metal weapon that is very popular in movies (ninja turtles, karate movies), and is of Chinese origin. Other than stabbing, you can use it for wrist-locks, blocking the sword/stick weapons, and a variety of other defenses. < JUTTE> A two pointed metal weapon that is not vastly seen. A Japanese weapon, it is mainly used for joint/bone attacks and blocking/trapping the sword. < KAMA> A stick with a inwardly curved blade. Although seen mostly in traditional karate classes, it is not very popular for in-the-street protection. The Kama was first used for farming, and was later oriented toward Chinese martial arts. < KUSARI KAMA> A Kama with a chain and weight on the end. This weapon is a cross between the Kusari Fundo and the Kama, used mostly for luring and distracting an opponent with the chain the weight, then moving in swiftly for a cut using the Kama. < TACHI> The long sword. The longer blade (also called the "To") has been so popular that entire martial arts have been devoted to it (Kendo). This was certainly the main weapon of feudal japan, before larger, more dangerous tools were introduced (Naginata, Kama Yari...). Although swords sold today are usually dull or moderately sharp, ones used many years ago were sharp enough to slice an opponent in half with a single strike. There are two styles of blades: One curved, one straight. The latter is seen as the current "ninja" sword, and the first is seen as a "Samuari" sword. Usually, martial arts will not let a student touch the sword until the student has reached an advanced level (Shodan or above). And because of its complexity, I have known seventh degree black belts that claim to be unknowledgeable about the sword, although they have trained with it for ten or fifteen years. Sword training includes: 1) Sword drawing (Aido) 2) Striking while drawing the sword 3) Basic cuts 4) Defenses against other weapons 5) Travelling with the sword 6) and much, much, much, much MORE. < TENTO> The knife. Knife fighting has long been a hobby for both street fighting and martial arts. Some artists claim that the Tento is so similar to the Kotachi (short sword) that their movements are the same. I, however, disagree. Knife fighting is mostly short-range strategy, oriented toward cutting vital parts of the opponent and retreating. The Kotachi is mostly a thrusting, committed idea, or direct defense from another Tachi attack. The Tento is a shorter knife that was once used in a demonstration to cut into an engine block. Obviously, it is much stronger and sharper than most other knives (and therefore expensive). < TETSU KEN> Brass knuckles. The ones used today are far different than those utilitized hundreds of years ago. Most of the older weapons contained extremely sharp edges, curved away from the hand so that they actually tore the skin once impacting. < SHUKO> Hand claws. These are metal claws extending from a metal band which wraps around the hand. It is held by a piece of cloth/leather to the lower wrist, tied together with straps. These can be used for climbing brick walls, trees, a weapon into the face of an opponent, or for blocking the sword. < ASHIKO> Foot claws. Similar to SHUKO, except they are attached to the feet for climbing, attacking, etc. < KUSARI FUNDO> Weighted chain. This is a three foot chain (or six feet) with a weight attached to each end. It can be thrusted into an opponents face, swung widely to strike the outer body or face, or used to choke the neck/leg/arm. < CHAKU> "Num Chucks" are extremely popular, although illegal (in Texas) weapons. They have two sticks (made of wood or metal) connected by a short chain. There are variations that also have three or four sticks connected by chains/rope. These can be used for choking, or striking with the sticks against parts of the body. < NAGINATA> This is a seven or eight foot stick with a large blade at the end. It is used for very devastating attacks that slice off an arm/leg/head on the opponent. This being one of the best weapons for feudal japan, it was used as a defense against the Bo, Tachi, and Kyoketsu-Shogi. If you have ever held this weapon or attempted to swing it around, you quickly gain respect for its integrity. < YARI> A six foot stick with a sharp blade on the end. Although its description sounds exactly like the Naginata, its use is far different. The Naginata is a slicing/cutting weapon whereas the Yari is for stabbing/thrusting. Consequently, the Yari blade is smaller, thinner and more pointed at the tip. < KAMA YARI> The same as the Yari, except with two or three smaller blades protruding from the side of the main blade. < KYOKETSU-SHOGI> A Kama with an attached rope and a weight on the end (a heavy ring). This weapon is difficult to describe or explain its use without actually showing you. The length of the rope is determined from your arms stretch. Hold one end of the rope with your left hand, and measure three full arms length (spread out your arms in a natural manner), plus enough rope to reach the ground from your left hand. The heavy ring on the end is for damaging an opponent's hand while he holds a sword/knife. Using the distance, you can easily whack his hand, therefore breaking it, whereas he is not close enough to counter-attack. There are also techniques for wrapping an opponent's hand into the rope, wrapping the rope around the leg and pulling him to his feet, and cutting with the Kama portion of the weapon. < TSUNO SHI> These are sticks held in the hand. They can be used for muscle/bone attacks, joint attacks, or whenever close combat is encountered. < TETSU BISHI> These are distraction weapons. Some could be bent nails thrown behind you to injure the feet of an opponent, powder thrown in his eyes to blind him, grass thrown in the face, an ashtray in his face, or focusing your sword to direct the sunlight into an opponent's eyes during combat. < SHURIKEN> Throwing weapons. There are three types: 1) Senban - the usual square, octagonal blades in movies. (also illegal) 2) Bo - long, straight blades 3) Hira - long, flat blades (throwing knives) Many strategies are used for throwing shuriken, all of which must be shown directly. In the traditional methods of throwing them, however, they were aimed at the face and hands of a sword-wielding opponent. < SAN CHA> A Chinese weapon that consists of a trident on a long pole. It can be used for stabbing, cutting, etc... < SAN CHET KWON> The three-sectioned nunchaku. It has three metal or wooden staffs connected by chains. < TONFA> A wooden weapon that originated from the Ryukyu Islands. It is a short staff (3 foot) with a handle protruding from one end. Some major cities give these to their police officers. < KUROKAGI> A lock-picking device used by the ninja to pick locks and enter into dwellings. < KAMMA> A sickle used by the farming class in Japan and in the Ryukyu Islands. It is a wooden staff (or sometimes metallic) with a blade at one end, and the blade is usually curved downward. < KASUGAI> Iron hooks used by the Ninja to secure doors and keep them from being opened readily. It was good for dissuading persuers when the ninja was attempting to make an escape. =========< MISCELLANEOUS> ====================================================== The following are other topics I'd like to briefly discuss, basically for no other reason than to spread my opinions. If you do not like my ideas, or take offense to the topics discussed herein, don't read it again. < DIET> Of all the habits of the American culture, this one bothers me the most. We have so many unhealthy, oily, greasy, disgusting places to eat: McDonalds Burger King Whataburger Pizza Hut Pizza Inn Momma's Pizza Grandy's etc, etc, etc, etc. Yet when I go attempt to find a decent alternative, I only find one or two... at exorbitant prices ! The typical food intake has declined in quality over the past five to ten years. Although sugarless alternatives are popping up here and there, they too have their disadvantages (try a good shot of Sorbitol sweetener, then watch yourself hit the bathroom for hours). Where are steamed vegetables, brown rice, steamed fish, fresh home- made soup, and other good meals ? < REALISTIC DEFENSIVENESS> When I ask someone how they intend to defend themself against an attacker, I usually get an amazing reply: "I'll just go to my car and get my gun, then blow their head off." Standing in shock, I never reply because of the plain oddness of such an idea. The man actually believes that in the heat of combat, he has time enough to remove his keys, unlock his car, search under the seat for his handy pistol, then return and shoot his attacker ? Wow. If that were the case, I most certainly would carry a blowtorch in my back seat. Not only would it be ideal for defending myself, but would be useful in a multiple-attacker scenerio ! Unfortunately though, when attacked, you normally do not have time to defend yourself, no less make it to your car. Ideally, you need a concealed weapon (knife, gun, powder, Kusari Fundo) or skill at melee. Self defense classes for women are also unrealistic. Some instructors show women bland, practiced techniques for defending their life that surely will get them killed in actual combat. Mace is a nice weapon, but holding it out in front of your face, showing your attacker that you have the mace is NOT a good idea. Same goes for knives, guns, and other weapons. < WEAPONS SHOULD BE CONCEALED, AND USED SUDDENLY, WITHOUT WARNING !> Lastly, children are shown muscled, Judo-appearing techniques for fighting opponents. I see small kids crowded in with adults, doing vanilla punches/kicks, and performing unrealistic throws on larger opponents. I sincerely hope they do NOT try that in the street when assailed by a 200 pound 27 year-old. Children should be shown how to avoid, roll, breakfall, and escape using weapons. A five year old girl punching an older man will surely get her injured. However, if she can slip through his hands, scale a nearby fence and run for help... THAT seems more realistic. < WEAPONS USAGE AT HIGHER RANK> Most karate schools tend to not teach their students weapons such as the hanbo, bo and sword until black belt or above. Then, once they reach that plateau, their weapon skill sucks for another four or five years, until they can master the basic strikes and blocks. When I began the arts, I was taught all those weapons. I performed basic strikes over and over and over until my arms ached. Then, once my rank improved, I was shown advanced techniques and strategies. Obviously, that seemed more logical. At green belt, I could weild a hanbo better than a second-degree black belt of another martial art. Didn't that seem strange ?? < NEGLECT OF STRATEGY TRAINING> I was never taught strategy in any martial arts training. It wasn't until I went in search of a book on strategy that I finally learned how to get the upper hand in a combat situation. THAT SHOCKS ME. In fact, in all the schools I have visited, I have never seen strategy taught in a direct manner. Usually, it will be a lower ranked student who happens to notice a certain technique that his teacher is using.. he later querries the teacher on it and discovers.. WOW, a strategy ! Once reading a book on the subject and practicing a couple of techniques, I QUICKLY outsmarted most opponents in melee and weapon combat. They stood literally aghast at what I had done, then wondered how I did it. The strategies have been around for hundreds of years, so why are they so neglected ?? < THE KARATE DUDE> I always find it entertaining when people find out I study martial arts. Suddenly, you become the "karate dude", and the label sticks on you forever. Even people I have worked with at miscellaneous jobs over five years ago remember nothing about me except "Don't you take karate ?". I am also a weight-lifter (gee, that sticks with me too), a computer programmer, a Psychologist and a writer. None of those hang around as long as the Karate dude. It's kinda cute though. < PRACTICE, PRACTICE, PRACTICE, PRACTICE> If you want to become better and more proficient at martial arts, that is what it requires. You must do those breakfalls in the rain, snow, ice, heat, grass, concrete, against the wall, downhill, uphill, fast, slow, from standing positions to squatting ones... There truly is NO replacement for practice. < YOUR FAVORITE MOVES> It is true that you must vary the techniques you use, the punches you strike with, and the kicks that you deliver. But always have one favorite attack that you practice and perfect more than any other. By doing so, you are guaranteed to have a success with at least one move. If the opponent has you injured, and normal methods of defeating him are not working, you can always fall back on a "perfect" attack. < FOR THOSE OF YOU WHO KNOW NOTHING:> If you are totally inexperienced at the martial arts, let me explain it to you like this: We only move they way we have been taught. You see, karate is movement and form. Like a carpenter nailing into a board of wood, he has his own distinct way of moving, his unique method of hammering. He is an expert at it because THAT is what he does. That is how he lives his life. A martial artist stands in his posture, moves along his form, and performs his strikes his own way also. Like the carpenter, he is an expert. The carpenter's 14 year old son doesn't always hit the nail with his hammer... sometimes he misses. But the professional rarely misses, and never makes a mistake in his work. Just as the black belt always hits the target.. with precise skill, and the white belt must first learn how to kick. ==========< THE ARTS> ========================================================== The following is a listing of all the major Martial Arts. < AIKIDO > Founded by Morihei Ueshiba, this art is based on arm and wrist locks. There are many breakfalls, rolls and receiving involved. < HAPKIDO > A Korean art that incorporates taekwondo and aikido. < HSINGI > An internal Chinese art that was attributed to Yueh Fei in late Han Dynasty. The art is based on Taoistic principles. < JUDO > A Japanese art that also is used in olympics, and relies heavily on sport competition. Founded by Jigoro Kano, in Japan, all Judo stems from the Kodokan school that was from 1882. < JUJUTSU > A flexible art that also involves wrist and arm locks. Very similar to Aikido, it has both a sport and traditional side to the art. < JUKENDO > A japanese sport based on bayonet fighting. < KARATE DO > From the Ryukyu Islands and brought to japan by Gichin Funakoshi in the early 20th century. Most major karate schools take their kicks, punches and katas from this traditional way of fighting. < KATSUSATSU JUTSU > The art of studying vital points that can both kill and cure. < KENDO > The art of swordsmanship based on the Samarai tradition. Involves basic sword strikes, helmets and scores points for strikes to certain parts of the body. < KYUDO > The art of Japanese archery. < LATHI > The art of Indian ancients that uses sticks as weapons. < NAGINATA DO > A sport art that solely uses the Naginata. < OKIMAWA TE > The art of empty hand combat in Okinawa. < PA KUA > An internal chinese art attributed to Tung Hai Ch'uan that lived during the Ch'ing dynasty. It is also largely based on Taoism. < PENTJAK SILAT > A Hindu art influenced from Indonesia. < SUMO > Wrestling art of Japan that uses rather heavy men in an interesting spectator sport. < TAI CHI > A chinese "soft" art that comes from deep internal sources. It is also based heavily on Taoism, and is used for exercise in many parts of the world. < WING CHUN > A Chinese art that is from deep South China. It is largely attributed to Ng Mui from the Shaolin temple. ==========< RECOMMENDED BOOKS> ================================================= Ninjutsu History and Tradition Masaaki Hatsumi Ninja Secrets of the Grandmaster Masaaki Hatsumi Grandmaster's Book of Ninja Training Masaaki Hatsumi Taijutsu (Japanese only) Masaaki Hatsumi Bo (Japanese only) Masaaki Hatsumi Hanbo (Japanese only) Masaaki Hatsumi Gun and Knife Fighting Masaaki Hatsumi Stick Fighting Masaaki Hatsumi and Quintin Chambers The Way and The Power Frederick J. Lovret Ninja Volumes 1-4 Steven K. Hayes Ninjutsu Steven K. Hayes Ninja Realms of Power Steven K. Hayes Mystic Arts of the Ninja Steven K. Hayes Tulku, tale of a Modern Ninja Steven K. Hayes Bokken Dave Lowry Mind of the Ninja Kirtland Peterson Traditional Ninja Weapons Charles Daniel Taijutsu Charles Daniel Tantojutsu Jack Hoban I CHING Bollingen Series XIX Princeton University Press by Wilhelm/Baynes with Forward by Carl Jung The Magic Of Conflict Thomas F. Crum The Book of Five Rings Miyamoto Musashi The Art of War Sun Tzu Improvised Munitions Handbook Department of the Army TM 31-210 Technical Manual BUJIN A direct monthly magazine from Masaaki Hatsumi. Editorial Offices 78-365 Highway 111-Suite 361 La Quinta CA 92253-1981 KARATE-DO My Way of Life Gichin Funakoshi Heart of Karate-Do Shigeru Egami Aikido and the New Warrior Bob Aubrey The Lazy Man's Guide to Enlightenment Thadeus Goles "Faces of Death" A video