Weapons of Control: Philosophy Mediev China
Total Page：16
File Type：pdf, Size：1020Kb
WORLD'S LEADING MAGAZINE OF SELF-DEFENSE USPS 985-820 WEAPONS OF CONTROL: NUNCHAKU AND NIGHTSTICK PHILOSOPHY MEDIEV CHINA ' £ BIACK BELMAY 1982, VOL. 20, TNO. 5 Michael James, Publisher CIRCULATION Geri Simon, Assistant Publisher Joan LaMarr BLACK BELT STAFF James Nail, Executive Editor Aibar Genesta, Art Director James Coleman, Assistant Editor Jack Vaughn, Copy Editor CONTRIBUTORS Kurt Seemann, Editorial Assistant Joe Coelho Jan Wllhelm, Typography George Goldsmith Marcia Mack, Photographer Gary Goldstein Gregory Lee ADVERTISING Stephen Shucart Barbara Lessard Michael Wong CONTENTS FEATURES 20 WEAPONS OF CONTROL: THE NIGHTSTICK AND NUNCHAKU-The nunchaku, often depicted only as a weapon ot speed and power, also provides a great deal ot versatility In selt-detense. Like ttie nigtitstick, it can be a killer or a weapon ot control. 30 UCHIDESHI: TOTAL LEARNING FOR THE DEDICATED FEW-ln traditional Japan, the student often served his Instructor hand and toot, living at the dojo while learning his art. The practice, known as uchideshi, continues In a modified form today, still ottering the timeless benefits ot total learning, 36 THE FOUNDATION OF ARNIS—Practice In arnis can Improve the hand-eye coordination ot any martial artist: but most ot all, these simple training exercises can communicate the subtle Idea ot "flow." 1 42 BUDDHISM AND THE MARTIAL ARTS IN MEDIEVAL CHINA- 'Sudden enlightenment," a crucial aspect ot both Chan and Zen Buddhism, linked the physical and spiritual sides ot ancient Chinese monastic lite. 46 KNIVES: KEEPING THE DISTANCE—The proficient martial artist should have at least some SEE PAGE 20 knowledge ot disarming. Training with real weapons could be the best way to learn, 52 WING CHUN TRADITION—A style ot kung tu long characterized by Its tiny, semi-private classes, wing Chun remains among the most fascinating ot Chinese arts. 56 MIND/BODY WEIGHT TRAINING—Should the martial artist work out with weights? According to one ot the nation's premier breaking champions, the answer Is yes—/t done properly, 62 TOM LaPUPPET: VIEWS OF A CHAMPION-A top tournament competitor and Hall-ot-Famer ot the 1960s presents controversial views on the development ot American sport karate, 70 JUJITSU AND THE "OOPS, NOW WHAT?" SYNDROME—Every martial art has Its weakness, SEE PAGE 36 and complacency Is the worst ot all. But by training In a realistic manner—and by learning to combine techniques—the jujitsuka can make a solid bid tor security against any attack. DEPARTMENTS LETTERS TO THE EDITOR INSTRUCTORS' FORUM BLACK BELT TIMES LIBRARY OF BACK ISSUES Kl CALENDAR OF RATED EVENTS DOJO DIRECTORY SEE PAGE 70 ABOUT THE COVER: Weapons expert and BLACK BELT magazine—ISSN 0277-3066—is published monthly plus yearbook by Rainbow Publications, Inc. Editorial, advertising former world heavyweight fuii-contact and circulation offices at 1813 Victory Place, Burbank, CA 91504, Second-class postage paid Burbank, CA, and additional post offices. champion Joe Hess demonstrates ttie ease Telephone: (213) 843-4444 or 849-2181. Consultants: Uyehara Management Inc.. 1314 S. King Street, Suite 863, Honolulu. Hi 96814. with whicti a powerful karateka can defend Subscription rates in the United States are one year (12 issues plus yearbook). $21.00; two years, $42.00. (Foreign countries add $2.50 against two attackers. per year for postage.) The publisher and editors will not be responsible tor unsolicited material. Manuscripts and photographs must be accompanied by a stamped, self-addressed envelope. Printed in the United States by World Color Press, Inc., St. Louis. Copyright cr 1982 by Rainbow Publications, Inc. All rights reserved. Reproduction without permission is strictly prohibited. Learning "the flow," very, very aikido-like. through training in the "The best way I can describe the flow is as a beginning cornerstone, sinawaiis and the 12 but with a very high-level end result," striking angles of modern Anderson adds. "You use it to start amis FOUNDATION off with, and when you really develop it, you can go by feel, go by flow." One of the unique characteristics One martial artist defines it as tfie that sets amis apart from other mar• concept of fiarmony into the next OF ^ tial arts is the fact it was developed motion, the smooth transition from to fit a person's natural movement, one move to the next. Another ex• rather than reprograming a person's plains it as a continuation of action. natural movement to fit the art. in ar- To the "Professor," Rpmy Amador nis, a trained practitioner's move• by Jim Coleman Presas, it is simply "the flow," the ment is ail so natural, so fluid, he foundation of the Filipino martial art never has to stop and think about of amis. And while the flow is akin to what to do in any given situation, it the concept of ki, there is nothing just flows together in a series of mysterious or mystical about the block-and-slash techniques. way the Professor, "the father of Although amis is best known for modern amis," explains it. Through a its characteristic ratan sticks and series of very relaxed, easy exercises native broadswords, it is a complete illustrating the 12 basic angles of at• fighting system featuring both weap• tack and the sinawaiis (both single- ons and empty-hand combat. With or and double-stick patterns), Presas' without weapons, the training prin• students develop a feel, an under• ciples of amis are the same. A standing of what the "flow" is, instead weapon simply becomes an exten• of getting swallowed up in a puzzling sion of the hand, moving in the same sea of semantics. Once they have circular motions as if the fighter grasped the idea of the flow, grasp• were unarmed. ing the other principles of amis is "After he (Presas) shows you the simple. basics, you end up discovering "Most karate usually deals with a things," notes another Presas pro• stopping action of one sort or an• tege, San Francisco-area competitor/ other," says Dan Anderson, an Ore- Instructor Rick Alemany. "He'ii show gonian martial arts instructor and you a basic stick drill. Then he'll tournament champion who has train• show you the hand drill. You work ed under the Professor. "Let's say them so much, you start to see somebody throws a straight punch at things; 'Hey, wait a minute. I can your head and they're really commit• make this a takedown very easily.' it ting themself. You can defend with ail comes out of that idea of the either a high, rising block or an in• flow." side or outside forearm block, but To learn the flow Is to learn the 12 basically, even though those are basic angles of attack (see illustra• deflecting actions, you have a stop• tion) common to all fighting styles, ping action of a sort because you're not just afnis. They are: the left tem• not doing anything with your oppo• ple area (labeled strike number one nent's body momentum coming at by Presas); the right temple (strike you. And basically, what the flow is, number two); left shoulder (number is being able to continue the oppo• three); right shoulder (number four); nent's actions, and at the same time, 12 Basic Angles of Attack stomach (number five); left chest use them to your best advantage, it's (number six); right chest (number 5 • Tfie single-stick sinawaii strikes twice with the same stick before repeating the pattern on the opposite side. Partners strike first with the right hand to the left temple, keeping the other stick back (1&2). Then the right hand swings around the outside, striking to the right knee (3), as the left hand is drawn back to strike and repeat the motion in a fluid continuation (4&5). 36 37 The same pattern of movement used in the single stick sinawali can be employed in empty-hand defense. As the attacker strikes to the right temple, the defender parries with the same movement (1&2), then swings the right hand around the outside as if striking to the attacker's knee (3). He twists the wrist (close-up) and continues the motion for a takedown (4&5). seven); right knee (number eight); left multaneously. They are one in the The double-stick sinawali is much more the K' •.itiklng points. This is the of- own styles and training. The reasons hand-to-eye coordination and reflex knee (number nine); left eye (number same. complex, but maintains the same rapid in regards to a weapon," states Port• fluidity of motion. Partners strike to the fiMii.ivi' inovo—you're striking.' Then are simple: amis has a lot to offer. It ten); right eye (number 11); and the top Armed with sticks, students can hi' '..iV'. 'OK, now you know the de- fills in gaps left by other arts, and is land, Oregon, instructor Fred King. of the head, or crown (number 12). right temple, the left hand drawn back "In most arts, you don't spend a pair off for "give-and-take" sessions under the arm (1). The left hand strikes fen;.r yiMi 'me, the offense be- easily adaptable to most styles as a Through Presas' unique teaching in which they practice the 12 striking as the right hand is drawn back (2). conii':. ilii; .li 'ii'M;;e. You've killed two part of training. whole lot of time working with clubs methods, in which he has stripped angles and patterns. As one student And the right hand strikes again birds Willi mil' iilone. "Mostly, it's given me a really and knives. But with amis, you're away the fat and left only the basic immediately as the left comes back (3) constantly dealing with a weapon.