UNSPEAKABLE

 by Yang Shuangxing

My most senior student, Hiro Misawa, and I often discuss certain principles of the (internal) martial arts and we frequently come to the same conclusions.Many of the principles we discuss are not generally known or practiced by the martial arts community. Why this is true is due to several things:

• Many of the past masters of traditional martial arts were not well-educated people. In fact, some of them were barely literate. They couldn't explain why a certain principle worked; they knew that it just did. So, many of their students (who would become instructors themselves) had the same problem...they couldn't explain the “why” of something and some of them never really learned the principles in the first place (because their teacher didn't explain it fully).

• Almost all learning, from school classrooms to group training in a martial art, was done by rote (learning by watching and following along, over and over). In China today, it is still the same. Obviously, this is not an effective way to learn or teach. But it has been done for so long (since the time of Confucius) that it is pretty much carved in stone.

• The masters of the past knew very little, if anything at all, about physics. Or anatomy. So they couldn't explain what muscles and tissues were involved in a given movement, or why. Students were expected to try to “get the feel” of certain movements without knowing how the (internal) tissues were involved.

  

Many of them wrote down what they understood about various principles; some were put into the form of “songs”, but they're often mistranslated and subsequently misunderstood today.

• Then...instructors of various martial disciplines moved westward – to Europe and the U.S. And the problems were compounded; these hearty souls were trying to teach arts that were peculiar to their Asian cultures in a second language...English!

Not only that, but numerous concepts that were/are readily accepted in Asian cultures have no accurate English equivalent! To compound the problem, even instructors who spoke very good English (like mine) didn't have the verbal skills to accurately communicate certain principles and the “why” and “how” of them. This was and is usually because anatomical structures and how they work isn't usually a part of most English classes...

Another problem is that most of these principles have to be directly experienced before they can really be understood. They can't be taught on paper or even via videos. They require a “hands-on” approach taught by someone who can perform them skilfully (and there aren't many who can do that). Only by doing them correctly can one fully understand them. This would seem to be impossible, but it isn't. As my friend, the renowned master Hino Akira said with a big smile, “You cannot do it right until you do it right.”

THREE-STEP FIGHT IS WHAT??? Pt. II

 by Phillip Starr

As I mentioned in the previous article on this subject, it is critical that the Attacker have the actual intention of striking the Receiver forcefully. The “why” of this is important.

All attacks begin in the mind and brain. They go something like this:

*The aggressor decides that wants to strike and hurt you.

*Before the phjysical attack ensues, he must necessarily determine just how he wants to strike you (what technique to use, even if it's just a street punch).

*He must also decide where he plans to hit you...in the groin? In the jaw? Where? Is he going to grab you first? Exactly where will he grab you?

*Once all of these things have been determined, the brain must fire the signals to the various nerves and to the muscles that will be involved in the attack. It is here that the enemy is weakest.

*Once the signals reach the muscles, the physical attack ensues.

Now, we know that the brain sends out electrical signals/impules (hence, the EEG), Kind of like a radio. And any device that sends signals can also be converted so that it can detect signals from another device.

When your partner attacks with strong yi, you unconsciously learn to detect it – the signals that are sent to his nerved and muscles to initiate the physical attack. If he doesn't have the INTENTION of striking you forcefully, you won't pick up anything at all because there is no real attack.

In the final stage of training in Three-Step, you face your partner and when you “feel” the signals (we say “when his mind moves”), you must ATTACK HIM FIRST, unhesitatingly. You must have no regard for your personal safety and survival because if you do, a part of your yi and energy (qi) is held back, slowing your response. That can have disastrous consequences. You must attack at the instant you feel his mind move- but control your counter-attack so that it doesn't actually strike him.

Again, training for this is thoroughly outlined in my book, MARTIAL MANEUVERS.

Once you get the hang of Three-Step and have practiced it for some time, you begin by learning how to “break the opponent's timing” by hitting in a half-beat (between his attacks). This is the Broken Rhythm, which must be learned and mastered first.

Then you can move to learning to strike the opponent at the exact time his strike would have hit you (Mutual Rhythm). This necessarily requires that you either block and strike at the same time, or evade the attack and strike the opponent at the same time that he strikes at you.

When the Mutual Rhythm is mastered, you may begin training to learn the Preceding Rhythm, striking the opponent as he prepares to deliver his first attack - when his “mind moves” and he is just initiating the attack. In actual combat, the enemy is helpless at this point because in order to defend himself, he must:

*Negate the previsouly sent signals that are in use for delivering his attack, which is about to fail...

*Perceive you incoming blow and estimate its ETA (when it will strike him)...

*Determine where your counter-attack is directed.

*Determine what defensive techniques or maneuvers can be used against it.

*Then his brain must send out the required signals to the nerves and muscles involved...

And all of this takes much too long. He's in an “attack mode/” To change that over and go into a “defense mode” takes too long and he is struck! There's nothing he can do. He's helpless.

To master this will require patience, LOTS of practice, and TIME. You're not going to fully “get it” in a week or a month. Don't worry about how long it'll take. Just practice. A lot.

THREE-STEP FIGHT IS WHAT???

 by Phillip Starr

Three-step fight. I remember it all too well. When I was a fledgling karateka more than 60 years ago, my classmates and I engaged in this training routine very frequently. The Attacker steps forward and executes a pre-determined attack...he does this 3 times, in a nice, even rhythmical beat. The Receiver retreats a step and blocks the attack three times...and then he immediately fires out a pre-determined counter-attack. Very simple.

We were told that this routine would teach us how to apply the various blocking and striking techniques. And our instructor was determined to have us master this exercise, even though it was terribly, horribly boring. And we hated it. As the years passed, many new instructors tossed this seemingly pointless routine right out the window, fearing that their students would become so bored that they'd quit.

Many years later, I discovered that three-step fight actually develops a sense of correct DISTANCE! To those who thought it was pointless, it was actually quite difficult to do...by the third step, the Attacker would inevitably be stepping on the Receiver's toes! They hadn't practiced it enough to learn how to adjust their distance when receiving the attack – something that the older veterans had UNCONSCIOUSLY developed through hours and hours of repetition.

CORRECT distance isn't something you measure in feet and inches – it has to be FELT. And although this was never explained to us, we'd learned it by repeating this routine over and over. Visiting black belt instructors of various styles had great difficulty with this because they'd never practiced much (or at all). But there was more to it...

The years marched on and I was blessed with being able to train with Hidetaka Nishiyama sensei, who was truly one of the greatest karateka of all time. Even though I was practicing gong-fu by that time, I learned much from him.

Now, there are three basic “rhythms”:

*Broken Rhythm (in Japanese, go no sen): Striking the opponent after his attck. But it's not as simple as it sounds...you must execute your counter-attack BEFORE he can generate a second attack! You must learn to hit in a half or even a quarter, beat. I sometime make use of a metronome to teach students how to do this...strike between beats.

*Mutual Rhythm: Striking the opponent at the same instant that his attack (which you had evaded or parried) would have hit you.

*Preceding Rhythm: Learning to feel the opponent's yi (intention) and baet him to the draw; ashe just initiates his attack, you drtive forward and strike him first. This is, even today, regarded as a mystical skill that only a few masters possess, and it requires decades to develop it. Poppycock...

Nishiyama sensei showed me how Three-step is used as an exercise to teach students how to develop skill in all three types of rhythm! I discuss this in my book, MARTIAL MANEUVERS.

Soo this most-hated training routine is intended to teach distance, timing, and rhythm!!! One of the most critical (if not THE most critical element) in the routine is the proper use of YI (intention). The Attacker MUST actually have the intention of striking the Receiver and knocking him down! He needn't actually do so (he can control his attack), but he absolutely must have the intention of doing so.

The Receiver can, and will, learn to “pick up” the Attacker's intention. Thus, the attacks to which he responds are real, not lobbed in, sloppy techniques. More on this in the next article on the subject...

PRACTICING KATA, PRACTICING WITH KATA

 by Phillip Starr

When you perform a given form, are you practicing it or practicing WITH it? There's a bit of a difference and you should determined which way it will be before you set about the routine. The form should look pretty much the same, regardless of which way you are using it...but it's not necessarily the same animal at all.

To practice WITH kata is to practice with what you have learned from the form. This can include various applications, weight shifting, footwork, adjustments in posture, how and when to release power, and so on. While some movements in the form seem to be identical, they are not necessarily so. Although they may appear to be the same, they have differences; slight weight shifts, slight differences in the timing of power release, small differences in the timing of technique (that is, at what point, during a particular movement, do you execute the technique relative to a step, weight shift, etc.)...

And then there's rhythm. Each kata has its own rhythms (they often change throughout the form). Without correct rhythm(s), you're just doing a complecated form of jumping jacks, The rhythm, when done correctly, will change the way(s) in which you spply various movements in the kata; your kata will come to life and it posseses a soul of sorts.

Most people just slug their way through kata in a nice, even, 4-beat rhythm. Although we must learn kata at first through a 4-beat rhythm, such kata have no life, no soul. Bear in the mind that a 4-beat rhythm is largely a Western creation; Eastern music varies and uses a 2,4, or even an 8-beat rhythm. One need only listen to traditional Japanese music to understand this.

Practicing WITH kata is a different sort of animal than practicing kata. To practice WITH kata is to practice what you have learned from the form; various applications (which can be practiced in self-defense situations), weight shifting, footwork, adjustments in posture, how and when to release power, and so on.

This is how to work on and with your forms and how you can continue to learn for a lifetime.

BUT DO YOU REALLY KNOW IT?

 By Yang Shuangxing

Back in my competition days, I recall practitioners of one particular karate organization would never say anything like “Yes, I know that form”... so I asked a close friend of mine who hailed from that organization just why, when asked if they “knew” a particular form, they'd reply, “Yes, I work that form.” Rather than saying that they “knew” it. They'd say they “worked” it.

My friend explained it to me...”If someone says they “know” a certain form, they're inferring that they know all of it's applications (including those that are hidden and/or implied), its variations, rhythms...its whole soul. Only a great Master might know all of these things about one or maybe two forms...but an ordinary black brlt could not possibly achieve such levels of knowledge in only a few years (even 20 years would not be sufficient).”

That explanation made sense to me. So...instead of saying that they “knew” a certain form, they'd say that they “worked” it (meaning that they practiced it).

COMMUNISM AND CONTEMPORARY CHINESE MARTIAL ARTS

 BY Phillip Starr

Many of you may believe that the infamous CCP (Chinese Communist Party) has had very little impact on the martial arts of China. You'd be wrong. When the party took control of China in 1949, many traditional styles were still being taught and practiced. Initially, the CCP forbade the practice of martial arts of any mind, fearing that it could lead to revolt. But within a few years, the government relaxed its strangelhold on the martial disciplines and things seemed to be going back to normal.

In 1958, the Chinese government established an organization for martial arts training. The Chinese State Commission for Physical Culture and Sports led the creation of standardized forms for most of the major arts. During this period, a national wushu system that included standard forms, teaching curriculum, and instructor grading was established. Wushu was introduced at both the high school and university level. This new system sought to incorporate common elements from all styles and forms as well as the general ideas associated with Chinese martial arts. Stylistic concepts such as hard, soft, internal, and external, as well as classifications based on schools such as Shaolin, Taijiquan, Wudangquan, and others were all integrated into one system. Wushu became the government-sponsored standard for training in martial arts in China. The push for standardization continued leading to widespread adaptation.

Although the term wushu means, literally, “martial arts”, many traditionalists held it in disdain because it was developed solely for exhibition purposes and had/has no martial value. Moreover, elements of Beijing Opera and gymnastics were included and strongly emphasized. The people began referring to the older, traditional styles as “gongfu”, which they likely borrowed from the use of the term used in the West to refer to Chinese martial arts. “Wushu” was/is used to refer to the new, government-sponsored exhibition arts.

During the Cultural Revolution, which lasted from 1966 to 1976, the practice of traditional martial arts was strictly forbidden. The practice of wushu was, however, encouraged. In 1973, the Beijing Wushu Team toured various nations, including the U.S. Americans, enthralled by the incredible performances, embraced wushu and many began training in it. However, unlike their Chinese counter-parts who emphasized that wushu was developed solely for demonstrations, many Americans insisted that it had great martial value.

In 1979, China's State Commission for Physical Culture and Sports created a special task force for teaching and practice of Wushu. In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the research and administration of wushu activities in China.

Looking at how many traditional styles are practiced today, the influence of the CCP is often very evident. This can readily be seen in the internal styles of taijiquan, xingyiqun, and baguazhang. As the form begins, practicioners stand at Attention, with their shoulder pulled back and held squarely, chests arched out...very military-looking. It isn't at all how the traditional posture should be held.

As they perform, you can see that the chest is often arched a bit, and the spine is kept ramrod straight. Again, heavy military influence from the CCP. Also, some small, barely noticeable movements in the form have been inserted. This is all done to make the forms more eye-pleasing.

Nowadays, many traditionalists are wholly unaware if and how their forms have been altered due to the influence of the CCP. And incorrect postures and movements easily become habits, which can negatively impact their effectiveness.

ARE THE “DO” PECULIAR TO JAPAN?

 By Phillip Starr

In Japanese, the word do(道) means the way, the path. In Chinese, it is Tao (prounced dao). This character appears in many words and may already be familiar to you. Dojo, judo, shodo... So what do they have in common?

The do has its origins in Zen Buddhism, influenced by Taoism from China. Buddhist monks were not only engaged in their religious activities but also in diplomacy and creative arts, such as gardening, literature, painting. The concept of do will, with the expansion of Buddhism, become deeply rooted in Japanese culture. This influence affects even the military class, with the bushido 武士道, the way of the warrior.

The dô expresses the progress in the practice of an art, whatever it is. Indeed, this kanji is particularly used in traditional Japanese arts, whether martial arts or aesthetic arts. Thus, the kado 花道 is the way of flowers, that is to say, the floral arrangement also known as ikebana. The shodo 書道, the way of writing, corresponds to the art of calligraphy. The kyudo 弓道 is the way of the bow. And kendo 剣道, sword martial art, is the way of the sword. Some words refer to religious or philosophical doctrines, such as Shinto 神道, literally the way of the divine.

All these practices respond to similar requirements and give a primordial place to a particular way of life that necessarily promotes spirituality. They require discipline (self-discipline), quietude, introspection, obedience, and respect. From the mid-Edo period (1603-1868), the practice of dô was formalized. Whatever the art, we find the importance of silent meditation, the master-student relationship, or learning through repetition. The apprentice follows the form within the rules, then perfects it before becoming one with it and then surpassing it. It is about reaching mushin, the essence of the do. Mushin 無心, "without (conscious) thought", is that state in which action and thought become one, leading to acceptance of the world as it is. Thus, the do is not only an apprenticeship but also a transformation of oneself. It's a real journey.

In China, the concept of following a particular path of discipline so as to perfect oneself, is largely unknown. For instance, the Chinese rea ceremony, although formalized is, in the end, about drinking tea. Japan's chado (the way of tea) isn't...there are even short kata (forms) that must be thoroughly mastered...from the ritualistic cleaning of the stone pathway leading up to the teahouse to how to hold the teapot while pouring the liquid. The same is true for all of their do; even shodo, The way of brushing calligraphy), which involved preparing the ink with an inkstone... Writing characters with a brush is still taught in the school system of Japan. Not so in China, where students just use a pencil or pen.

Sun Lutang is the only gong-fu teacher (that I am aware of) who attempted to elevate gong-fu, particularly the internal styles of bagua, xingyi, and taiji...to the status of do forms.

In so far as the martial arts are concerned, most people can't tell the difference between a jutsu form or a do form. The original martial disciplines were jutsu; intended for self-defense and preservation of the clan. These included jujutsu, aikijutsu, kenjutsu (swordsmanship), kyujutsu (using the bow and arrow), karatejutsu, and so on.

Many people believe the word 'jutsu” (“shu” in Chinese, same character术) means “art.” This is especially the case with contemporary wushu (武术), which usually translated as “martial art(s).” That translation is incorrect; “jutsu” translates better as “technique.” There's a world of difference between the two. Jutsu forms are intended strictly for combat. That is their beginning and end. The do forms foster the development of discipline, self-perfection and spiritual awareness. However, they still retain their usefulness as combative disciplines.

Nowadays, some combative methods refer to themselves as do; they fail to understand what this suffix implies. Taekwondo was intended from the outset solely as a combative technique (jutsu). Now it has given birth to a sporting aspect as have other traditional Japanese do forms, such as judo and kendo (as well as karatedo).

So, to answer the question that is the name of this article, I must say that, in so far as martial arts are concerned...yes, I think Japan is the only culture that has fostered the development of do forms. It is in keeping with their culture as it (has) developed,especially since the era of the Tokugawa shogunate.