OFFENSE OR DEFENSE?

 By Phillip Starr

Let's face it; the vast majority of martial arts instructors have never been in an old-fashioned, no-holds-barred, knock down-drag out street fight or bar brawl. Although I can't and don't encourage anyone to deliberately seek out such a thing, it is well to listen to those who have been there – whether they're martial arts enthusiasts or not.

At the present time, street fights often happen unexpectedly and occur at close quarters. The attack is usually preceded by a grab of some kind or a push, and attack never consists of a single blow; punches are fired off in a flurry, with the head and face being the primary targets.

This is not to infer that we should discontinue basic 3 and 1 step fight routines. In fact, they're more important than ever but the reason(s) for practicing them absolutely must be understood. They are NOT intended to teach us how to fight; they're practiced to teach you how to apply various techniques. Actual fighting in self-defense is another matter.

The first thing to consider is mindset. Many, perhaps most, martial arts followers feel that they should adopt a kind of “defensive” mindset. I think this is a serious error. In Vietnam, the Marines found that the old way of responding to an ambush just didn't work – they'd either hunker down and return fire, and/or work to flank the enemy. The cost was just too high. The answer? Charge straight at the aggressors and cut them down! And it worked...with much fewer casualties than they'd have had otherwise. Self-defense works the same way; maintain an “offensive” mindset. Attack the attack.

Many streetfights begin at very close quarters and are often initiated with a grab or a push. Trying to apply classical -step routines to such situations is like trying to play chess using the rules of checkers (with your opponent actually playing chess). We have to adapt our classical routines to fit the new circumstances. This is what martial arts are about and how they have always been intended to work. However, the principles upon which the techniques don't change; they're what make the techniques work properly.

Karate and gong-fu are not arts that are made of static, fixed postures; actual fighting is dynamic and constantly changing and we must be able to adapt to any changes that occur. Otherwise, we're confining ourselves to functioning within the confines of a rather small box...we have to break out of the box!

NO SECRETS, NO SILVER BULLETS

 by Phillip Starr

If I just had a nickel for every poor soul who wasted time searching for a “martial arts silver bullet”; secret techniques or styles that could defeat all other forms...I'd be a very wealthy man. Although such fantasies don't exist and never have, there are plenty of hucksters out there who are more than willing to lay claim to possessing some “secret” knowledge and attract as many wannabe masters as possible so that they can separate them from their hard-earned money.

Certainly, there are principles that have long been forgotten or ignored and that's why I have written several books on them – so they won't be lost – but there are no “secrets”, per se. There are only basics that have been practiced and polished to an extremely fine degree.

Be very wary of anyone claiming to possess secret knowledge or skill with secret techniques or style of martial art. If they offer to teach you such things for a fee, you must run (do not walk) to the nearest exit! I have heard of “masters” (some who are quite well-known) who, for an extra fee, will happily teach students special forms or techniques that they allegedly learned as “closed door” disciples of their teachers (this is especially true of gong-fu stylists). Some of these “teachers” even offer to make you a special “closed door” disciple... if you can afford it.

Enter the world of internal Chinese styles and qigong... Let me begin by saying that simply standing in a particular position and waving your hands and arms around WILL NOT turn you into an invincible gong-fu master, help you learn to “master” the movement of your qi, or improve your health one whit. Learning from someone who promises such things will, however, assist you in losing weight (from your wallet). Qigong and learning how to emit qi (whether it is for healing or martial purposes) doesn't involve any kind of “magic” whatsoever.

NO MATTER WHAT STYLE OR ART

 by Yang Shuangxing

In a previous article, I stated that any given martial art is divided into two fundamental parts; development of the weapon(s), and the delivery system. Development of the weapons refers to learning the various techniques of your chosen art, acquiring a high level of skill with them (that is, learning how to use them), and making them strong. This is obviously a very important subject, but many martial arts devotees get stuck in it.

I call this the “stage of technique.” Sooo many martial arts practitioners, students and instructors alike, become so engrossed in learning new techniques that they forget about developing skill in the second fundamental aspect of their art...the delivery system. You may have a thunderbolt kick and a bone-crushing punch, but it's worthless if you're unable to strike the enemy with it.

It's essential to study and eventually master what I call the “Three Jewels” of combat; distance, timing, and rhythm. Those who don't do this are just using their martial discipline as a form of calisthenics because it is simply not usable.

I remember a young lady who competed in the Top Ten Tournament in St. Louis many years ago. The matches were such that whoever could score 3 points first would win the match...or whoever had the highest score at the end of 3 minutes. She was a well-seasoned competitor as was her worthy opponent. Relying solely on a textbook-perfect reverse punch, she scored 3 points within 90 seconds, and the match ended.

She had one fine weapon – a reverse punch – and her sense of distance was exceptional, enabling her to successfully deliver her weapon with razor-sharp timing. Every. time.

The problem with many of the schools of neijia (internal Chinese martial arts) as well as a great many other Chinese styles as well as some schools of taekwondo, and karate is that, although they assiduously practice and polish their forms and train with their applications, they completely lose sight of critical elements such as distance and timing. These are what make an effective fighter what he/she is. Without them, he/she is just dancing and waving his/her arms pointlessly.

These crucial elements and training routines for them are illustrated and discussed in my book, MARTIAL MANEUVERS. There's no magic to any given martial discipline; developing and tempering strong technique and strenuously practicing and refining one's sense of distance and timing are what's needed...

THE MOST DIFFICULT TIME TO PRACTICE

 by Phillip Starr

I am sometimes asked, “When is the most difficult time to practice?” The answer is actually pretty simple; it's when YOU DON'T WANT TO! And at such times, it's really pretty easy to come up with what seem to be really good excuses... You quickly convince yourself that your excuse is reasonable, and you forego practice for the day.

If you do it once, the second time is much easier. After that, the excuses just slide through. Some excuses I've hear were fairly creative; nobody is going to say, “I'm just too lazy today.” Mind you, I'm not saying that you can't take a day off now and then...just don't let it become a habit.

Of course, there will be times when your reason for not training is perfectly valid. We all experience times of ill health, injuries, and so on. But such times are not what I'm talking about in this short article.

There's a saying that states, “If you ignore your gong-fu for one day, your gong-fu will ignore you for two.” And another... “Martial arts is like making tea. You must keep heating it or it will get cold.” Sure, there are days for me – especially at my age now (71 at the time of this writing) when I just don't feel like practicing. But I get off my butt and do it anyway.

The only REAL discipline is self-discipline and practicing every day, even when you don't want to, is one of the main things that builds it. Training when you're enthused about it...anybody can do that. Only a person who is disciplined physically and mentally will do it when he/she is not so gung-ho about doing it....

MAKING IT INTERESTING

 by Phillip Starr

One of the concerns about teaching “traditional” martial arts that I’ve heard from numerous instructors is that it’s…boring (for the students). Understandable. But not an insurmountable problem.

One of the main problems most traditional instructors (and students) encounter is the arduous repetition of basic techniques and forms. Some teachers fear that boredom will cause students to drop out and low enrollment means loss of income. And they’re right. But having students play “games” regularly – although it provides some relief from the boredom – won’t really teach them a given martial art. So, what to do?

Alleviating the problem requires the teacher to do quite a bit of homework; something that, unfortunately, many aren’t willing to do. The instructor should make the training more interesting for the students. This isn’t to say that it makes training and sweating more “fun”, but it does help alleviate the boredom. For a given form or technique, the teacher can:

• Give the students historical points on it…where it originated, why it’s performed the way it is, who developed it (if known), changes made to it over the years, and so on.

• Special information on it (how it can be applied in other ways). Of course, this depends on the student’s level of skill.

• Give interesting examples of how he/she or others have applied it…

  

The idea is to make the training INTERESTING as well as educational. This helps hold the student’s attention and perhaps promote some enthusiasm for the training.

MAKE IT YOUR OWN!

 By Yang Shuangxing

Two high-ranking practitioners of a particular style (and they can even come from the same school) perform a series of basic techniques and/or a given form. You'll notice some small differences in their performances. Nothing major or even easily observable, but they're there. So, is one of them correct and the other is wrong? Have you just seen one of them make a small mistake?

Not necessarily.

They have learned to adapt their techniques to their own unique body styles. This isn't something that's achieved quickly; it requires many, many repetitions over a long period of time. They must adhere to the underlying principles upon which the techniques (and forms) are based. But because their bodies are different, their techniques look a bit different.

Beginning students tend to look pretty much alike. They are doing their best to to imitate the instructor, and that's as it should be. Even lower grade senior students (1^st and even 2^nd grade black belts) tend to do this. By the time they reach the level of 3^rd grade – and definitely by 4^th grade – they have adapted their techniques to their own unique body styles.

As the years pass and their bodies undergo the changes associated with age, they will unconsciously make the necessary adjustments yet again. However, they will always (and I mean ALWAYS) adhere to the proper principles of movement and technique. They don't expend energy unnecessarily, using only what is required for a given movement. It takes some considerable time to learn this.

Psychological changes (including reachinge certain levels of maturity) will also affect their physical performances.

These changes usually occur unconsciously over time. If you continue to strive for perfection, it will happen to you and you'll eventually make the art your own; a part of your “self.” If you TRY to do it, you'll probably foul it up and begin to cut corners and “cheat” when you perform certain techniques or forms. That's not it. The changes will come about of their own accord, without conscious effort. Your instructor will notice it. He's been there.

IMITATION IS THE SINCEREST FORM OF FLATTERY, BUT...

 by Phillip Starr

In the learning of a given martial art, we do so largely by imitation; we imitate our seniors, and often do our best to imitate the teacher. But, a word of warning here…there is an expression in Chinese, “Lao Tou Quan”, which translates as “old man’s form.” If the teacher is past the age of becoming a “senior citizen” (65 yrs. old or more), one must be careful; bear in mind that the older teacher doesn’t have the bone and muscle strength, and speed that he/she once possessed. Some movements may be a little off, too.

This isn’t to say that his martial skills have necessarily deteriorated. If he/she is wise, the teacher has learned to compensate for these deficiencies in various ways. Moreover, teachers of high skill will execute various movements with very slight, subtle “tweaks” that most students will hardly notice, if they notice them at all.

Students may, if they’re trying hard to perfectly imitate the older teacher, end up looking like a much older practitioner! And if they try to add any tweaks that they saw (or thought they saw), they get really fouled up. Remember that the older instructor has had decades to adapt the art to suit his body. And you don’t have his body; you don’t have to compensate for various “old age” issues and your body is STILL learning to adapt to your art. To truly “make it your own” takes decades of diligent, regular practice!