Hello readers! Hopefully you have read and enjoyed my previous article on kickboxing fight preparation. In it I discussed the sort of schedule I use in training for my Full Contact Kickboxing. It should be noted that you will not always have the time to use such a precise scale for your training.

For example, I was recently invited to the WAKO (World Association of Kickboxing Organisations) Full Contact British Squad trials. I had a month to prepare and thus was forced to mix an element of all the stages of fitness into my training for that month. Unfortunately I was forced to decline the offer as I have been caught up with an ugly chest infection! But it goes to show, training always needs flexibility.

So, that brings you all up to date with my training exploits over the Christmas season. I have my own New Year’s resolutions, and I’m sure you do too. For some of you, that means new fitness goals, new challenges, and new adventures. For many of you, 2010 may be the first year that you step into the ring. That in itself is one of the greatest things you will achieve all year. It takes a great deal of bravery and dedication. There are several factors you will need to overcome, and I will attempt to discuss these in this article.

Mentality

We have all been there at some point in our lives before. Whether it was on stage in a school play, some form of aggressive encounter in a club, a job interview – the list goes on, but 9 times out of 10 these nerve-wracking encounters bring out the same reactions in people. Excess sweating, shortness of breath, feeling slow, heavy, sluggish or weak, tunnel vision, increased heart rate, adrenaline rushes – the list goes on,

Now, as ever I must state that I am NOT an expert. Going from experience, from books I have read, and even a seminar or two, I have one crucial thing to tell you – YOU CAN CONTROL YOUR BODY’S REACTION TO STRESS.

The reactions listed above are all symptoms of our body preparing us for a stressful encounter. Your body floods itself with adrenaline in order to prepare you for fight or flight. Problem is, when preparing for a fight, we encounter stress long before we need the adrenaline.

On an evening show you might fight at about 7pm. That is when you need the adrenaline. And yet, some of you will be getting that burst of adrenaline as you think about the fight the night before, leading to a lack of sleep…next morning at breakfast, leading to a loss of appetite…during the weigh in, when you expect to see your opponent for the first time…the list goes on.

Do NOT be discouraged. Now that you know what to expect (if you didn’t already), you can start to prepare for it.

Can’t sleep the night before? Use something like warm milk or a long stretching session to relax yourself (remember, your coach might not want you having any nookie the night before, so restrain yourselves if only for one night!). Make a relaxing play list on your mp3 player. Do not do/take anything you have not done before, for example sleeping remedies or a massage, as you do not know how these will affect you on your big day.

Losing your appetite? Trust me, there will come a time when you will wish you had eaten, so do it. Without going into too much detail (for fear of turning this into a nutrition article) you need to keep your blood sugar levels steady to ensure a solid performance. Once again, now is not the time to be experimenting with new things. Hydration is also important.

The shortness of breath, the butterflies, the sweating and shaking – for me, these can be the biggest obstacles. But so far as I know, these are all by-products of adrenaline release. The release of adrenaline is partly affected by your heart rate, which in turn is partly affected by your breathing rate. You may see where I’m going with this…. deep, slow breaths! In my experience, nothing calms me down more than trying to go to sleep – eyes closed, breathing deep, slow breaths. This may help delay the release of energy (shaking and adrenaline) and vital fluids (sweating), which will give you more in the tank when you get into round 3!

You may now be wondering why I have not touched on confidence at all. And that is because I believe you build your own confidence. You can have all the positive results of training, practice, and the like, but if part of you is feeling useless and inferior, and you believe that part of your mind…. well, no one else can do anything for you.

Approach your negative mind set logically – our coaches do not build their reputations by giving us fights they think we will lose. You have not lost all the skills and abilities that you have been developing over the years and months. If your training has gone smoothly then you are fit, capable, and injury-free. You want victory enough that you have come this far, through the miles, rounds, and reps – and you still want that victory, or you would not have turned up. Speaking of which…

Physically

I will not hesitate for a second to tell you that my first fight was the hardest physical challenge I have ever faced – and it will probably be the same for you too. Unless at some point in your life you have fought, whether in martial arts, war, or your local bar, the stress put on your body will be second to none.

This is partly due to the stress I have mentioned previously, but not all of it. Sticking with the context of this being your first fight, then it is safe to say you have never really been in a situation where you are hitting such an unpredictable object (someone else!) as hard as you physically can, whilst moving as quick as you can in order to avoid getting hit yourself.

My shortest fight was 3 minutes worth of action (2 minutes for the first round, and a stoppage halfway through the second) and my longest was 10 minutes (my 5 round title fight last September). This makes my point clearly – all those hours of training, for less than fifteen minutes work? It just goes to show, combat sports present a bigger challenge than anything we face in training.

Beyond Well-structured Training

And how, you ask, do you deal with this? How do you train for an event if you have just accepted that you cannot prepare for it, strictly speaking? Of course, I would recommend following a training structure the likes of which I mentioned in my previous article, but you need to go further than just well-structured training.

You need to go to the level you would normally stop at, and then go beyond it. Only by working and working and working will you emerge on top. In my opinion, this is why so many fighters go on long, monotonous runs, why we get made to do press ups and sit ups numbering in the hundreds. This is not the most scientific, beneficial training we could do, but it breaks us down and makes us push. And trust me; being broken down, and being made to push, is exactly what fighting is about.

The best way to access this level of training is through Personal Trainers, your coaches (who probably have more experience in the industry than the average Personal Trainer) and, importantly, good friends and training partners. If you are motivated enough, you can take yourself to that level, but I would still recommend getting outside help.

I hope this article has helped in discussing any of your doubts, concerns, or questions. Feedback and further questions are always appreciated. I will cover one last question, and like any good writer I have tried to save the best until last.

What if I lose?

That is the big worry for a lot of people. But why? Win or lose, your first fight is about breaking the important boundaries mentally, physically, and spiritually. It is an indisputable fact that 50% of fighters lose their first fight. Do all those fighters amount to nothing? Only if they give up.

To all of you, unless I see you in my opposite corner one day, I wish you the best luck, health and experience.

About the Author

Michael Brooks is a 20 year old Personal Trainer and Amateur Kickboxer from Basildon, currently working in Southend and living in Basildon. He has been in the fitness industry since September 2008, and has a fight record of 6 wins (including a British Title at the age of 18), 1 loss and 1 draw. He is qualified in Personal Training, Kettlebell training and Strike Fit.

Mike conducts personal training to members at Fitness First Southend and is available for private lessons through Tony Willis at 5 Elements Martial Arts. Alternatively, if you are interested in working out a session outside either of these venues, simply contact Mike at mikebfg@hotmail.com to discuss locations and prices. He is listed on the Register of Exercise Professionals (REPS no. R0056543).

The only answer is for you really to decide for yourself. No one style is the best. Even trying to decide if you want to learn a traditional style, competition style or modern MMA style may not actually help you find the school of choice. The quality of the instruction and the atmosphere of the school is also important. Friendly students and professional instructors are more important that style, as without these you will struggle to learn and find motivation very difficult.

Really the best option is to locate all the martial arts classes within your catchment area and try them all. Only then will you know what is right for you. You may consider yourself a puncher but find that you love ground work. You may wish to do acrobatic stunts like Jackie Chan but find that competition kickboxing provides you with much better mental focus and physical conditioning. You may even find softer styles like Tai Chi Chuan and Aikido more appealing. Then there are the weapons to play about with. The choice is of course yours. Here is a list of the most notable styles of martial arts with a few links to pages with further information.

• Adithada, an ancient Tamil Nadu martial art which is a form of kickboxing. Disciples of Adithada are trained in using bare knuckles, feet, knees, elbows and forehead.
• Aikido is a Japanese martial art which is based on Jujutsu and Kenjutsu.
• Amateur wrestling emphasizes throws and controlling opponent’s movement, both while standing up and on the ground, and positioning. Notable styles are Greco-Roman wrestling and Freestyle wrestling.
• American Kenpo is a martial art developed by Ed Parker from Chinese and Japanese styles he studied in Hawaii.
• Baguazhang is an internal Chinese martial art that trains in distinctive circular footwork patterns and is also known for training with unusually large weapons at advanced levels in some schools.
• Bando is the official Burmese Fighting System that includes techniques of throws, holds, locks, chokes, foot-sweeps, etc. Several Bando sub-systems include Lethwei, Naban and Banshay which includes stick fighting, sword fighting, knife fighting, spear fighting, etc.
• Bartitsu is an eclectic self-defense system combining the basics of Tenjin-Shinyo Ryu Jiujitsu, Shinden-Fudo Ryu Jiujitsu, early Kodokan Judo, the Vigny system of stick fighting, classical boxing and savate.
• Brazilian Jiu-Jitsu is a much modified version of some original Japanese jujutsu schools, based on and closely related to Judo but with strict emphasis on ground fighting. Sometimes referred to as Gracie Jiu-Jitsu after its founders.
• Capoeira is a survival-oriented dance-fight-game originally developed in the 16th century by Angolan slaves in Brazil. It emphasizes kicks, dodging, take downs, and mental training. This mental training can include trickery, an awareness of the opponent, and understanding of rhythm.
• Catch wrestling forms the base of many modern martial arts including shoot wrestling, shootfighting, shooto and Japanese professional wrestling style of puroresu. This form of wrestling emphasizes ground fighting, submissions, throws and fighting from multiple positions based on Judo.
• Chow Gar is a Close in fighting system from the Southern Shaolin, and is a form of Southern Praying Mantis (martial art)
• Eskrima / Escrima, a Filipino Martial Art that focuses on blunt and bladed weapons.
• Fencing (the European Olympic style), exists now almost entirely as a sport.
• Hapkido is a Korean martial art with kicks, punches, joint manipulation, locks, and throws that is said to have developed from Aikijutsu. Many of its techniques, as well as the characters used to write the style’s name, are similar to those of Aikido.
• Hung Gar is a southern Chinese style made famous by its usage by many well known Hong Kong film actors and directors. It is a form of
• Shaolin martial arts with strong stances and rooting in the ground.
• Hwarangdo is a Korean martial art that was created in its modern form by Dr. Joo Bang Lee and his brother, Joo Sang Lee. This martial art teaches and encourages fighting and defense techniques, religious training, intellectual enhancement, and artistic pursuits. It has an extensive history, and a very involved technique structure.
• Hybrid martial arts, systems which combine multiple arts: military combatives, Jeet Kune Do, and Har-Ki Martial
• Jeet Kune Do, meaning ‘Way of the intercepting fist’, was developed by Bruce Lee, one of the most famous martial artists of the 20th century. This is not actually a specific martial arts style, but a collection of concepts from arts such as Wing Chun and other styles that focuses on constant adaptation.
• Judo means gentle way, (‘Do’ means ‘Way of’), a practical martial art and sport that consists of techniques from many jujutsu schools. Striking (atemi-waza) and some dangerous throws are forbidden in competitions, but are still present in training and sparring.
• Jujutsu is a general Japanese term encompassing mostly unarmed martial arts with strikes, throws, grappling and locks and those using small weapons.
• Kajukenbo a combination of Karate, Jujutsu, Kenpo, and Chinese Boxing founded in 1947 in Oahu, Hawaii by a group of instructors.
• Kalari Payattu, a martial art from Kerala, South India. It combines self defense, religion and elements of “martial dance”, and has a strong association with the Ayurveda healing system.
• Kandoshin is a freestyle fighting arts system which unifies many modern and ancient martial arts from four major continents, namely; Africa, Asia, Europe and America.
• Kapap is a modern martial art, derived from the distinctive fighting style of the Israeli Haganah and the modern day IDF. The style is purely focused on practical combat skills and eschews competitions beyond occasional ‘fight club’ nights, wherein practitioners can free-form spar with protective padding.
• Karate meaning ‘Empty hand’ (originally called Te meaning ‘Hand’), is perhaps the most popular martial art in Japan and the West. It is Okinawan in origin and has several sub styles including Ashihara karate, Kempo, Kyokushin, Shorin-ryu, Shotokai, Shotokan and Wado Ryu. Depending on the style, a full range of combat tactics may be taught. Techniques include: striking, blocking, kicking, joint-locks, throws and submissions.
• Kateda is a martial art which claims ancient Tibetan origins, but may be a more recent variation of Indonesian Silat and/or several Kuntao arts. It employs unarmed punches and kicks and has features in common with Sindo, Yoga, Qigong and possibly Shaolin.
• Kendo is the Japanese sport of sword fighting, using bamboo swords (shinai) and protective armour made almost purely by bamboo and heavy knit cotton.
• Krav Maga is not a martial art, rather a self-defense (due to no reliance on physical fitness), and military hand to hand combat system developed in Israel. It came to prominence following its adoption by various Israeli Security Forces; now more widely in use including by the special forces of other countries.
• Kuk Sool Won is a systematic study of a variety of traditional Korean fighting systems. It is known for its wide variety of techniques and weapons.
• Kung Fu, or more precisely “wushu”, refers to the many hundreds of diverse Chinese martial arts (some estimates at greater than 400), some of which include: Shaolin, Shuai Chiao, Wing Chun, Zui Quan, Taijiquan, Xingyiquan, Yiquan, Lau Gar, Hung Gar and many more. The Chinese words kung fu can be used to describe one’s skill in any discipline, not just martial arts.
• Kuttu Varisai (empty hand combat), an ancient martial art from Tamil Nadu, South India. The fists, elbows, feet and knees are used, as well as various animal forms, including tiger, elephant, snake, eagle and monkey stances. Grappling, throws, hits and locks are also used, as well as
• Luohan techniques, breathing exercises and pressure point attacks.
• Mixed martial arts or MMA, the combat sport which combines practical aspects of many (or all) useful martial arts, including Brazilian Jiu-Jitsu, Muay Thai, and wrestling, among others. The emphasis is on actual combat and freestyle competition with few rules, as opposed to theoretical philosophy. Well-known MMA organizations include PRIDE and UFC. The term MMA may also refer to the fighting style associated with MMA competition.
• Muay Thai, a Thai martial art, a famous style of kickboxing.
• Ninjutsu is a Japanese style said to have originally been practiced by Ninja; this martial art combines traditional attacks with scout style survival and elusive moves.
• Pradal Serey is the Cambodian style of kickboxing.
• Sambo is the wrestling form developed in Russia. Sambo is deeply influenced by judo, catch wrestling, jacket wrestling, collar and elbow wrestling etc. Sambo allows joint locks, though chokes are not allowed in sport Sambo wrestling.
• Shaolin Kung Fu is a Martial Art which combines the use of unarmed fighting, various weapons and use of “Animal Forms”, fighting styles copied from animals in nature, such as tigers, snakes or cranes.
• Shorinji Kempo is a Japanese martial art emphasizing Buddhist principles of self-reliance and the use of force only as a last resort. Students learn both hard techniques (strikes, throws) and soft techniques (joint locks, holds).
• Silat is an art from the Malay World and has regional variations in Indonesia, Malaysia, Brunei, Singapore, among others.
• Sindo is a modern variation of Indonesian Silat, which combines Western practical self defence with combat martial art, Silat and internal martial arts.
• Sipkwondo is a modern hybrid martial art based off Tae Kwon Do, Kickboxing and Grappling.
• Southern Praying Mantis is related most closely to fellow Hakka styles such as Dragon and more distantly to the Fujian family of styles that includes Fujian White Crane, Five Ancestors, and Wing Chun. Southern Praying Mantis is a close range fighting system that places much emphasis on short power techniques and has aspects of both the soft and internal as well as the hard and external.
• Systema is an art of Russian origin. This style employs no pre-defined moves, kata, rankings, or sport application. Rather, Systema works from the basis of breathing, relaxation, posture, and movement, utilizing all aspects of human ability.
• Tai Chi Chuan, the different styles of which are a Chinese martial art practiced nowadays by many people for health maintenance.
• Taekyon, a traditional Korean martial art, probably stemming from Subak.
• Taekwondo is a modern Korean martial sport, with literal meaning “the way of the hand and foot”. Along with Judo, one of only two Asian martial arts to make it into the Olympic Games.
• Tang Soo Do (also “tangsudo”, which means ‘way of the Chinese hand’) is a traditional Korean martial art descended from Karate, which remained outside the merging of Korean styles into a national sport in 1961. Its most famous proponent is Chuck Norris.
• Vajra Mukti (diamond fist), grappling style in North India.
• Varma Kalai (the art of vital points), an ancient martial art from Tamil Nadu, South India. Though it emphasizes self defence, it also emphasizes targeting various vital points throughout the human body. It has a strong association with Varma Cuttiram (the Tamil science of medicine).
• Western martial arts (WMA) or “European martial arts” consist mainly of fighting techniques developed in Europe. They include everything from unarmed combat and grappling (kampfringen) to weapons practices with a great variety of weapons such as the longsword, various types of staves and polearms, daggers, sword and buckler, to more specialized weapons such as the rapier.
• Wing Chun (Ving Tsun or Wing Tsun), a Chinese martial art known for its no nonsense effectiveness made famous by its legendary student, Bruce Lee.
• Xingyiquan (Hsing I Ch’üan), Form Intent Boxing, a Chinese internal martial art famous for its fighting prowess.

In recent months many of you have requested more information on martial arts training, specifically preparation for kickboxing competitions. We contacted personal trainer and amateur kickboxer Michael Brooks and asked if he would be willing to share with us some details about his own strict training routine – he said yes! Mike won the British Title at the age of 18 and continues to teach kickboxing and train for competitions. This is the first of his fitness posts – we hope that Mike becomes a regular contributor to MotleyHealth.com

Michael Brooks’ Training Stages

Hello fitness enthusiasts! If you are reading this I am guessing you share some of my interests – kickboxing, fun, and the kind of training that gets you real results. Whatever your reasons are, I hope reading this is rewarding and interesting. My aim in this first post is to roughly outline the kind of training I do to get in shape for my kickboxing fights.

I fight predominantly at Light Heavyweight (usually between 78-81kg / 171-178lbs) and stand at 6’5’’, meaning I am taller and slimmer than most of my opponents. This means that my training must allow me to work on my weaknesses (i.e. the power and intensity associated with more muscular builds) whilst improving my own strengths – things like speed and cardiovascular endurance. In short, I need a programme that allows a skinny guy to compete with the big guys, without putting on extra weight or losing any current levels of strength. What follows is a rough idea of how I structure my training in the 3 months before a fight.

Training in Stages

So, knowing what we want to achieve, we now have to decide how to achieve it. My preference, both as a personal trainer and as a competitive kickboxer, is to form my training in stages. These stages are taken from the National Academy of Sports Medicine (NASM).

Stage 1 – Stabilisation, Endurance and Corrective Flexibility

If your body is a temple, it makes sense to build it like a temple – starting with the foundations, making sure it will endure over time. Obviously in a training sense this refers to laying the foundations for movement – including:

• Posture – which defines the balance between muscles and decreases risk of injury;
• Joint strength – in other words, making sure they can function over a longer period of time without damage;
• Muscular endurance – which ensures the correct muscles are working over a long period of time, not only to prevent injury but to help with recovery and training duration in later stages, and finally;
• Cardiovascular fitness.

Kickboxing is an intense sport demanding a great deal from the body’s energy systems. Before training these various systems you need to be sure you can maintain a moderate level of output over a longer period of time. Once again this helps with recovery and later stages of training.

This stage is vital. If not done properly, it can have vital implications later on. I like this stage to last 4-6 weeks, and I will frequently refer back to it to make sure my posture and inner workings are improved throughout the cycle. This is also a great period of low intensity to enter into if you are recovering from over training, or coming back after time off, as it ensures you do not jump in at the deep end of your training.

Stage 2 – Strength Training

With the foundation set, you can start to fortify things. The strength stage aims to improve your performance in various areas.

Strength-endurance aims to bridge from the first stage to the second stage, adding some harder resistance exercises into the endurance and stability training of the first stage. Typically, resistance training will superset one strength exercise (8-12 reps) with an endurance exercise using the same muscle group (15 reps), usually in a slower and less stable manner. This process is greatly challenging, and is also a great means of fat burning and toning.

Hypertrophy is the stage concerned with tearing tiny muscle fibres in order to stimulate muscle growth. This is the stage used in body building. Although a great hobby and a fun way to train, this has no real use to the combat athlete unless one is trying to move up to a different weight class. As British bodybuilding champion Kerry Kayes once pointed out, bodybuilders are experts at gaining and losing weight.

The third and final step in the strength phase is the development of maximal strength, i.e the most external force your body can exert in a short period of time – usually no more than six repetitions, and sometimes only one or two. The aim is to avoid fatiguing the muscles in the same way you would for the previous stage (Hypertrophy). The key thing here is that muscle strength is NOT a product of muscle size; while the two are related, strength is more a result of the neurological ability to recruit as many muscle fibres together in a concerted effort. This is a great stage to be focusing on the big lifts:

• Deadlift
• Bench press
• Squat

Depending on how many parts of this stage you use, this stage will last 4-12 weeks for me as a kickboxer. I tend to skip the muscle building when I am preparing for a fight so I spend 4-6 weeks on Strength Endurance and Maximal Strength. During this training cardio develops to involve intervals of higher intensity.

Stage 3 – Power Training

Power – without a doubt my favourite form of training. Now that the muscles are working in a well co-ordinated manner (thanks to the stabilisation and corrective posture of stage 1), and also due to the fact that muscles now produce more force (thanks to stage 2) it is time to add some power. Power is basically the ability to exert as much force as possible in the shortest possible time. The difference between strength and power can be demonstrated as follows: think of someone performing a few reps of their heaviest squat, and compare it to a hurdler performing a single jump. The key difference is the speed of the exertion.

So, in the power stage of training you can expect lots of explosive movements, such as jumping, throwing, punching and kicking, as well as Olympic lifts like the clean. Also, training can involve pairing a maximal strength exercise with a power exercise, to get the benefits of both areas of training. These methods prime the muscles to contract as quickly as possible. When you are in the ring, you do not exactly get time to wind up a punch with all your strength – you get milliseconds.

Cardio training becomes more intense and features less predictable periods of interval training, to simulate the true unpredictability of Combat Sports.

Summary

We have studied in brief detail all the areas involving my training for fights. We have not even begun to look at my kickboxing-specific training, which is vital. If I were not visiting 5 elements (the kickboxing gym I train at) regularly, I would not be in any position to fight whatsoever. My instructor and my training partners form the most valuable component of my training. In a future article I will discuss these other training methods in more detail, and also discuss the importance of core training. In the mean time, I am open to any feedback and questions you may have.

Thank you for reading.

About the Author

Michael Brooks is a 20 year old Personal Trainer and Amateur Kickboxer from Basildon, currently working in Southend and living in Basildon. He has been in the fitness industry since September 2008, and has a fight record of 6 wins (including a British Title at the age of 18), 1 loss and 1 draw. He is qualified in Personal Training, Kettlebell training and Strike Fit.

Mike conducts personal training to members at Fitness First Southend and is available for private lessons through Tony Willis at 5 Elements Martial Arts. Alternatively, if you are interested in working out a session outside either of these venues, simply contact Mike at mikebfg@hotmail.com to discuss locations and prices. He is listed on the Register of Exercise Professionals (REPS no. R0056543).

Update: UFC 105 Results from Manchester, UK

UFC 105 Fight Card

• Randy Couture vs. Brandon Vera
• Michael Bisping vs. Denis Kang
• Mike Swick vs. Dan Hardy
• Ross Pearson vs. Aaron Riley
• James Wilks vs. Matt Brown
• Paul Taylor vs. John Hathaway
• Terry Etim vs. Shannon Gugerty
• Paul Kelly vs. Dennis Siver
• Andre Winner vs. Roli Delgado
• Matt Riddle vs. Nick Osipczak
• Alexander Gustafsson vs. Jared Hamman

UFC 105 Fight Card Changes

A previously rumoured Lightweight Championship bout between BJ Penn and Diego Sanchez will not take place at this event according to Dana White. At the UFC 102 press conference White said it is likely that the fight will be moved to a third event in November which is at this time unannounced. It was later announced that the bout will take place at UFC 107.

A bout between Antônio Rogério Nogueira and Luiz Arthur Cane has been moved to UFC 106. Dong Hyun Kim was forced to pull out of his bout with Dan Hardy due to an injury. He will be replaced by Mike Swick.

The winner of Mike Swick vs. Dan Hardy is said to receive a title shot at Georges St. Pierre in early 2010. A previously announced bout between Peter Sobotta and DaMarques Johnson has been cancelled due to a military commitment for Sobotta.

The form develops core strength from the feet to the waist, and also starts to develop the gen power through repetitive phoenix eye punches and forearm and rib extensions and contractions.

Although considered the “first form” it forms the foundations of the style, and is practiced by many throughout their Chow Gar martial arts training.

This form is considered to be the “bread and butter” of Southern Praying Mantis – meaning simply that this form produces much of the strength and conditioning that makes the Southern Praying Mantis system so powerful.

This form is performed by Ng See Kay.

• Visit the Bruce Lee Info Pages for more articles on the Kung-fu Legend.

Eskrima and Arnis are among the many names primarily used in the Philippines today to refer to these arts. The name Kali, although primarily used in the United States and Europe, is seldom used in the Philippines and in most cases is an unknown word. But due to the popularity of the term outside of the Philippines and the influence of foreign practitioners, the term Kali is increasingly being recognized and accepted in the Philippines. Kalis, as used in the Philippines, refers to a sword.

The teaching of the basic skills in FMA are traditionally simplified. With limited time to teach flashy and intricate techniques, only skills that were proven effective in battle and could easily be taught en masse were used. This allowed villagers, generally not professional soldiers, a measure of protection against other villages, as well as foreign invaders. This philosophy of simplicity is still used today and is the underlying base of the FMA.

Because of this approach, the FMA are often mistakenly considered to be “simple” fighting arts. However, this refers only to its systematization, not effectiveness. To the contrary, beyond the basic skills lies a very complex structure and a refined skillset that takes years to master.

Practitioners of these arts are noted for their ability to fight with weapons or empty hands interchangeably. Most Eskrima systems include fighting with a variety of weapons, striking with hands and feet (suntukan, sikaran, tadyakan/tadiyakan), grappling and throwing (dumog), biting and whatever skills needed to complete a warrior’s training in the old days of tribal warfare. Perhaps the only major fields that have not been given as much emphasis as in the past in modern eskrima training today are skills needed for fighting effectively in groups and hilot – a Filipino system of first aid, healing, massage, and herbal medicine traditionally taught alongside eskrima but that has now virtually disappeared.

In most systems, skills with weapons and with empty hands (unarmed) are developed concurrently using training methods designed to emphasize their common elements. The most common variations used are single stick (solo baston), double stick (double baston) and sword/stick and dagger (espada y daga). Some systems are known to specialise in other weapons such as the whip and staff.

Filipino Martial Arts have seen an increase in prominence due to several Hollywood movies and the teachings of modern masters such as Dan Inosanto, Cacoy Canete, Elmer Ybanez, Tony Diego, Teofilo Velez, Richard Bustillo, Ryan Gialogo, Edgar Sulite, Leo Gaje, Armando P. Angeles, Leo Giron, Mike Inay, Ernesto Presas, Remy Presas, and Angel Cabales.

Eskrima Martial Art Techniques and Skills

Eskrima Weapons

The most obvious feature of an Eskrima class is that it is mostly weapon-based. The student is first taught to work with weapons and only advances to empty-hand techniques once the stick techniques have been learned. Most other well known martial arts start by developing empty hands proficiency, often for years, before being introduced to the weapons component. This feature of Eskrima is justified by the argument that most systems have unified their teaching so that the empty-hand techniques are learned through the same exercises as the weapon techniques, making muscle memory an important aspect of the teaching. Since you may not have a weapon available, or might lose a weapon, the body becomes the weapon. Because the weapon is seen as simply an extension of the body, the same angles and footwork are used either with or without a weapon. This allows weapons to be taught before empty-hand, and by many FMA schools it is referred to as the concept of motion grouping.

The most common weapon used in training is a rattan stick about the length of the practitioner’s arm, although the length may vary from about 45cm to 70cm. Some schools prefer sticks of a particular length, while others expect students to learn which techniques are appropriate for a variety of lengths. Most North American and European schools use hand and head protection when sparring with rattan sticks.
Other sticks used for training and for some duels are made of hardwood, such as bahi (heart of the palm), molave or kamagong (ebony), that is burned and hardened. They can also be made out of aluminum or other metals, or modern high-impact plastics. The sticks can also be padded for training purposes, though this practice is usually only used in schools in North America or Europe.

Many systems in fact begin training with two weapons, either a pair of sticks or a stick and a wooden knife (called espada y daga, Spanish for “sword and dagger”). This is sometimes justified by pointing out that warriors would not have gone into battle with an empty hand; another common explanation is that having two weapons forces the practitioner to use both hands, which is valuable even when working with one weapon: the extra hand is used to control the opponent’s weapon and to strike when the range is sufficiently close. (Such uses are banned in modern sport fencing, so sport fencers generally hold the unused hand away from danger.) Historically, people all over the world, including Filipino warriors and Renaissance fencers often trained with a long weapon in one hand and a short weapon (such as a main-gauche) in the other. For this reason modern SCA call their two-weapon styles “fighting florentine.”

The stick techniques used in Eskrima fall into two categories: the stick techniques that are training for sword fighting, and the sword techniques that are training for stick fighting. As usual, most systems are designed so that the practitioner can adapt their training to either weapon. Other weapons traditionally included in Eskrima training include spears, shields, whips and nunchakus.

Eskrima Combat Drills

Several classes of exercises, such as sumbrada, contrada, sinawali, hubud-lubud and sequidas initially presented to the public as a set of organized drills by the Inosanto system are expressly designed to allow partners to move quickly and experiment with variations while remaining safe.

For example, in a sumbrada drill taken from the Villabrille system, one partner feeds an attack, which the other counters, flowing into a counterattack, which is then countered, flowing into a counterattack, and so on. The hubud-lubud (hubad-lubad is also accepted because, though hubad means naked in tagalog, it means the same as hubud and actually used more often in many Cebuano-derived dialects in the southern portion of the country) taken from the Doce Pares system is frequently used as a type of “generator” drill, where one is forced to act and think while fists are already flying.

Initially, students learn a specific series of attacks, counters, and counterattacks. As they advance, they can add minor variations, change the footwork, or switch to completely different attacks; eventually the exercise becomes almost completely free-form. Disarms, take-downs, and other techniques usually break the flow of such a drill, but they are usually practiced beginning from such a sequence of movements in order to force the student to adapt to a variety of situations.

A common practice is to begin a drill with each student armed with two weapons; once the drill is flowing, if a student sees an opportunity to disarm their opponent, they will, but the drill will continue until both students are empty-handed. Some drills for practicing disarms use only a single weapon per pair, and the partners take turns taking it from each other. Seguidas drills taken from San Miguel system, are sets of hitting and movement patterns usually involving stick and dagger.

Rhythm, while an essential part of Eskrima drills, is given more emphasis in the United States and Europe where a regular beat serves a guide for students to follow. To ensure the safety of the participants, most drills are done at a constant pace, which is of course increased as the students progress. The rhythm, together with the added effect of a southern Philippine Muslim attire of a vest and sashed pants, is commonly mistaken to be some sort of tradition when practicing eskrima in the Philippines – perhaps either incorrectly derived and linked to other traditional Filipino rhythm based dances or an attempt to gain some authenticity and ethnicity. Eskrima is usually practiced in the Philippines without a rhythm, off-beat or out of rhythm. Although the art existed long before the Spanish influence, the art is “tagged” with the Spanish name for Fencing (Eskrima).

Because of poverty and to hide their skills, practitioners in the Philippines use their everyday clothes. The more affluent and modernized city practitioners and foreigners practice using their studio uniform, gi or 3/4 length pants, however there is no officially established standardized “uniform”.

Eskrima Attacks and Strikes

Many Filipino systems focus on defending against and/or reacting to angles of attack rather than particular strikes. The theory behind this is that virtually all types of hand-to-hand attacks (barehanded or with a weapon) will hit or reach a combatant via these angles of attack and it is reasoned that it is more efficient to learn to defend against angles of attack rather than particular styles, particular techniques or particular weapons. For instance, the technique for defending against an attack angle that comes overhead from the right is very similar whether the attacker uses barefists, a knife, a sword or a spear.

Older Filipino systems gave each angle a name, but more recent systems tend to simply number them. Many systems have twelve standard angles, though some have as few as 5, and others as many as 72. Although the exact angles, the order in which they are numbered “Numerado” and the manner in which they’re executed vary from system to system, most are based upon Filipino cosmology. These standard angles are used to describe exercises; to aid memorization, a standard series of strikes from these angles called an abecedario (Spanish for “alphabet”) is often practiced.

Some angles of attack and some strikes have characteristic names.

• San Miguel is a forehand strike with the right hand, moving from the striker’s right shoulder toward their left hip. It is named after Saint Michael or the Archangel Michael, who is often depicted holding a sword at this angle. This is the most natural strike for most untrained people. It is also referred to as a “#1,” in 12 systems which employ 5, 12 or multiple angles.
• A redondo (Spanish for “round”) is a strike that whips in a circle to return to its point of origin. Especially useful when using sticks (rather than swords), such a strike allows extremely fast strikes but needs constant practice.
• An abaniko (from the Spanish for “fan”) is a strike executed by whipping the stick around the wrist in a fanning motion. Not very forceful and not well suited to swords, this strike can be very quick and arrive from an unexpected angle.
• Hakbang is a general term for footwork. For example, hakbang paiwas is pivoting footwork, while hakbang tatsulok is triangle stepping.
• Punyo is a strike delivered with the butt of the weapon, usually to a nerve point or other soft spot on the opponent, although not necessarily: in skilled hands, the punyo is often used to shatter bones.

Perhaps because of its recent history as an art of duelists, Eskrima techniques are generally based on the assumption that both the student and their opponent are very highly trained and well prepared. For this reason, Eskrima technique tends to favor extreme caution, always considering the possibility of a failed technique or an unexpected knife.

On the other hand, the practitioner is assumed to be able to strike very precisely and quickly. The general principle is that an opponent’s ability to attack should be destroyed (rather than trying to hurt them to convince them to stop). Thus many strikes are to the hands and arms, hoping to break the hand holding the weapon or cut the nerves or tendons controlling it. Strikes to the eyes and legs are also important.

Chow Ah Naam

The founder of the Chow Gar Praying Mantis martial art was Chow Ah Naam. He had spent many years in the Shaolin Monastery (Sil Lum Jee) harnessing the bodies hidden powers, through the Shaolin secret training drills. These special skills and methods were bestowed upon individuals that showed tremendous martial skill and intuition, and Chow Ah Naam was one of those rare individuals. Because of his incredible skill, the hall of Shaolin was given to him to teach this elite art.

Shock Power

The short range powerful gen movements that he had harnessed easily overcame the other Shaolin arts, and the name praying mantis was given to the system, after seeing a praying mantis insect overcome a blackbird with sudden movements, was reminiscent of Chow Ah Naam’s shock-like power.

Chow Ah Naam to Wong Fook

Chow Ah Naam had been staying in the Shaolin Monastery since he was 10 years old, after being cured of a stomach illness that he had suffered as a young boy. His first job was a cook at Shaolin, and then he started learning the Shaolin Martial arts. His martial skill grew exceptionally and so he was taught the highest Shaolin martial skills from the high monk Sim See Yan, which Chow Ah Naam incorporated into his own system. Of all the monks that Chow Ah Naam taught, it was a monk named Wong Fook Go that became Chows successor.

Wong Fook to Lau Soei

Wong Fook Go later became a traveling monk, it was quite common in those days to spread Buddhism, as well as martial arts. He had went to a place called Wai Yearn village in the area of Tung Kung (East River). Once there he met a young man named Lau Soei. Lau Soei was already an accomplished master of several arts, most notably the Ma Kuen (horse fist). It was said that when he practiced the Ma Kuen, his ponytail that he used to wear in those days, was always in flight. A great story how these two men met and how Lau Soei started learning Chow Gar Praying Mantis kung fu was documented. A challenge was issued by Lau Soei to monk Wong Fook Go, after Wong Fook Go stated that Lau Soeis art merely looked good at a demonstration he had shown. The Challenge took place and Lau Soei lost the bout, however not being satisfied with his first attempt tried again, but still lost. He told Wong Fook Go, that when he was hit it had felt like he was being hit by lightening (shock power). The monk Wong Fook Go explained to him about the Mantis art and its “gen” powers that are trained. It was from here that Lau Soei was convinced about this unique system, he became a student of the monk and was the first non-monk to be trained in the Southern Chow Gar Praying Mantis kung fu. Wong Fook Go taught everything to Lau Soei and years later Lau Soei began teaching at Wai Yearn village.

Lau Soei to Yip Shui

It was nearing the end of the Ching Dynasty that many people moved to Hong Kong. Lau Soei also moved to Hong Kong in 1913. He began teaching this hidden art and taught many people, including Yip Shui, Chu Gung Wa, Tarn Wa etc. But it was Yip Shui that became Lau Soei’s successor to carry on the name Chow Gar Praying Mantis kung fu. Many tried to topple him from this position of being the successor, but Yip Shui defeated them in martial arts contests and truly established his position.

Chow Gar arrives in England

Later, Yip Shui heir to the Chow Gar Praying Mantis system taught his own family members. Later his son Yip Chee Keung came to England in 1974,. Where He taught many people, must notably, Nelson Chui, Steve Apple, Eric Tsang, Paul Whitrod and others. In 1987 Grand-master Yip Shui and Master Yip Chee Keung made a formal visit to the United Kingdom, and honored Paul Whitrod as the UK representative of the Chow Gar Praying Mantis kung fu. He now has students himself teaching this unique system carrying on the traditional methods that have been handed down over the centuries, and what made Chow Gar Praying Mantis kung fu a unique fighting martial arts system.

Mind Body & Kickass Moves – Dit Da & Chow Gar Kung Fu

This video clip shows the late Chow Gar Praying Mantis Grandmaster demonstrating his Chow Gar skills. It is covers grinding arm, dit dar and the drawing up of the testicles.

Ip Shui and Ip Chee Keung

This video shows both Ip Shui and the late Ip Chee Keung demonstrating their iron shirt and the drawing up of the testicles. This practice is no longer taught due to health reasons, but was an important part of the style in the past when kung-fu was learnt for self defence.

Chow Gar forms

There are many different forms in the Chow Gar system, these are some of the one most commonly taught:

• Sarm Bo Jin (3 step arrow)
• Gau Si Mun sau (9 seeking hands)
• Mo Ying Sau Chor Kui (no shadow hand crack the bridge)
• Bo Sim Sau (searching insect hand)
• Gen Tung Gen Sau Lin Wa say (shock power hand)
• Poon loong keok (flying dragon leg)
• Yau Loong Sau (swimming dragon hands)
• Say Mun Sau (four gates hand)
• Bic Saan (lifting mountain)

The Basic Movements of Chow Gar

There are also 36 basic movements consisting of one or 3 moves, these are known as San Sau. they are;

• Bow Chong (cover hand, meaning to wrap up)
• Gau Choi (hammer fist to come down)
• Cye Sau (deflect)
• Doa Sau (spring hand)
• Narp Sau (hook hand)
• Got sau (cut back hand)
• Saw Sau (lock hand)
• Chum Chung sau (sinking elbow hand)
• Yong Sau (upward reach hand)
• Chuen sau (Transmit hand)
• Larp sau (snatch hand)
• Mut sau (sweep hand)
• Kum la Ja Jook (seize and hold hand)
• Kwor sau (circle over hand)
• Yui Sau (Shake off hand)
• Pai Kui (slicing hand)
• Cheet Jeung (cutting palm)
• Lau Sau (Leaking hand)
• Dun Chung (back elbow)
• Ngai Chung (Forward elbow)
• Jin Sau (scissor hand)
• Din sau (rivet hand)
• Soc sau (Shock pulling hand)
• Yong Kum sau (upward breaking hand)
• Yum Yearn Kor Sau (yin yang breaking hand)
• Lim Chung (Elbow picking hand)
• Tai Sau (Pulling Hand)
• Kok Choi (angular fist)
• Man Dan Sau (single bow pulling hand)
• Chup sau (thrusting hand)
• Noi Choi fun sau (inside hand and split)
• Chy Sau (grinding hand)
• Doy Chong ( double arm training)
• Sarm Bo Jin (3 step arrow)

References and Sources

• Visit the Bruce Lee Info Pages for articles on the Kung-fu Legend.
• 5 Elements Martial Arts in Basildon
• Chow Gar Hakka Southern Praying Mantis kung fu UK (official site)
• Chow Gar Praying Mantis Official Site
• Southern Praying Mantis system by Fernando Blanco..
• Find a Kung-fu School

So, what are Shaolin martial arts?

Ever since 1669, when Huang Zongxi first described Chinese martial arts in terms of a Shaolin or “external” school versus a Wudang or “internal” school, “Shaolin” has been used as a synonym for “external” Chinese martial arts regardless of whether or not the particular style in question has any connection to the Shaolin Monastery, especially since 1784, when the Boxing Classic: Essential Boxing Methods made the earliest extant reference to the Shaolin Monastery as Chinese boxing’s place of origin.

Moreover, since the beginning of the 17th century, the Shaolin Monastery has been famous enough that martial artists have capitalized on its name by claiming possession of the original, authentic Shaolin teachings.

Shaolin Kung Fu in the Tang Dynasty (618–907)

The oldest evidence of Shaolin participation in combat is a stele from 728 that attests to two occasions: a defense of the monastery from bandits around 610 and their role in the defeat of Wang Shichong at the Battle of Hulao in 621.

Like most dynastic changes, the end of the Sui Dynasty was a time of upheaval and contention for the throne. Wang Shichong declared himself Emperor. He controlled the territory of Zheng and the ancient capital of Luoyang.

Overlooking Luoyang on Mount Huanyuan was the Cypress Valley Estate, which had served as the site of a fort during the Jin and a commandery during the Southern Qi. Sui Emperor Wen had bestowed the estate on a nearby monastery called Shaolin for its monks to farm but Wang Shichong, realizing its strategic value, seized the estate and there placed troops and a signal tower, as well as establishing a prefecture called Yuanzhou. Furthermore, he had assembled an army at Luoyang to march on the Shaolin Temple itself.

The monks of Shaolin allied with Wang’s enemy, Li Shimin, and took back the Cypress Valley Estate, defeating Wang’s troops and capturing his nephew Renze.

Without the fort at Cypress Valley, there was nothing to keep Li Shimin from marching on Luoyang after his defeat of Wang’s ally Dou Jiande at the Battle of Hulao, forcing Wang Shichong to surrender.

Li Shimin’s father was the first Tang Emperor and Shimin himself became its second. Thereafter Shaolin enjoyed the royal patronage of the Tang.

Though the Shaolin Monastery Stele of 728 attests to these incidents in 610 and 621 when the monks engaged in combat, note that it does not allude to martial training in the monastery, or to any fighting technique in which its monks specialized. Nor do any other sources from the Tang, Song and Yuan periods allude to military training at the temple, so even if it is possible or even likely that the Shaolin monastic regimen included martial arts, there is no documentation of it. According to Meir Shahar, this is explained by a confluence of the late-Ming fashion for military encyclopedias and, more importantly, the conscription of civilian irregulars—including monks—as a result of Ming military decline in the 16th century.

Shaolin Kung Fu in the Ming Dynasty (1368–1644)

From the 8th to the 15th centuries, no extant source documents Shaolin participation in combat; then suddenly, the 16th and 17th centuries see at least forty extant sources attest that, not only did monks of Shaolin practice martial arts, but martial practice had become such an integral element of Shaolin monastic life that the monks felt the need to justify it by creating new Buddhist lore. References to Shaolin martial arts appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and even poetry.

These sources, in contrast to those from the Tang period, refer to Shaolin methods of combat unarmed, with the spear, and with the weapon that was the forte of the Shaolin monks and for which they had become famous—the staff.

By the mid-16th century military experts from all over Ming China were travelling to Shaolin to study its fighting techniques.

Around 1560 Yú Dàyóu travelled to Shaolin Monastery to see for himself its monks’ fighting techniques, but found them disappointing. Yú returned to the south with two monks, Zongqing and Pucong, whom he taught the use of the staff over the next three years, after which Zongqing and Pucong returned to Shaolin Monastery and taught their brother monks what they had learned. Martial arts historian Tang Hao traced the Shaolin staff style Five Tigers Interception to Yú’s teachings.

The earliest extant manual on Shaolin Kung Fu, the Exposition of the Original Shaolin Staff Method was written around 1610 and published in 1621 from what its author Chéng Zōngyóu learned during a more than ten year stay at the monastery.

Conditions of lawlessness in Henan—where the Shaolin Monastery is located—and surrounding provinces during the late Ming Dynasty and all of the Qing Dynasty contributed to the development of martial arts. Meir Shahar lists the martial arts T’ai Chi Ch’üan, Chang Family Boxing, Bāguàquán, Xíngyìquán and Bājíquán as originating from this region and this time period.

Shaolin Kung Fu versus the Pirates

In the 1540s and 1550s, pirates known as wokou raided China’s eastern and southeastern coasts on an unprecedented scale. The geographer Zheng Ruoceng provides the most detailed of the 16th century sources which confirm that, in 1553, Wan Biao, Vice Commissioner in Chief of the Nanjing Chief Military Commission, initiated the conscription of monks—including some from Shaolin—against the pirates.

Warrior monks participated in at least four battles: at the Gulf of Hangzhou in spring of 1553 and in the Huangpu River delta at Wengjiagang in July 1553, Majiabang in spring of 1554, and Taozhai in autumn of 1555.

The monks suffered their greatest defeat at Taozhai, where four of them fell in battle; their remains were buried under the Stūpa of the Four Heroic Monks (Si yi seng ta) at Mount She near Shanghai.

The monks won their greatest victory at Wengjiagang. On 21 July 1553, 120 warrior monks led by the Shaolin monk Tianyuan defeated a group of pirates and chased the survivors over ten days and twenty miles. The pirates suffered over one hundred casualties and the monks, only four.

Not all of the monks who fought at Wengjiagang were from Shaolin, and rivalries developed among them. Zheng chronicles Tianyuan’s defeat of eight rival monks from Hangzhou who challenged his command. Zheng ranked Shaolin first of the top three Buddhist centers of martial arts.

Shaolin is still referenced in many martial arts today, even those that have developed outside of China. For example Shaolin Hung Kuen was taken to and developed in Malaysia. The Shaolin monks are still going strong and now often tour with the amazing acrobatic shows.

Dave Batista Weight Training Workout

A short clip, which simply highlights that to get big like Batista, you have to lift a lot of heavy weights. Go for the big compound moves. Check out our strength training section for more.

Dave Batista Martial Arts Workout

Batista knife fighting and kick-boxing with trainer Marrese Crump.

Spirit of Aikido

The word aikido is formed of three Japanese characters,

• 合 – ai – Harmony, unity; to be in accord with or to join.
• 氣 – ki – Spirit; Life force or universal creative energy.
• 道 – dō – The way or the path.

The techniques of aikido can, when applied judiciously, divert or immobilize rather than damage or kill. As a result, some consider aikido to be a practical symbol of meeting aggression (physical, verbal, etc.) with an effective but merciful response, and finding harmony in conflict. Ueshiba declared, “To control aggression without inflicting injury is the Art of Peace.”

Martial studies of aikido’s founder

Aikido was created by Morihei Ueshiba (植芝 盛平 Ueshiba Morihei, 14 December 1883–26 April 1969), also known by aikido practitioners as Ōsensei (“Great Teacher”). Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied. The core martial art from which aikido derives is Daitō-ryū aiki-jūjutsu, which Ueshiba studied directly with Takeda Sokaku (武田 惣角 Takeda Sōkaku, 1859–1943), the revivor of that art.

The art of Daitō-ryū is the primary technical influence upon aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the yari (spear), jō (a short quarterstaff), juken (bayonet) and most notably kenjutsu. Aikido practitioners move as ‘empty-handed swordsmen’.

Philosophical and political developments

After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi (Deguchi Ōnisaburo, 1871–1948), the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe. Significantly, one of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one’s life. This is the primary influence upon Ueshiba’s martial philosophy of love and compassion, especially for those who seek to harm others. Aikido demonstrates this philosophy in its emphasis upon mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.

In addition to the effect on his spiritual growth, the connection with Deguchi was to have a major effect in introducing Ueshiba to various elite political and military circles as a martial artist. As a result of this exposure he was able to attract not only financial backing but also gifted students in their own right. Several of these students went on to found their own styles of aikido (see infra, Styles).

The international dissemination of aikido

Aikido was first brought to the West in 1951 by Minoru Mochizuki (望月 稔 Mōchizuki Minoru, 1907–2003) with a visit to France where he introduced aikido techniques to judo students. He was followed by Tadashi Abe (阿部 正 Abe Tadashi, 1926–1984) in 1952 who came as the official Aikikai Honbu representative, remaining in France for seven years. Kenji Tomiki (富木 謙治 Tomiki Kenji, 1900–1979) toured with a delegation of various martial arts through fifteen continental states of the United States in 1953. Subsequently in that year, Koichi Tohei (藤平 光一 Tōhei Kōichi, born 1920) was sent by Aikikai Honbu to Hawaii, for a full year, where he set up several dojo. This was backed up by several further visits and is thus considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Germany and Australia in 1965. Today there are many aikido dojo available to train at throughout the world.

Technique

Aikido training is based primarily on two person kata rather than randori. Uke, the receiver of the technique, usually initiates an attack against nage (also referred to as tori or shite depending on aikido style), who neutralises this attack with an aikido technique.

Some common techniques and their Aikikai terminology:

• Ikkyō- (first technique) a control using one hand on the elbow and one on near the wrist which leverages uke to the ground. This grip also applies pressure into the ulnar nerve on the medial side of the arm.
• Nikyō- (second technique) an adductive wristlock that torques the arm and applies painful nerve pressure.
• Sankyō- (third technique) a pronating technique that directs upward-spiraling tension throughout the arm, elbow and shoulder.
• Yonkyō- (fourth technique) a shoulder control similar to ikkyō (see illustration), but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient’s radial nerve against the periosteum of the forearm bone.
• Gokyō- (fifth technique) a variant of ikkyō in which the hand gripping the wrist is inverted. Common in tanto and other weapon take-aways.
• Shihōnage- (four-direction throw) The hand is folded back past the shoulder, locking the shoulder joint.
• Kotegaeshi- (wrist return) a supinating wristlock-throw that stretches the extensor digitorum.
• Kokyūnage- (breath throw) a term for various types of flowing “timing throws”.
• Iriminage- (entering-body throw) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a “clothesline” technique.
• Tenchinage- (heaven-and-earth throw) From uke grabbing both wrists of nage. Moving forward, nage sweeps one hand low (“earth”) and the other high (“heaven”), which unbalances uke so that he or she easily topples over.
• Koshinage- (hip throw) aikido’s version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.
• Jūjinage- (shaped-like-’ten’-throw) a throw that locks the arms against each other. (The kanji for “10″ is a cross-shape.)
• Kaitennage- (rotation throw) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.

Aikido makes use of tai sabaki, or body movement, to blend with uke. An irimi (entering-body) style technique consists of movements inward towards uke, while tenkan (turning) style uses a pivoting motion. An uchi (“inside”) technique takes place in front of uke, whereas a soto (“outside”) technique takes place to his side; an omote technique is applied in front, whereas an ura version is applied using a turning motion; and most techniques can be performed while in seiza (seated). (Seated techniques are called suwari-waza.)

Thus, from less than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps an ura-waza type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula “attack-technique(-modifier)”. For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote(-waza), referring to any forward-moving ikkyō technique from that grab.

Atemi

Atemi are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against “vital points” meant to cause damage in and of themselves. For instance, Gozo Shioda (塩田 剛三 Shioda Gōzō, 1915–1994) described using atemi in a brawl to quickly down a gang’s leader. Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw.

Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.

Aikido Attacks

Students will learn the various attacks from which an aikido technique can be practiced. Although attacks aren’t studied as thoroughly as in striking-based arts, honest attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.

Aikido Strikes

The ‘uchi’ strikes of aikido are often said to resemble blows from a sword or other grasped object, which may suggest origins in techniques intended for armed combat. Kicks are generally reserved for upper-level variations: reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.

• Shōmen’uchi- (front-face-strike) a vertical knife-hand strike to the head.
• Yokomen’uchi- (side-face-strike) a diagonal knife-hand strike to the side of the head or neck.
• Mune-tsuki (or chūdan-tsuki)- (chest-thrust) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus.
• Ganmen-tsuki (or jōdan-tsuki)- (face-thrust) a punch to the face.

Aikido Grabs

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the grabbing person.

The kata- (single-) prefixed forms are listed below. The prefix ryō- indicates “both” instead; e.g., katate-dori (single-hand-grab) becomes ryōte-dori (both-hands-grab). (Note: another kanji, 肩, also pronounced kata, means “shoulder”, which may lead to some confusion.) Common variants include mochi instead of dori.

• Katate-dori- (single-hand-grab) one hand grabs one wrist.
• Morote-dori- (both-hands-grab) both hands grab one wrist.
• Ryōte-dori- (both-hands-grab) both hands grab both wrists. (sometimes called ryōkatate-dori)
• Kata-dori- (shoulder-grab) a shoulder grab. (both-shoulders-grab is ryōkata-dori)
• Mune-dori- (chest-grab) grabbing the (clothing of the) chest.

Ukemi

Ukemi (lit. “receiving-body”), is a martial arts term for protective techniques, such as parries or safe falls. One of the first skills taught to beginning students of aikido is how to land when thrown so as to avoid injury. Familiarity with different types of breakfalls allows sincere execution of techniques that could otherwise be prohibitively dangerous. In applying the technique, it is the responsibility of nage to prevent injury to uke by employing a speed and force of application that commensurate with their partner’s proficiency in ukemi.

Aikido Kata

Both halves of the technique, that of uke and that of nage, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation, applied from different sides of the technique. Nage learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which nage places them. (This “receiving” of the technique is called ukemi.) Uke continuously seeks to regain balance and cover vulnerabilities (e.g. an exposed side), while nage uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply kaeshi-waza (“reversal techniques”) to regain their balance and pin or throw nage.

Aikido Randori

One feature of aikido is training for multiple attackers. Randori, or jiyūwaza (freestyle) practice done with multiple attackers, is a key part of most curriculae and is required for the higher level ranks. Randori exercises a person’s ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based upon how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.

Shodokan Aikido randori differs in that it is not done with multiple persons, with defined roles of defender and attacker, but between two people with both participants able to attack, defend and resist at will. In this respect it resembles judo randori.

Aikido Weapons

Weapons training in aikido traditionally includes wooden jō (short staff), bokken (wooden katana), and tantō (knife). Today some schools now incorporate firearms-disarming techniques. Bokken and jō skills in particular are generally practised under the names aiki-ken, and aiki-jō, respectively. Both weapon-taking and weapon-retention are sometimes taught, to integrate armed and unarmed aspects. Some schools of aikido do not train with weapons at all while others, such as the so-called Iwama style of Morihiro Saito (斉藤 守弘 Saitō Morihiro, 1928–2002), usually spend substantial time with bokken, jō, and tantō. The founder developed much of empty handed aikido from traditional sword and staff movements so practice of these movements gives both insight into the origin of techniques and movements, and vital practice of these basic building blocks.

Aikido Body Training

Physical training goals pursued in conjunction with aikido include relaxation, flexibility, and endurance, with less emphasis on weightlifting-style strength. In aikido technique, pushing or extending movements are much more common than pulling or contracting movements, and this distinction can be applied to general fitness goals as well.

Some fitness activities, for example weight-lifting, emphasize contractionary power, in which specific muscles or muscle groups are isolated and worked to improve tone, mass, and power. Aikido-related training instead emphasizes the use of coordinated whole-body movement and balance, more similar to something like yoga or pilates. For example, many dojo start class with stretching and breakfalls; this warmup is referred to as junbi taisō (準備体操:じゅんびたいそう, junbi taisō?).

Aikido Mind Training

Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. This is necessary in order to enable the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness. Morihei Ueshiba once remarked that one “must be willing to receive 99% of an opponent’s attack and stare death in the face” in order to execute technique. As a martial art concerned not only with fighting proficiency but also with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.

Aikido Styles

The major styles of aikido each have their own honbu dojo in Japan, have an international breadth, and were founded by direct students of Morihei Ueshiba. Although there has been an explosion of “independent styles” generally only the first six listed are considered major.

• Aikikai is the largest aikido organisation, and is led by the family of the founder, currently Moriteru Ueshiba (植芝 守央 Ueshiba Moriteru, born 1951). It contains many affiliated and sub-organizations.
• Yoshinkan, founded by Gozo Shioda, has a reputation for being the most rigidly precise.
• Yoseikan was founded by Minoru Mochizuki, who was an early student of Morihei Ueshiba and also of Kano Jigoro (嘉納 治五郎 Kanō Jigorō, 1860–1938), the founder of judo.
• Shodokan Aikido, founded by Kenji Tomiki, uses sparring and rule based competition in training, which most other aikido styles do not.
• The Ki Society, founded by Koichi Tohei, emphasizes soft flowing techniques and has a special program for developing ki.
• Iwama style emphasizes the relationship between weapon techniques and barehand techniques.
• Shin’ei Taido; founded by Noriaki Inoue (井上 鑑昭 Inoue Noriaki, 1902–1994), a nephew of Morihei Ueshiba.
• Yoshokai; founded by Takashi Kushida (串田 誉司 Kushida Takashi, born 1935), a senior instructor of Yoshinkan aikido.
• Tendo-ryū Aikido; headed by Kenji Shimizu (清水 健二 Shimizu Kenji, born 1940).
• Shin Budo Kai; headed by Shizuo Imaizumi (今泉 鎮雄 Imaizumi Shizuo, born 1938).
• Kokikai Aikido; founded in 1986 by Shuji Maruyama (Maruyuma Shuji, born 1940).
• Seidokan; founded by Roderick Kobayashi (1932–1995).
• Nippon Kan; headed by Gaku Homma (本間 学 Homma Gaku, born 1950).
• The Takemusu Aiki Tomita Academy, or Academy for the development of Takemusu Aiki, was founded in 1992 by Takeji Tomita (富田 武治 Tomita Takeji, born 1942).
• Aiki Manseido, headed by Kanshu Sunadomari (砂泊扶 カン秀 Sunadomari Kanshu, born 1923), is an independent style centred in Kyūshū, Japan.
• Fugakukai International Association has roots in the Shodokan style, but without the competition element.

The above styles can trace their lineage through senior students back to the founder of aikido, Morihei Ueshiba. Two further well known martial arts use the name aikido but do not have this direct connection. They are Korindo Aikido founded by Minoru Hirai (平井 稔 Hirai Minoru, 1903–1998) and Nihon Goshin Aikido founded by Shodo Morita (Morita Shodo, fl. c.1930s–1962). These schools, with some historical justification, suggest that the name aikido is not the exclusive domain of arts derived from the teachings of Morihei Ueshiba.