Weapons of Control: Philosophy Mediev China

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. starts to strike to the left temple to begin the pattern again on the "Piillinil licks in people's hands high-level confront on weapons," principles of amis, students, even (area number one), his opponent opposite side (4-6). is a lillli' ;;cary for them because relates Anderson. "In my karate You constantly have sticks and those without any martial arts back• blocks the blow with the same they ilii'so sticks coming at training I never trained against any knives coming at you. It really builds ground, can pick up the 12 striking number one movement. As the fir^t them, ' .Kill . Aiomany. "But they get weapons. If somebody had a club or up your confront—you get used to points and the concept of flow in a student brings his stick all the way used 111 ilii' clicks coming at them knife in their hand, it would be like having a guy come at you with a club. matter of minutes. After only one back to the left and commences to The movements practiced in double- after nwhili' I hen you take the sticks 'Oh boy, what do I do?' Now, I'm Then when a guy comes at you with a training session a student can walk strike the right temple (number two), stick sinawali lend themselves well to a out and do hand techniques, and more confident and would be able to fist, it's like, 'Is that all you've got away with a tangible piece of self- his opponent blocks it with a number block, hand-check, strike pattern of handle it. The flow has done nothing with you?" empty-hand defense. The defender they i|ii iii.d's just an arm coming defense, something immediately ap• two move. And on it goes until both at mn ih.ii easy to block.' It's like but help—with joint-locking tech• Alemany has discovered similar plicable on the streets, a feat few students have worked through all 12 blocks with his right hand, his left already back in an appropriate place haviiKi .1 mncti harder practice than niques, unbalancing maneuvers, and virtues. "It definitely helps your com• martial arts can boast of. angles. (1&2) for the hand-check (3). Then, the the (i.imi''. ever qoing to be." my close-quarters work. That's where binations, your hand speed. You get In traditional karate, you learn to "It's simple and easy to learn, and strike comes in with the right hand, It's Improved my own application. It's the feeling you can block anything just as it would with a stick in the Aiih ill ami;, is a complete mar• strike and block separately. They are there are so many interpretations for sinawali pattern (4). The defender is tial ail 111 ii'.i ll, countless karateka really augmenting my basic karate after wielding those sticks," he two different entities. In amis, of• one particular move," states Ale- then perfectly situated to take his such a;, Alninany and Dan Anderson skills." states. "Also, a lot of karate training fense and defense can be learned si- many. "Remy will say, 'OK, these are opponent to the ground (5&6). are now Incorporating it into their "I think amis gives you incredible Continued on page 84

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38 39 them to hit." Much of the credit for amis' rapid rise in popularity among karateka ARMS goes to Presas, who was sent to the Continued from page 39 U.S. by the Philippine government in 1975 to promote the sport. "It wasn't is done from tfie outside—some• easy to get accepted at first," recalls body's fighting and then he takes a the Professor. "Amis was different, step in and he punches at you. In ar- and there were only a few people nis, you get used to working right teaching it here. Now the acceptance next to the person—he's throwing of amis in the United States has be• punches and you're doing these come wjid. Everybody is moving to blocks with your hands. It's very amis, and there is a potential for big valuable because if somebody things to come." comes from the outside and throws Presas' amazingly effective teach• something at you, it seems like it's ing methods make amis simple to never going to get there. And you understand and his students can don't fear it because it's not inside generally pick up the basic principles your space yet." right away. Alemany is also quick to point out "It's extremely easy to pick up," that amis can be an exceptionally notes Anderson. "The Professor, appealing—and valuable—martial kind of like Bruce Lee, has bucked art for women. "Women have been tradition in that he isn't teaching it taught that they're not supposed to the way he was taught. He's stripped be striking—nice girls don't hit. It's the stylisms away from the method inbred in them," he notes. "Amis and is just working with principles. gives them a way to get used to hit• Since 1975 or so, he's had to deal ting something, it's therapy, so to with Americans, and of course Amer• speak. Before you know it—Bam! icans are the most impatient people Bam! Bam!—they're coming out and in the world. So what he's done is getting a little bit more aggressive. It adapt the teaching methods so that kind of brings out that it's OK for somebody can pick it up right now. "He works more by directional force tfian by this technique or that technique," Anderson adds. "Like the way he's got his strikes num• bered, just one through 12; ali they are are just methods of direction which the stick can come at you from. It's a lot more simplistic, but it also covers more. It doesn't matter if I'm coming at you with a circular swing with my right hand with a knife, club, fist, or whatever; it's stili a number one strike." "He (Presas) keeps real simple principles," explains King. "They're very usable, very workable right away. He doesn't get too much into stance, he doesn't get too much into having to worry about punching— you're dealing primarily with block• ing and striking with the stick. In a short period of time a person, on a mechanical level, can learn an in• credible amount of information. "As far as group teaching is con• cerned, he's the finest instructor I've ever seen, and I've seen a lot," states King. Such praise doesn't come as a surprise, considering that Presas, aged 45, has been a student of the Filipino martial arts for more than 20 years and used to teach at Manila's National College of Physical Educa• tion. He obviously knows his stuff when it comes to amis. "You can learn to defend yourself in five minutes with this kind of style," states Presas. "First you learn the stick. The stick is longer, which makes it easier to convert to empty-hand. You already have the flow by the time you switch to empty-hand, and that is the key— with or without weapons. "Disarms, which you learn later, are also related to the flow. Every• thing comes back to the flow." )*i