Martial Arts
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GRACIE COMBATIVES® August 2019
® GRACIE COMBATIVES The Best of Gracie Jiu-Jitsu Gracie Combatives August 2019 23 36 Essential Techniques Classes Monday Tuesday Wednesday Thursday Friday Saturday Trap and Roll Escape – Mount 1 Leg Hook Takedown Aug 1 2 3 Americana Armlock – Mount 2 Clinch (Aggressive Opponent) 7:15 -8:15pm 5:30 – 6:30pm 10-11am Positional Control – Mount Class #2 Class #3 Class #4 3 Body Fold Takedown Take the Back + R.N.C. – Mount 4 Clinch (Conservative Opponent) Punch Block Series (1-4) – Guard 5 5 6 7 8 9 10 Guillotine Choke (Standing) Straight Armlock – Mount 5:30 – 6:30pm 5:30 – 6:30pm 5:30 – 7:30pm 6:30 – 7:30pm 5 – 6pm 10-11am 6 Guillotine Defense Class #5 Class #6 Open Mat Class #7 Class #8 Class #8 Triangle Choke – Guard 7 Haymaker Punch Defense Elevator Sweep – Guard 8 Rear Takedown 12 13 14 15 16 17 Elbow Escape – Mount 9 Pull Guard 5 – 6pm 6:30 – 7:30pm 5:30 – 7:30pm CLOSED 5 – 6pm 10-11am Positional Control – Side Mount Class #9 Class #10 Open Mat Class #11 Class #12 10 Double Leg Takedown (Aggressive) Headlock Counters – Mount 11 Standing Headlock Defense Headlock Escape 1 – Side Mount 19 20 21 22 23 24 12 Standing Armlock 5 – 6pm 6:30 – 7:30pm 5:30 – 7:30pm 6:30 – 7:30pm CLOSED 10-11am Straight Armlock – Guard 13 Clinch (Aggressive Opponent) Class #13 Class #14 Open Mat Class #15 Class #16 Double Ankle Sweep – Guard 14 Guillotine Choke (Guard Pull) Headlock Escape 2 – Side Mount 26 27 28 29 30 31 15 Clinch (Conservative Opponent) 5 – 6pm 6:30 – 7:30pm 5:30 – 7:30pm 6:30 – 7:30pm 5 – 6pm 10-11am Shrimp Escape – Side Mount 16 Body Fold Takedown Class #17 Class #18 Open Mat Class #19 Class #20 Class #21 Kimura Armlock – Guard 17 ® Leg Hook Takedown Gracie Combatives Punch Block Series (5) – Guard Although there are over 600 techniques in Gracie Jiu-Jitsu studies of real fights have shown that 36 techniques have been 18 Haymaker Punch Defense used more often and with greater success than all the other techniques combined. -
Tai Chi Sword DR
TAI CHI CHUAN / MARTIAL ARTS B2856 BESTSELLING AUTHOR OF BOOKS AND VIDEOS ON TAI CHI, MARTIAL ARTS, AND QIGONG Tai Chi Sword Chi Sword Tai DR. YANG, JWING-MING REACH FOR THE HIGHEST LEVEL OF TAI CHI PRACTICE You can achieve the highest level of tai chi practice by including tai chi sword in your training regimen. Here’s your chance to take the next step in your tai chi journey Once you have attained proficiency in the bare-hand form, and have gained listening and sensing skills from pushing hands, you are ready for tai chi sword. Tai Chi Sword The elegant and effective techniques of traditional tai chi sword CLASSICAL YANG STYLE Tai chi sword will help you control your qi, refine your tai chi skills, and master yourself. You will strengthen and relax your body, calm and focus your mind, THE COMPLETE FORM, QIGONG, AND APPLICATIONS improve your balance, and develop proper tai chi breathing. This book provides a solid and practical approach to learning tai chi sword Style Classical Yang One of the people who have “made the accurately and quickly. Includes over 500 photographs with motion arrows! greatest impact on martial arts in the • Historical overview of tai chi sword past 100 years.” • Fundamentals including hand forms and footwork —Inside Kung Fu • Generating power with the sword 傳 Magazine • 12 tai chi sword breathing exercises • 30 key tai chi sword techniques with applications • 12 fundamental tai chi sword solo drills 統 • Complete 54-movement Yang Tai Chi Sword sequence • 48 martial applications from the tai chi sword sequence DR. -
Tenzan Aikido Test Requirements
Tenzan Aikido Test Requirements 7th Kyu (25 hours) Katate dori (ai-hanmi) Ikkyo*- hand to elbow, Wrist grab right-to-right/left-to-left Iriminage 2 - hold collar Katate dori (gyaku hanmi) Irimi and Tenkan with partner, Wrist grab right-to-left Ikkyo*, Kotegaeshi, Shihonage*, Kokynage (forward ukemi) Kokyudosa 6th Kyu (30 hours) Tsuki (punch) Kotegaeshi, Iriminage (Var. 1) Katate dori (ai-hanmi) Sankyo* Pin 3 no hand change, Jujinage Shomenuchi Ikkyo*, Iriminage (Var. 2) Self-defense technique against boxers attack Iriminage – use fade Morote dori (right-to-left stance) Kokyuho *omote and ura Your Family Martial Arts Center 7700 Aurora Ave. N. Seattle, WA 98103 tel: 206-525-4032 fax: 206-525-4838 www.TenzanAikido.com Tenzan Aikido Test Requirements 5th Kyu (50 hours) Katate dori (ai hanmi) Kotegaeshi, Nikyo (scooping method), Shihonage, Sankyo* (pin # 3) direct method Katate dori (gyaku hanmi) Iriminage, Nikyo (ura only), Jujinage Shomenuchi Kotegaeshi Tsuki Nikyo (ura only) Morote dori (right-left stance) Kokyunage (into a forward roll) Ryote dori Tenchinage (heaven and earth throw) Self-defense: Uke in sparring stance Irimi w/palm to double leg takedown Your Family Martial Arts Center 7700 Aurora Ave. N. Seattle, WA 98103 206-525-4032 www.TenzanAikido.com Tenzan Aikido Test Requirements 4 Kyu (50 hours) Katate dori (gyaku hanmi) Kaitenage** grab wrist & neck, Kokyu nage (spirals, 2 variations) Shomenuchi Nikyo*, Shihonage (omote only), Kaitenage, Suwariwaza Ikkyo*, Nikyo*, Iiriminage 2 Yokomenuchi Shihonage*, Nikyo*, Kotegaeshi, Iriminage 2 Tsuki Kaitenage, Shihonage*, Hijishime ( elbow bar ) Self-defense Standing headlock Sankyo Weapons Boken: Uchikomi, kirikaeshi and Kiriotoshi with partner Jo: Kesa uchi aginst kesa uchi (no step + one step var) Tsuki/makiotoshi continuous partner practice *omote and ura, **soto and uchi, ***kinonagare Your Family Martial Arts Center 7700 Aurora Ave. -
Ization PAID 16 I
Centralight Non-Profi t Organization U.S. POSTAGE PAID Carlin Alumni House PERMIT NO. 16 Central Michigan University Midland, MI Mount Pleasant, MI 48859 CHANGE SERVICE REQUESTED Executive Editor and Director of Alumni Relations Mary Lu Fleming, ’90 MSA ’92 Editor Barbara Sutherland Chovanec Photographers Robert Barclay Peggy Brisbane VOLUME 72 • NUMBER 3 • FALL 2002 Writers Patricia Housley, ’87 Janell Johnson, ’84 Dan Mazei, ’03 Nikita Murray On the cover Mike Silverthorn, ’79 Fred Stabley Jr. Ray Lawson, ’40, has taught for more than fi ve decades at Rochester High School, and Nicole Graphic Designers O’Karma, ’01, was Michigan’s 2001-2002 Amy Gouin Stacy Simmer Outstanding Student Teacher of the Year. Read their stories on pages 4 and 12. Alumni Board Communications Committee PHOTOS BY ROBERT BARCLAY Daniel Bodene, ’78 Thomas Olver, ’98 Michael Perry, ’84 4 Shirley Posk, ’60 Paknatchanit “Ling” Sirikururat, ’96 Judy Smith, ’65 16 Printer The McKay Press, Midland Features For Advertising Information call Cindy Jacobs, ’93 (800) 358-6903 3 Alumni profi les 9 Learning to teach Vice President of Development and Alumni Relations 16 Alumni support Special Olympics Michael Leto Homecoming 2002 Senior Offi cer 17 for Public Relations and Marketing Departments Rich Morrison 2 Commentary Alumni association president Stay Connected Thomas Lapka Send change of address information to: Alumni relations executive director Mary Lu Fleming Alumni relations Carlin Alumni House 22 Digest Central Michigan University Mount Pleasant, MI 48859 24 Athletics Phone: (800) 358-6903 Fax: (989) 774-7159 26 Discovery E-mail: [email protected] 35 Philanthropy Web: www.cmich.edu/alumni-friends.htm 17 Maroon and gold Centalight is published three times each year by Central 50 Michigan University Offi ce of Development and Alumni Relations and is produced by the Offi ce of Public Alumni in action Relations and Marketing. -
Buddhist Pilgrimage
Published for free distribution Buddhist Pilgrimage ew Edition 2009 Chan Khoon San ii Sabbadanam dhammadanam jinati. The Gift of Dhamma excels all gifts. The printing of this book for free distribution is sponsored by the generous donations of Dhamma friends and supporters, whose names appear in the donation list at the end of this book. ISB: 983-40876-0-8 © Copyright 2001 Chan Khoon San First Printing, 2002 – 2000 copies Second Printing 2005 – 2000 copies New Edition 2009 − 7200 copies All commercial rights reserved. Any reproduction in whole or part, in any form, for sale, profit or material gain is strictly prohibited. However, permission to print this book, in its entirety , for free distribution as a gift of Dhamma , is allowed after prior notification to the author. ew Cover Design Inset photo shows the famous Reclining Buddha image at Kusinara. Its unique facial expression evokes the bliss of peace ( santisukha ) of the final liberation as the Buddha passes into Mahaparinibbana. Set in the background is the Great Stupa of Sanchi located near Bhopal, an important Buddhist shrine where relics of the Chief Disciples and the Arahants of the Third Buddhist Council were discovered. Printed in Kuala Lumpur, Malaysia by: Majujaya Indah Sdn. Bhd., 68, Jalan 14E, Ampang New Village, 68000 Selangor Darul Ehsan, Malaysia. Tel: 03-42916001, 42916002, Fax: 03-42922053 iii DEDICATIO This book is dedicated to the spiritual advisors who accompanied the pilgrimage groups to India from 1991 to 2008. Their guidance and patience, in helping to create a better understanding and appreciation of the significance of the pilgrimage in Buddhism, have made those journeys of faith more meaningful and beneficial to all the pilgrims concerned. -
Basic Wrestling Moves
Basic Wrestling Moves Below are some basic wrestling moves, each with a brief explanation. Clink on the link to see examples of the moves. (click on the back button to get back to this page) Takedown Naturally, you can't pin your opponent until you have him on the mat. To do this you take him down. This photo montage shows a variety of takedown techniques which should all succeed in slapping him down on the mat for you. Breakdown Okay, so you've got your opponent down to the mat but you still have to break him down further to go for that all- important pin. Here are some good ideas to get you started. Crotch Lift Fine, so he's down on the mat - FACE down. That's no good. You need to get him onto his back for a pin and that's where this baby comes in useful. Gut Wrench Another great way to get him off his face and onto his back in readiness for the all-important pin. Pin You press your opponent's shoulders against the mat and keep them there until the referee blows his whistle - a sound which is music to your ears ...and a scratched chalkboard for him. Bridge One great way to counter your opponent's efforts for a pin is to bridge your body by arching your back away from the mat. Here are some strong bridges captured in full execution. Headlock You wrap your arm around your opponent's neck and lock your hands together, ensuring his arm is also gathered into the hold to prevent accidental choking. -
Rule Book & Guide to Grappling
Rule Book & Guide to Grappling 2008 Edition FEATURING: Official Rules of FILA USA Modifications Grappling Glossary TABLE OF CONTENTS SECTION ONE – GENERAL RULES...............................................................................................................2 SECTION TWO – COMPETITION SYSTEM.................................................................................................3 SECTION THREE – MATERIAL STRUCTURE............................................................................................4 SECTION FOUR – REFEREEING BODY.......................................................................................................6 SECTION FIVE – THE MATCH.......................................................................................................................9 SECTION SIX – TECHNICAL INFRACTIONS..............................................................................................12 SECTION SEVEN – GLOSSARY......................................................................................................................14 SECTION ONE – GENERAL RULES Philosophy Grappling is a hybrid sport formed of wrestling and jujitsu whose art consists in forcing the opponent to admit he/she cannot escape the maneuver without harm. USA Wrestling feels that it is honorable for an athlete to accept his/her own defeat. However, the grapplers must be properly informed of the correct actions and reactions to adopt in the various submission situations. In accordance with the general philosophy of sport, the -
Martial Arts from Wikipedia, the Free Encyclopedia for Other Uses, See Martial Arts (Disambiguation)
Martial arts From Wikipedia, the free encyclopedia For other uses, see Martial arts (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011) Martial arts are extensive systems of codified practices and traditions of combat, practiced for a variety of reasons, including self-defense, competition, physical health and fitness, as well as mental and spiritual development. The term martial art has become heavily associated with the fighting arts of eastern Asia, but was originally used in regard to the combat systems of Europe as early as the 1550s. An English fencing manual of 1639 used the term in reference specifically to the "Science and Art" of swordplay. The term is ultimately derived from Latin, martial arts being the "Arts of Mars," the Roman god of war.[1] Some martial arts are considered 'traditional' and tied to an ethnic, cultural or religious background, while others are modern systems developed either by a founder or an association. Contents [hide] • 1 Variation and scope ○ 1.1 By technical focus ○ 1.2 By application or intent • 2 History ○ 2.1 Historical martial arts ○ 2.2 Folk styles ○ 2.3 Modern history • 3 Testing and competition ○ 3.1 Light- and medium-contact ○ 3.2 Full-contact ○ 3.3 Martial Sport • 4 Health and fitness benefits • 5 Self-defense, military and law enforcement applications • 6 Martial arts industry • 7 See also ○ 7.1 Equipment • 8 References • 9 External links [edit] Variation and scope Martial arts may be categorized along a variety of criteria, including: • Traditional or historical arts and contemporary styles of folk wrestling vs. -
Beginning Wrestling: Table of Contents
The New Coach or Instructor’s Wrestling Handbook - by Ryan O’Shaughnessy, Tom Baines School 777-7190 (2039) - for HPEC, October 2003 - used for new coaches clinic, October 2001, 2002 - used for AAWA Coach’s Superweekend 2000 - original written for HPEC 1996 Beginning Wrestling: Table of Contents: I. Suggestions to Share for the Start of the Unit / Season II. Female Wrestling III. Winning / Timing /Scoring IV. Warm-Ups V. Stretching VI. Games VII. Drills and Competitions VIII. Six Sample Lessons IX. Assessment X. A Sample Wrestling Season Plan XI. Quad Meet Organization XII. Divisionals Organization XIII. CJHSAA Rule Modifications XIV. Ring Worm XV. Web Sites, Suppliers, Contacts 1 I. Suggestions to Share for the Start of the Unit / Season: 1. Wrestlers should practice in shorts and t-shirt. T-shirt should be tightly tucked in to avoid finger injuries. Shoes must be worn to avoid toe injuries. 2. Mats should be mopped with special cleansers on a daily basis. This will keep down the likelihood of ringworm. 3. Ensure wrestlers know it is a contact sport and accidents can happen. If someone gets hurt it was not something that was done on purpose so there is no need for retaliation. 4. If at any time a wrestler yells “Stop” wrestling should cease. This must Only be used when a wrestler feels he may possibly be hurt. 5. No jewellery can be worn (glasses, rings, ear rings, necklaces). If an ear ring can’t be taken out then it must be covered with tape. 6. Wrestlers must keep their fingernails trimmed. -
Aboutdog Brothersmartial Arts
About Dog Brothers Martial Arts Dog Brothers Martial Arts (DBMA) is a system of many styles where the ultimate goal is to “walk as a warrior for all your days™.” As such we have an ap- proach that is in search of the totality of both ritual combat (sport fighting such as Mixed Martial Arts/Vale Tudo, Muay Kickboxing, Brazilian Jiu Jitsu and others) and reality (practical street defense, weapon awareness, and uneven odds). This means that the greater mission is to have real skills throughout the entirety of one’s life—not just when one is young and competitive. Considerable thought and experience has gone into the development of this cur- riculum, and as is the case with all things taught in the DBMA curriculum: “If you see it taught, you see it fought.™” The curriculum is divided into 3 areas: Real Contact Stick Fighting, Kali Tudo™ and Die Less Often. A brief overview of these areas of study is found on the next page. What You’ll Learn Consistency Across Categories Fun, Fit, and Functional Hurting, Healing, and Harmonizing The Filipino Martial Arts are unique in that they As previously stated, we look to share the long In addition to combative tools, tactics, and focus on weapons first, and allow the learning that term training goal: “walk as a warrior for all techniques, DBMA also incorporates a healing takes place there to inform a practitioner’s empty your days™” with you. For the long term, it of component to training. We include yoga, alignment hand movements and skills. -
Asian Traditions of Wellness
BACKGROUND PAPER Asian Traditions of Wellness Gerard Bodeker DISCLAIMER This background paper was prepared for the report Asian Development Outlook 2020 Update: Wellness in Worrying Times. It is made available here to communicate the results of the underlying research work with the least possible delay. The manuscript of this paper therefore has not been prepared in accordance with the procedures appropriate to formally-edited texts. The findings, interpretations, and conclusions expressed in this paper do not necessarily reflect the views of the Asian Development Bank (ADB), its Board of Governors, or the governments they represent. The ADB does not guarantee the accuracy of the data included in this document and accepts no responsibility for any consequence of their use. The mention of specific companies or products of manufacturers does not imply that they are endorsed or recommended by ADB in preference to others of a similar nature that are not mentioned. Any designation of or reference to a particular territory or geographic area, or use of the term “country” in this document, is not intended to make any judgments as to the legal or other status of any territory or area. Boundaries, colors, denominations, and other information shown on any map in this document do not imply any judgment on the part of the ADB concerning the legal status of any territory or the endorsement or acceptance of such boundaries. ASIAN TRADITIONS OF WELLNESS Gerard Bodeker, PhD Contents I. INTRODUCTION .............................................................................................................................. -
Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H
ge Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H. Mason Journal ǁ Global Ethnographic Publication Date ǁ 1.2013 ǁ No.1 ǁ Publisher ǁ Emic Press Global Ethnographic is an open access journal. Place of Publication ǁ Kyoto, Japan ISSN 2186-0750 © Copyright Global Ethnographic 2013 Global Ethnographic and Emic Press are initiatives of the Organization for Intra-Cultural Development (OICD). Global Ethnographic 2012 photograph by Puneet Singh (2009) 2 Paul H. Mason ge Capoeira Angola performance outside the Santo Antônio Além do Carmo, also known as the Forte da Capoeira, in Salvador da Bahia, Brazil. 3 Intracultural and Intercultural Dynamics of Capoeira Training in Brazil Paul H. Mason ABSTRACT In the port-cities of Brazil during the nineteenth and twentieth centuries, a distinct form of combat- dancing emerged from the interaction of African, European and indigenous peoples. The acrobatic movements and characteristic music of this art have come to be called Capoeira. Today, the art of Capoeira has grown in popularity and groups of practitioners can be found scattered across the globe. Exploring how Capoeira practitioners invent markers of difference between separate groups, the first section of this article discusses musical markers of identity that reinforce in-group and out- group dynamics. At a separate but interconnected level of analysis, the second section investigates the global origins of Capoeira movement and disambiguates the commonly recounted origin myths promoted by teachers and scholars of this art. Practitioners frequently relate stories promoting the African origins of Capoeira. However, these stories obfuscate the global origins of Capoeira music and movement and conceal the various contributions to this vibrant and eclectic form of cultural ex- pression.