bushido_man96

This is actually a title form a Mailbox submission in the April 2009 issue of BBM. In the letter, the author mentions how a Martial Artist went to visit the troops in the Middle East, and failed to impress. He was claimed to have been obnoxious and arrogant, and complained incessantly and was self-centered. The author didn’t mention the stylist’s affiliation, MMA, TMA, RBSD, or otherwise. What he did mention was the lack of character, and that all MAists should view character enhancement as a primary concern. His closing remarks conclude that if combat effectiveness and technique lethality are the only gauge of being a good Martial Artist, then terrorists could be considered great Martial Artists. I like the title of his letter, so I chose it to title this thread, and I think it is something important to consider. People value different attributes; even MAists. Someone may be arrogant, but still be an excellent Martial Artist. You also have to consider crossing cultural boundaries. Different cultures value different attributes and ideals. Think of war; there are great warriors/MAists on each side, but who is good/right and who is right/wrong depends on which side you are on. I view the Martial Arts in the same light. Gichin Funakoshi is noted for stating that the first priority of the practice of Karate is the improvement of one’s character (not the exact quote, but the general idea behind it). I respect what Funakoshi did as a Karateka, and I respect his ideal and philosophies, but I respect them as his own, and not as mine. I don’t hold the same values that he does in the same light. Now, I am not stating that I don’t value character development at all; that is far from the truth. I am not a bad, evil person who only views physical prowess as the end-all, be-all of training. I just think that it should not be the job of the Martial Arts instructor to instill this development on the masses. If character development is a side-effect of the training, then I think that is great. But in the end, most adults are already set in their ways as to what they value as far as character traits goes, so the likelihood that I am going to affect that is not that great. That doesn’t mean that I will take on violent criminals as students, either. I just won’t push my views and ideals on others. That is their choice to make, as practitioners. After all, it is their journey through the Martial Arts, and not mine. Okay, I've said my peace; now let the fire and brimstone begin to fall!!

But the influences are still not there?

Ouch, man, I can't imagine what that would feel like.

As I have noted before, I don't feel that this is mandatory for the study of Martial Arts, but is the philosophy of a few that has been handed down for generations of practitioners. Although they are nice, I don't view them as requirments. After all, these values should already be set, in my mind, before a Martial Art is even studied. I agree with you, these things are not necessary to study martial arts...but as I stated before -and my guess is that many will agree with me-, if you don't have them, then won't become a complete martial artist, you will become a fighter. I think that you can still become the complete Martial Artist. Everyone will have their own view of what the complete Martial Artist is, so to blanket everyone to the same ideals is not a fair assumption to make, in my opinion.

Check it out: http://www.amazon.com/Killing-Art-Untold-History-Kwon/dp/1550228250/ref=sr_1_1?ie=UTF8&s=books&qid=1236803755&sr=1-1 My hat is off to Alex Gillis and the magnificent work he has done in putting this book together. In an effort to understand what TKD rose out of, Gillis sought interviews with many of the movers and shakers of early TKD; men like General Choi, Hong-Hi himself, Nam Tae-Hi, Jhoon Rhee, Min-Hi Rhee, Tae Eun Lee (WTF), Jung-Hwa Choi, the General’s son, as well as the General’s daughters, Hee Jin Choi (WTF), and many others, including various personal assistants to General Choi over the years. Gillis himself is a practitioner of both ITF and WTF TKD, so he has knowledge of both sides of the story. I also feel that he presents the information in a very neutral tone. Along with much research, he has opened up the world that TKD grew out of; from Korea’s independence from Japan and its roots in Karate, to the “invention” of its roots in Taek Kyon and the “connection” to the Hwarang warriors, to its use in the politics of a fledging country. Gillis tells of several accounts of TKD masters involved in covert government operations, with TKD in the midst of it. The link between TKD and the Korean CIA is discussed as well. He also talks about Choi and Kim Un-Yong quite a bit, and the rivalry of the ITF and WTF, and Kim’s drive to the Olympics, as well as Kim’s rise and fall through the ranks of the IOC. Gillis also talks of Choi’s constant suspicions and mistrust, and how he drove away many of his masters, and his eventual rise to prominence in North Korea. With stories that sound so cloack-and-dagger as to resemble a Robert Ludlum novel, the book constantly engages the reader in the chapters of TKD’s history. I cannot possibly do justice in completely highlighting the information in this book, so I won’t continue to ramble much longer. Now, thanks to the work that Gillis has done, TKD practitioners have a reference source of where the art truly comes from, without the noticeable ITF or WTF slants of other publications. We can finally see the true history of TKD, and hopefully gone now are the exaggerated claims of “5000 year histories” of future TKD texts. In my opinion, this book should be required reading for ALL TKD practitioners.

Check it out: http://www.amazon.com/Dynamic-Aikido-Bushido-Way-Warrior/dp/0870113011/ref=sr_1_1?ie=UTF8&s=books&qid=1236803697&sr=1-1 Shioda wrote this book as an introductory text for use by beginners, and uses the techniques of the Tokyo Yoshinkan. As an introductory text, I think it fits the bill. There is a history section that delves back into Aikijutsu from the “Daito Mansion,” and up through Morihei Ueshiba, and to Shioda as well. Next is a section on the nature of Aikido, with the use of its circular motion, and it discusses the harmony of Aikido with mind and body, and with the harmony of the Aikidoka and nature. Principles on motion, speed, timing, concentration of power, and moving the center are discussed. The chapter on Posture and Movement details stances and basic, underlying movement principles that are essential to the techniques of Aikido, like changing position, “elbow power”, and fixing movement. Shikko (knee walking), seiza (formal sitting on the knees), and breakfalls are also covered. The Basic Techniques section covers variations of Shio-Nage (four-directions throw), Ikkajo Osae (1st teaching), Nikajo Osae (2nd teaching), Sankajo Osae (3rd teaching), Yonkajo Osae (4th teaching), Sokumen-Irimi-Nage (side approach body throw), Shomen-Irimi-Nage (front approach body throw), Hiji-Jime (elbow lock), Kokyu-Ho (breathing method), Tenchi-Nage (Heaven and earth throw), and Kote-Gaeshi (outward wrist twist). Most are shown in several variations, including standing and kneeling positions. The pictures and arrows, along with the descriptions, provide an excellent guide for the beginner to use when working with the techniques. Showing variations of all but a few of the techniques makes it easy to pick the basic technique a beginner may be focusing on, and allow him to work on it. A “Practical Applications” section finishes out the book. As a beginner in Aikido myself (at the time of this writing), I feel that this small manual is a well-written and well-illustrated guide. The approach is simple and effective, in my opinion, and although it can’t replace an instructor, it makes a good home study guide for a beginner, and I’m sure it still holds value for the advanced Aikidoka, too.

I believe that Funakoshi brought the rank system to the schools of Japan before it came to the West. As I have noted before, I don't feel that this is mandatory for the study of Martial Arts, but is the philosophy of a few that has been handed down for generations of practitioners. Although they are nice, I don't view them as requirments. After all, these values should already be set, in my mind, before a Martial Art is even studied.

I disagree here. Studying a Martial Art, in my opinion, is about learning to defend oneself. Ideally, character traits are put in place at home, at the church, and instilled from society in general, and should not be the goal of a Martial Arts instructor. With that said, everyone has a different goal. If these are things that one wants to pursue in the Martial Arts, then that is fine. However, I don't think that it is right to insist that all practitioners be in it for these reasons, and that if they seek other goals, that they cannot be considered Martial Artists. Aren't Mixed Martial Artists still Martial Artists? With all of the styles that you have practiced over the years, wouldn't you consider yourself a Mixed Stylist?

It depends on how it works for me. If it doesn't work for me, I probably won't use it at all. Now, that doesn't mean that I wouldn't teach it to someone else the way he taught it to me, because it may work well that way for that person.

I'd say that if you are warm after the workout, then go ahead and stretch. Take advantage of any time after being warmed up to stretch out a bit.

3-9-09 (Session 2) Weights Bench press: 215x8, 9 fail Row: 160x8, 9 fail Military press: 125x4, 5 fail Lat pull-down: 160x6, 7 fail Machine curls: 50x8, 9 fail Triceps push-down: 165x7, 8 fail Ab wheel: 7, 7 Aikido session: 2:00 - 2:30. We focused on Ikkyo, and I feel more and more comfortable with this technique now. This focused time is really helping me out. Hapkido session: 2:30 - 3:00. Worked on yellow and orange belt material, and did the first half of my red belt curriculum. Cardio: Bike for 25 minutes. 3-10-09 Aikido session: 3:30 - 4:00. Focused on Ikkyo again. TKD class: 6:00 - 7:00. We did some forms review in class, as well as some free-flowing combinations. At the end of class, we did some kicking drills to help fire off the hip flexors. Prior to class, I spent time focusing on the section of my form where I do the crescent kick-hand slap into side kick. Its getting better...

Thanks for the suggestions, everyone. I was like DWx, and didn't know any except the two she mentioned in her opening post. Good stuff. My upper body is alway so stiff, and I can really tell when we do anything in Hapkido, Aikido, or our DT stuff. Pins are really effective on me...

Welcome to KF! I look forward to hearing more from Hapkido practitioners.

That's what I thought the few times I have seen examples of it in Karate styles. I think it would wreck my knees.

Welcome to our Forums. If you do a Google search of your area, you should be able to come up with several options to look at. The one listed will probably be helpful, too. I'm sure that sensei8 knows about this school, and is offering good advise. With that said, make sure to weigh all of your options. Who knows, there may be only that one Shotokan school there.

We keep the fingers tight, and relatively straight. I don't break with it much, because I don't care for the technique on boards. We also make sure to keep the thumb tucked in tight to the hand, but not under the hand.

I have heard that the only fight one lost was not "fair."

I like the sound of that instructor, Traymond. Cussing like a sailor, I can relate to. As for wanting to beat on something when having a bad day, I am all for it. But, I think it is something done better in private, so you can focus your frustrations onto that bag, and you don't have to worry about others seeing.

Because it is the american way of wanting things...hot and ready and out the door...in my dojo I only guarantee that the door is always open... I don't see this as that big of a deal where I am at. I don't have students coming to me about how much longer it is going to take, or any of that. I think that it is unfair to state that Americans want things the cheap and easy way all the time. I don't think that other cultures are immune to this.

To add to that, you can see the transition that someone like Brock Lesnar has made to the UFC. Some would say that he hasn't been tested too much yet, but I would say that he has made a successful transition, and he is only going to get better.

I agree. I also agree with the approach that tallgeese takes. If you plan to train someone the eye gouge, then training what it may be like is important. I don't think one can just assume that they will gouge the eye, and feel the same about it afterwards as they did before. It is messy. And it is quite a personal attack, in a sense that you will most likely be crippling someone permanently. A punch may not. This technique WILL. That's why the acting is important. It may seem kind of cheesey to be acting in your MA class like this, but to assume one is ready for it may be setting oneself up for failure. As for the liklyhood of having to use this technique goes, one can make a case for. But, the same case can be made for the likelyhood that any technique we learn will ever be used in a confrontation. Its just another tool to keep handy.

I would do what I have been doing. I wouldn't change on the fly. But, if it is something that I have modified and used over the years, I would do it that way. I don't think it dishonors the teacher at all. There are teachers over the many years that have modified what they have done from what their instructors have taught them. That is part of the reason that there are so many different styles of Karate and other MAs. Its a natural process.

I do most techniques like my instructor shows them, but I hardly view that as emulation. Its the way the techniques are taught, so I do them. Sometimes, I'll do things differently, depending on the situation. But I don't view that as emulation. Its like being taught how to do math, or write sentences. As for the type of character or moral personification of my instructor, I don't try to emulate it. He is who he is, and I am who I am. I like it that way, too.

Thanks, Traymond.

I started the Martial Arts long before I got my job as a Jailor. But my dad was in law enforcement for most of my life, so I have always been around it. It just seemed to come by naturally, I guess. My youngest brother also works at the county jail of our home town.