The eternal question: Part III
Tue, Dec 27 2011 08:56
| krav maga, MMA, martial arts, sambo, www.amaclub.org.uk, Wing Tsun Kung fu, martial arts Altrincham, Japanese martial arts, systema
| Permalink
In parts one and two of this mini-saga cum blog post I have discussed the various aspects of how valid any given martial art is to practice and pursue. Of course all arts have their wheres and what for’s when it comes to what they do, however my perspective is heavily coloured by my main art Wing Tsun.
Previously discussed have been the common anxieties over the validity of the art, the transmission of it from teacher to student and the context of the training room, street and competitive arenas in which one might use their hard won skills. Today however I want to add the third common perspective on applying your art and that’s the use of it by the military and police forces around the world.
Martial arts tend to fall into the “sport” and “practical” camps broadly speaking the taboo really being over the deadly aspects of specific techniques being the main distraction for many who forget one can die in the ring just as easily as a “practical” practitioner may or may not choose to kill someone else in a given fight.
However there is a strong following amongst martial artists on forums and beneath YouTube videos that reveal a slightly bizarre almost political bent towards a specific cluster of martial arts devised and used by various military forces. This is reflected in the marketing devices of “new” to the high street arts such as Krav Maga and to a lesser extent Systema/Sambo of Russia. Throw in recent references and uses in Hollywood blockbusters, and it’s easy to understand the explosion of these arts.
But on these forums you will see arguments about the SEALs (USA navy) vs. the Spetsnatz littered throughout relevant and often irrelevant discussions on learning and practising any given art. It usually centres upon a childish desire similar to who would win a fight – Batman or Superman? The desire to don combat pants instead of rash guards is not always an invalid one, far from it. However as you will see from the monster thread below (wading through it is not necessary) there are loaded assumptions with opting for a ‘military’ outlook on your training.
http://www.martialartsplanet.com/forums/showthread.php?t=102789
The art you choose often defines you for other people and the sort of people attracted to an art can be subject plenty of labels and assumptions. Military arts if you like, are no different. Often some may worry about an unhealthy obsession with the constant onus on death, destruction and weaponry but to be honest these arts no different to Japanese arts with their roots in feudal society or the monastic roots of Chinese Kung Fu. It’s simply that the AK47 s the mechanised equivalent of the katana et al.
One thing WT emphasises is its creation as an art for the little person to overcome the much bigger, stronger more aggressive foe. What the military has however is a minimum requirement of physical fitness before you can join, likewise this is a point rarely mentioned or glossed over by many people. It weakens somewhat the position of “well the army use it” type of thinking.
What can be said however is that the WT masters have visited and trained many units all over the world including in Europe and India as well as across Asia. The famous Krav was largely kept to Israel thanks to its newness. Likewise the Russians have been using Sambo since its inception taken from Japanese arts on a large scale since the 1940s the real question is what these arts were used for. Only since the end of Communism and the cultural mixing with Russia has its martial arts had much western scrutiny after nearly a century in isolation.
Above is one version of Wing Tsun being framed in a military context. The problems with these kind of demonstrations are fairly self-evident as the notion of "real" runs in opposition to staging something.
The Japanese arts were very relevant to military power centuries ago whilst the Russians and Israelis had very specific needs and demands in new and different environment thanks largely to the mechanisation and use of guns which consigned the Samurai to the history books. If people bear this in mind it’s easy to see that validity is really what you make of it. Many martial arts historians are often keen to note that medieval Europe had techniques that “look a lot like Jiu Jitsu” or that the Victorians practised a version of Jitsu utilising their canes and knives etc. Does this mean Jitsu is not a Japanese invention by approximation of British fight culture? No, probably not. Does it mean that universal truth to facing an armed attacker when unarmed is quite similar? I’d say so.
The historical and cultural connotations of your art should never be ignored but they should frame it not place it in a cage. The fundamentals of disarming an attacking should be relatively universal. It is not for us to question why the Filipinos use sticks almost exclusively and as a base for all of their better known fighting arts. What we should do is consider the skills this gives the practitioner and how useful they are in everyday life. After all it is incredibly recently where society didn’t dictate the need to be armed, and the likelihood of using and facing weapons on an everyday level.
This is really what you need to consider again, it’s not what your art can do for you but what can you do with your art? What truths have been exposed as fraudulent or left to antiquity and what will always remain useful to anyone willing or needing to fight?
Research and reading help you place your questions and concerns. Training whatever and wherever it may be should answer them.
The eternal question: Part 1
The eternal question: part 2
Previously discussed have been the common anxieties over the validity of the art, the transmission of it from teacher to student and the context of the training room, street and competitive arenas in which one might use their hard won skills. Today however I want to add the third common perspective on applying your art and that’s the use of it by the military and police forces around the world.
Martial arts tend to fall into the “sport” and “practical” camps broadly speaking the taboo really being over the deadly aspects of specific techniques being the main distraction for many who forget one can die in the ring just as easily as a “practical” practitioner may or may not choose to kill someone else in a given fight.
However there is a strong following amongst martial artists on forums and beneath YouTube videos that reveal a slightly bizarre almost political bent towards a specific cluster of martial arts devised and used by various military forces. This is reflected in the marketing devices of “new” to the high street arts such as Krav Maga and to a lesser extent Systema/Sambo of Russia. Throw in recent references and uses in Hollywood blockbusters, and it’s easy to understand the explosion of these arts.
But on these forums you will see arguments about the SEALs (USA navy) vs. the Spetsnatz littered throughout relevant and often irrelevant discussions on learning and practising any given art. It usually centres upon a childish desire similar to who would win a fight – Batman or Superman? The desire to don combat pants instead of rash guards is not always an invalid one, far from it. However as you will see from the monster thread below (wading through it is not necessary) there are loaded assumptions with opting for a ‘military’ outlook on your training.
http://www.martialartsplanet.com/forums/showthread.php?t=102789
The art you choose often defines you for other people and the sort of people attracted to an art can be subject plenty of labels and assumptions. Military arts if you like, are no different. Often some may worry about an unhealthy obsession with the constant onus on death, destruction and weaponry but to be honest these arts no different to Japanese arts with their roots in feudal society or the monastic roots of Chinese Kung Fu. It’s simply that the AK47 s the mechanised equivalent of the katana et al.
One thing WT emphasises is its creation as an art for the little person to overcome the much bigger, stronger more aggressive foe. What the military has however is a minimum requirement of physical fitness before you can join, likewise this is a point rarely mentioned or glossed over by many people. It weakens somewhat the position of “well the army use it” type of thinking.
What can be said however is that the WT masters have visited and trained many units all over the world including in Europe and India as well as across Asia. The famous Krav was largely kept to Israel thanks to its newness. Likewise the Russians have been using Sambo since its inception taken from Japanese arts on a large scale since the 1940s the real question is what these arts were used for. Only since the end of Communism and the cultural mixing with Russia has its martial arts had much western scrutiny after nearly a century in isolation.
Above is one version of Wing Tsun being framed in a military context. The problems with these kind of demonstrations are fairly self-evident as the notion of "real" runs in opposition to staging something.
The Japanese arts were very relevant to military power centuries ago whilst the Russians and Israelis had very specific needs and demands in new and different environment thanks largely to the mechanisation and use of guns which consigned the Samurai to the history books. If people bear this in mind it’s easy to see that validity is really what you make of it. Many martial arts historians are often keen to note that medieval Europe had techniques that “look a lot like Jiu Jitsu” or that the Victorians practised a version of Jitsu utilising their canes and knives etc. Does this mean Jitsu is not a Japanese invention by approximation of British fight culture? No, probably not. Does it mean that universal truth to facing an armed attacker when unarmed is quite similar? I’d say so.
The historical and cultural connotations of your art should never be ignored but they should frame it not place it in a cage. The fundamentals of disarming an attacking should be relatively universal. It is not for us to question why the Filipinos use sticks almost exclusively and as a base for all of their better known fighting arts. What we should do is consider the skills this gives the practitioner and how useful they are in everyday life. After all it is incredibly recently where society didn’t dictate the need to be armed, and the likelihood of using and facing weapons on an everyday level.
This is really what you need to consider again, it’s not what your art can do for you but what can you do with your art? What truths have been exposed as fraudulent or left to antiquity and what will always remain useful to anyone willing or needing to fight?
Research and reading help you place your questions and concerns. Training whatever and wherever it may be should answer them.
The eternal question: Part 1
The eternal question: part 2
The eternal question: Part II
Thu, Dec 22 2011 10:48
| MMA, bjj, martial arts, muay thai, www.amaclub.org.uk, EWTO, martial arts Altrincham, Bruce Lee, kickboxing, self defence
| Permalink
Yesterday I wrote about the eternal dilemma of your martial arts “working” – a topic as grand and broad as this deserves more than a simple post. Those of you who read part one will know my views on the art being only a small part of the equation. Today I want to talk about the pitfalls and the benefits of cross-training.
Cross-training doesn’t refer to the gym machine of the same name but actually training in different arts, styles and more importantly ranges. Wing Tsun’s most famous son is undoubtedly Bruce Lee. Lee was famous for many things but his most appealing influence was his approach to breaking down barriers. Cultural and stylistically he did his best to ask questions and answer them. This was an admirable and brave decision given the cultural context of studying martial arts in 1970s Hong Kong.
Martial arts are riddled with egos, paranoia and mistrust towards not just other arts but other lineages within their own art. It is a sad, but somewhat understandable frailty of human nature.
Myself, having trained with various masters in different arts I like to think I’ve never shied away from facing up to the limitations of what I know and what I can do. Lead by my interests I have always complimented my Wing Tsun base with striking arts such as Muay Thai and Kickboxing – partly due to my physique being suited to them, partly because I simply really enjoy the contrast of pad-work and exercise with the methodical approach of WT, and partly because I wanted to see what these “simpler” arts have and do not have.
The answers were always enlightening. With a ‘white belt’ mentality I always try to approach a new training environment as best I can. I recommend this approach where possible. Throw away all you “know” whilst training and reassemble the pieces later in your own time. The big fear for people is that no longer being the top dog or even someone of average proficiency in the room can destroy all confidence. Being wailed on by guys with less overall experience but many more hours in your new art is a hurdle you must jump if you want to take away more than just bruises and worry.
I am always very impressed when a new recruit joins AMAC with this attitude, especially if they stay for any length of time. Therefore I try to embody this myself. But with this in mind what can another art be of benefit does it not simply distract and detract from time put in perfecting your primary skill set?
Yes and no.
For me it’s about satisfying my own curiosity. How can I as a teacher talk about other arts having never stepped into their world? I’ve seen it done suddenly often and respect for those martial artists is hard to come by. Secondly how can I say with any confidence that WT’s way is better? By training other things it helps me think about gaps in my own knowledge, faults in my own technique and lastly developing a greater understanding of my own body and how I use it.
This is crucial to the ideas I discussed in part one. The art I have studied changes as time goes by not just in content but in difficulty level too. Sometimes it gets harder, sometimes easier, by constantly appraising how effectively I can move and can learn new techniques allows me to use this knowledge when assessing whether my tan sau is as effective as it should be – it allows me to draw on a greater depth of knowledge knowing that other arts differ or concur with our way of thinking in WT.
This is important when trying new things out. Competition in martial sport springs immediately to mind. WT is well known for not fostering a culture or interest in competing. This is obviously down to the style and concepts behind WT being about disarming and maiming an assailant running at odds with the rules and nature of a sporting bout. While the MMA revolution may have made household names of various fighters and previously “unknown arts” such as Brazilian Jiu Jitsu and woke martial artists up to the possibilities and the panic of the ground game.
Even when I began training WT years ago the idea of fighting on the floor was snorted at derisively more often than not. Now it’s seen as an essential element for everyone. When one thinks about self defence though, the idea of rolling on concrete in the early hours of the morning as part of a self defence scenario seems somewhat ridiculous as well as dangerous. This is the main problem which causes so much angst.
Training should always be fit for purpose, if it doesn’t work, throw it away. If your experience and expectations are one of solely self defence, being king/queen of the triangles and chokes should be fairly way down the list. If like me you just love getting sweaty and up close and personal, they can become a fun and interesting exercise in the “what if” syndrome – mortal enemy of the “I don’t need” disease mentioned in part one.
People like to train in their comfort zone and as someone who loves and feel comfortable as a “striker” kicking and punching opponents until I can swarm all over them is my MO I feel the need to confess I don’t like the floor. It’s good for standing on and handy for bouncing other people off, but being down there isn’t for someone with long skinny monkey limbs like me. That’s why when the opportunity arises I get down there as quick and for as long as I can.
I know I can punch and kick – improving those is a simple case of reps now. I know my chi sau needs work, so I roll as much as I can. I know my form is always in need of polishing so I do that in my own time. But when there is floor space and a willing partner, ground-fighting is top of my list, because it’s still a whole new world to me.
So the next part of answering the eternal question is to ask you another one: what am I scared of doing in the training room? Go ahead and answer it in 2012.
Cross-training doesn’t refer to the gym machine of the same name but actually training in different arts, styles and more importantly ranges. Wing Tsun’s most famous son is undoubtedly Bruce Lee. Lee was famous for many things but his most appealing influence was his approach to breaking down barriers. Cultural and stylistically he did his best to ask questions and answer them. This was an admirable and brave decision given the cultural context of studying martial arts in 1970s Hong Kong.
Martial arts are riddled with egos, paranoia and mistrust towards not just other arts but other lineages within their own art. It is a sad, but somewhat understandable frailty of human nature.
Myself, having trained with various masters in different arts I like to think I’ve never shied away from facing up to the limitations of what I know and what I can do. Lead by my interests I have always complimented my Wing Tsun base with striking arts such as Muay Thai and Kickboxing – partly due to my physique being suited to them, partly because I simply really enjoy the contrast of pad-work and exercise with the methodical approach of WT, and partly because I wanted to see what these “simpler” arts have and do not have.
The answers were always enlightening. With a ‘white belt’ mentality I always try to approach a new training environment as best I can. I recommend this approach where possible. Throw away all you “know” whilst training and reassemble the pieces later in your own time. The big fear for people is that no longer being the top dog or even someone of average proficiency in the room can destroy all confidence. Being wailed on by guys with less overall experience but many more hours in your new art is a hurdle you must jump if you want to take away more than just bruises and worry.
I am always very impressed when a new recruit joins AMAC with this attitude, especially if they stay for any length of time. Therefore I try to embody this myself. But with this in mind what can another art be of benefit does it not simply distract and detract from time put in perfecting your primary skill set?
Yes and no.
For me it’s about satisfying my own curiosity. How can I as a teacher talk about other arts having never stepped into their world? I’ve seen it done suddenly often and respect for those martial artists is hard to come by. Secondly how can I say with any confidence that WT’s way is better? By training other things it helps me think about gaps in my own knowledge, faults in my own technique and lastly developing a greater understanding of my own body and how I use it.
This is crucial to the ideas I discussed in part one. The art I have studied changes as time goes by not just in content but in difficulty level too. Sometimes it gets harder, sometimes easier, by constantly appraising how effectively I can move and can learn new techniques allows me to use this knowledge when assessing whether my tan sau is as effective as it should be – it allows me to draw on a greater depth of knowledge knowing that other arts differ or concur with our way of thinking in WT.
This is important when trying new things out. Competition in martial sport springs immediately to mind. WT is well known for not fostering a culture or interest in competing. This is obviously down to the style and concepts behind WT being about disarming and maiming an assailant running at odds with the rules and nature of a sporting bout. While the MMA revolution may have made household names of various fighters and previously “unknown arts” such as Brazilian Jiu Jitsu and woke martial artists up to the possibilities and the panic of the ground game.
Even when I began training WT years ago the idea of fighting on the floor was snorted at derisively more often than not. Now it’s seen as an essential element for everyone. When one thinks about self defence though, the idea of rolling on concrete in the early hours of the morning as part of a self defence scenario seems somewhat ridiculous as well as dangerous. This is the main problem which causes so much angst.
Training should always be fit for purpose, if it doesn’t work, throw it away. If your experience and expectations are one of solely self defence, being king/queen of the triangles and chokes should be fairly way down the list. If like me you just love getting sweaty and up close and personal, they can become a fun and interesting exercise in the “what if” syndrome – mortal enemy of the “I don’t need” disease mentioned in part one.
People like to train in their comfort zone and as someone who loves and feel comfortable as a “striker” kicking and punching opponents until I can swarm all over them is my MO I feel the need to confess I don’t like the floor. It’s good for standing on and handy for bouncing other people off, but being down there isn’t for someone with long skinny monkey limbs like me. That’s why when the opportunity arises I get down there as quick and for as long as I can.
I know I can punch and kick – improving those is a simple case of reps now. I know my chi sau needs work, so I roll as much as I can. I know my form is always in need of polishing so I do that in my own time. But when there is floor space and a willing partner, ground-fighting is top of my list, because it’s still a whole new world to me.
So the next part of answering the eternal question is to ask you another one: what am I scared of doing in the training room? Go ahead and answer it in 2012.
A simple workout
Sat, Nov 26 2011 02:42
| stamina, sport, health, fighters, strength, stretching, MMA, martial arts, power, cardio, weightlifting, exercise, Wing Tsun Kung fu, fitness, flexibility, martial arts Altrincham, sparring, conditioning
| Permalink
I've been already toying with my January ritual of getting back into shape and healthy. It seems another year older, another year wiser, another year of good intentions.
I'm the first to admit my willpower and discipline when it comes to diet, exercise and tipping myself that extra 5% or so into being more athletic. The demands of martial arts are sometimes a heavy burden - especially if you let them be. However as a teacher, as somone who practices more than just casually it is perhaps reaosnable that I should set by example.
With this in mind I've been reinventing the wheel so to speak. None of these exercises are particularly complicated, fancy or specific. They are however demanding, effective and designed to promote muscle growth, fat loss and improved performance.
The first concept relates to what. What should I work? The answer as always is as much as possible. Big muscles groups utilising as many joints as possible.
By dividing the body in half to upper and lower, and then in half again to front and back I am able to isolate large muscle groups to focus on each set and rotate them to avoid muscle fatigue and lactic acid build up.
The principle of alternating the upper body one set with the lower body the next, combined with alternating front of body exercies with the back of body exercises means you only have to choose four exercises and the order is dictated by the first one you choose.
The next answer is how much? My response depends on your own aims and preference on volume. For me the German system of 10x10 sets x reps and my preference of using light/body weight is ideal. This can be played with though if you want to bulk up; drop the numbers and increase the weight. If you want to up endurance and leaness up the numbers and drop the weight (ideally bodyweight only).
Here's a guidline to one 8 week rotation: I use a 12kg Kettlebell, a 40lb resistance cable and my own bodyweight.
Day 1:
Lower back: Clean and Press with KB swing (5 Left and 5 Right)
Upper Front: Press Ups
Lower Front: Sumo Squats (KB in upturned grip)
Upper Back: Lat Pull Downs
Day 2:
5 x 2min rounds of shadowboxing
30 seconds rest
Day 3:
Lower Back: Sprawl and tuck jump
Upper Front: Press Ups
Lower Front: Kettlebell Lunges (5 Left 5 Right)
Upper Back: Bent Over Rows
Day 4: Rest
Day 5:
Lower Back: One Arm Deadlift (5 Left 5 Right)
Upper Front: Crusher Bicep Curls (press the palms into the bell of the KB and curl)
Lower Front: Hindu Squats
Upper Back: Tricep Pull Downs
Day 6 & 7: Rest
Start each workout with a light cardio set to raise the pulse - finish with an all over set of stretching.
If an exercise is too difficult, painful STOP! If you can't finish your sets without puking/wanting to puke/decent form STOP! Don't do long term harm learn what your body can do and respond to it.
Let me know what you think. Where improvements can be made. What you'd change.
Happy training!
I'm the first to admit my willpower and discipline when it comes to diet, exercise and tipping myself that extra 5% or so into being more athletic. The demands of martial arts are sometimes a heavy burden - especially if you let them be. However as a teacher, as somone who practices more than just casually it is perhaps reaosnable that I should set by example.
With this in mind I've been reinventing the wheel so to speak. None of these exercises are particularly complicated, fancy or specific. They are however demanding, effective and designed to promote muscle growth, fat loss and improved performance.
The first concept relates to what. What should I work? The answer as always is as much as possible. Big muscles groups utilising as many joints as possible.
By dividing the body in half to upper and lower, and then in half again to front and back I am able to isolate large muscle groups to focus on each set and rotate them to avoid muscle fatigue and lactic acid build up.
The principle of alternating the upper body one set with the lower body the next, combined with alternating front of body exercies with the back of body exercises means you only have to choose four exercises and the order is dictated by the first one you choose.
The next answer is how much? My response depends on your own aims and preference on volume. For me the German system of 10x10 sets x reps and my preference of using light/body weight is ideal. This can be played with though if you want to bulk up; drop the numbers and increase the weight. If you want to up endurance and leaness up the numbers and drop the weight (ideally bodyweight only).
Here's a guidline to one 8 week rotation: I use a 12kg Kettlebell, a 40lb resistance cable and my own bodyweight.
Day 1:
Lower back: Clean and Press with KB swing (5 Left and 5 Right)
Upper Front: Press Ups
Lower Front: Sumo Squats (KB in upturned grip)
Upper Back: Lat Pull Downs
Day 2:
5 x 2min rounds of shadowboxing
30 seconds rest
Day 3:
Lower Back: Sprawl and tuck jump
Upper Front: Press Ups
Lower Front: Kettlebell Lunges (5 Left 5 Right)
Upper Back: Bent Over Rows
Day 4: Rest
Day 5:
Lower Back: One Arm Deadlift (5 Left 5 Right)
Upper Front: Crusher Bicep Curls (press the palms into the bell of the KB and curl)
Lower Front: Hindu Squats
Upper Back: Tricep Pull Downs
Day 6 & 7: Rest
Start each workout with a light cardio set to raise the pulse - finish with an all over set of stretching.
If an exercise is too difficult, painful STOP! If you can't finish your sets without puking/wanting to puke/decent form STOP! Don't do long term harm learn what your body can do and respond to it.
Let me know what you think. Where improvements can be made. What you'd change.
Happy training!
Dogma is your enemy
Wed, Apr 20 2011 08:15
| MMA, bjj, martial arts, boxing, tkd, training, practice, martial arts Altrincham, escrima
| Permalink
When I was fairly 'young' in terms of my Wing Tsun learning I acquired and read GM Kernspchet's amazing book – On Single Combat. Written as a thesis that was turned into a book it is a work I've yet to see bettered (please let me know if you can think of any works that do!). Moreover some of the philosophy and approaches the book proposed really made up my mind to dedicate myself to WT.
The book talked of WT not being scared to “slay sacred cows” in order to produce better results. To train what works not what worked for someone else, somewhere else in another time just “because”. GM Kernspecht has clearly adhered to this all of his life and is continuing to do so. However the same can not be said for those of us lower down the chain.
A mix of fear and arrogance meant that often I encountered those unwilling to take risks, to try something else or accept that Wing Tsun is merely one “path up the mountain” and not the be all and all of everything martial arts related. It is in fact a well rounded system but other more exclusive arts specialise and therefore can surpass WT in it's given field.
While TKD might well be considered useless beyond kicking it is a kicking art and thus far it's worth noting this when trying to learn to deal with, or even use kicks of all shapes and sizes. Likewise with BJJ on the floor, or Escrima when it comes to facing an armed attacker. What does this all mean?
Really it means that while we can't and shouldn't train every art intensely and exclusively to avoid missing some secret or hidden gem. It is important to understand that all arts have survived for one reason or another and presumably it is because for certain people they have worked – at least in a sense to make it worth saving.
Often I hear very average students and fighters dismiss out of ignorance or fear one art or another, I've done it myself enough. However until you've taken the time and courtesy to train it then you really have no right or business denigrating the efforts and beliefs or others. Your teacher should not need you getting offended on his behalf at the arts and endeavours of others. No matter what you may think or understand of them. Nor should you need to comfort yourself and your choices with such sentiments.
When a student comes from another art or even another Wing Chun lineage I never try to compete with their art or their old teacher. It's not necessary. I am happy to answer their questions, give my own thoughts on technique XYZ or explain our approach at Altrincham. I shouldn't need to trick or confuse the student with making negative and unflattering comparisons between myself and where they've been before.
Likewise I like to train other arts and rarely do I try to tell people already there that I've done other arts and training. It's nice when after a session or two they acknowledge I have some idea/training but often it leads to them wanting to hurt me (albeit good naturedly) with overenthusiastic demonstrations and conversations on why I've finally “found the right place” etc. It is polite but more importantly better for you to “empty your cup” as the Chinese say or adopt a white belt mentality. You're in their class, their world with their rules and etiquette. I find you learn and earn more respect with ease if you do as your told.
What this really brings me back around to is the underlying fear amongst WT practitioners who never get to test themselves in competition and develop all sorts of angst about it. Simply put they can often disappear into hiding themselves in increasingly narrow minded ways of thinking and practising - often searching for how the old masters did things. Ironically Kernspecht presents many theories and evidence that WT has and was always a mixture of other arts and styles that stretch back centuries and possibly millennia!
Likewise there is an eagerness to poo-poo the methods and techniques of other arts or try to add disclaimers and caveats such as “well I'd never let them get that in, in the first place” etc. Simply put this type of thing no longer interests me. I look forward to meeting people who are keen and eager to learn and practise martial arts no matter what it is. I like to share ideas and experiences and I want to unpick their know-how to use it for myself.
Going forward I intend to try and pick and choose as many arts and training methods as I can. No matter where it comes from. It's only by doing we can learn. A thousand books on martial arts aren't worth a thousand seconds of training. It's about time we all tried to embrace this.
If you teach or train in other martial arts and would like to come down to AMAC feel free! We'd love to have you, whether it's to share knowledge, try something new or introduce us to what you do. Please let us know!
The book talked of WT not being scared to “slay sacred cows” in order to produce better results. To train what works not what worked for someone else, somewhere else in another time just “because”. GM Kernspecht has clearly adhered to this all of his life and is continuing to do so. However the same can not be said for those of us lower down the chain.
A mix of fear and arrogance meant that often I encountered those unwilling to take risks, to try something else or accept that Wing Tsun is merely one “path up the mountain” and not the be all and all of everything martial arts related. It is in fact a well rounded system but other more exclusive arts specialise and therefore can surpass WT in it's given field.
While TKD might well be considered useless beyond kicking it is a kicking art and thus far it's worth noting this when trying to learn to deal with, or even use kicks of all shapes and sizes. Likewise with BJJ on the floor, or Escrima when it comes to facing an armed attacker. What does this all mean?
Really it means that while we can't and shouldn't train every art intensely and exclusively to avoid missing some secret or hidden gem. It is important to understand that all arts have survived for one reason or another and presumably it is because for certain people they have worked – at least in a sense to make it worth saving.
Often I hear very average students and fighters dismiss out of ignorance or fear one art or another, I've done it myself enough. However until you've taken the time and courtesy to train it then you really have no right or business denigrating the efforts and beliefs or others. Your teacher should not need you getting offended on his behalf at the arts and endeavours of others. No matter what you may think or understand of them. Nor should you need to comfort yourself and your choices with such sentiments.
When a student comes from another art or even another Wing Chun lineage I never try to compete with their art or their old teacher. It's not necessary. I am happy to answer their questions, give my own thoughts on technique XYZ or explain our approach at Altrincham. I shouldn't need to trick or confuse the student with making negative and unflattering comparisons between myself and where they've been before.
Likewise I like to train other arts and rarely do I try to tell people already there that I've done other arts and training. It's nice when after a session or two they acknowledge I have some idea/training but often it leads to them wanting to hurt me (albeit good naturedly) with overenthusiastic demonstrations and conversations on why I've finally “found the right place” etc. It is polite but more importantly better for you to “empty your cup” as the Chinese say or adopt a white belt mentality. You're in their class, their world with their rules and etiquette. I find you learn and earn more respect with ease if you do as your told.
What this really brings me back around to is the underlying fear amongst WT practitioners who never get to test themselves in competition and develop all sorts of angst about it. Simply put they can often disappear into hiding themselves in increasingly narrow minded ways of thinking and practising - often searching for how the old masters did things. Ironically Kernspecht presents many theories and evidence that WT has and was always a mixture of other arts and styles that stretch back centuries and possibly millennia!
Likewise there is an eagerness to poo-poo the methods and techniques of other arts or try to add disclaimers and caveats such as “well I'd never let them get that in, in the first place” etc. Simply put this type of thing no longer interests me. I look forward to meeting people who are keen and eager to learn and practise martial arts no matter what it is. I like to share ideas and experiences and I want to unpick their know-how to use it for myself.
Going forward I intend to try and pick and choose as many arts and training methods as I can. No matter where it comes from. It's only by doing we can learn. A thousand books on martial arts aren't worth a thousand seconds of training. It's about time we all tried to embrace this.
If you teach or train in other martial arts and would like to come down to AMAC feel free! We'd love to have you, whether it's to share knowledge, try something new or introduce us to what you do. Please let us know!
Review: Ultimate Warrior Workouts by Martin Rooney
Sun, Sep 5 2010 10:05
| MMA, karate, kettlebells, martial arts, sambo, boxing, muay thai, keep fit, Wing Tsun Kung fu, martial arts Altrincham, kickboxing, judo
| Permalink
The concept of mixed martial arts (MMA) as a sport and spectacle often rankles with the purists amongst the kung fu and wider martial arts communities in my experience. There is perhaps a distrust and even jealousy in some cases of the guys involved. Dismissed as “meatheads” or barbarians who are destroying the sanctity of arts with their cherry-picking and cross training ways. Ironically most of these guys, particularly in the Wing Tsun community will express a deep love of Bruce Lee – the movie star who built his house on breaking the mould in the field of martial arts training.
The pedigree of Rooney as a trainer of champions is impressive and in this book he relays some great philosophy and musings on the lot of the martial artist. I was worried when I invested in this tome on a whim I might have wasted my money on yet another book that promises a lot and fails to deliver. Luckily those fears were dismissed in the opening few pages.
Rooney wanted to write this book by training with the best in certain fields he identified as crucial to success for the MMA fighter in the octagon today. He identified the arts/styles and relevant instructors and went and trained with them on location. From Brazil for BJJ to Russia for Sambo or Thailand for Muay Thai to Japan for Karate and Judo to locations in USA for Wrestling etc. Offering a small apology to anyone offended by the omission of their style Rooney might be covering himself needlessly. As a WT exponent for years I'd be amazed and amused as to how he can reconcile it with what is clearly a sporting pursuit. While some WT guys bristle at the chiding challenges as to why no one from the art has stepped into the ring with the new boys on the block, it's not really necessary. When they let us go in un-gloved and able to gouge, pull, snap and break you might see WT in full fury and glory – you might also see the collapse of society back into a Roman state of bloodsport and grisly macabre.
I am not a purist. I've enjoyed sparring with other styles and am fully aware I do not represent WT, it represents me. Anything I do wrong or badly is not the fault of the art but my understanding of it. So with that in mind what does this book offer?
Well the answer is a lot of exercises that relate to specific arts and therefore the all round fitness of the MMA exponent or enthusiast. Personally I was bit concerned as each chapter seemed filled with hundreds of press up variations on first skim. This perhaps vindicates me in my notion that weightlifting is only a small part of the martial artist's needs.
Glossy and clearly written there is little here in terms of long essays but some honest and practical advice from a man who is clearly a fan-boy and student of martial arts as opposed to a self-aggrandising master or guru. Rooney comes across as quite likeable in the course of the book, from art to art and country to country. What you build up is a clear picture of the dedication all races and arts bring to the table and how there is more to martial arts than Oriental chaps in pyjamas smashing each other about. All countries have great fighters and ergo great martial arts if you scratch the surface a little.
There is a heavy flavour of 'sports science' pervading the book. A meal planner and massive six month (yes I know, SIX of 'em) workout schedule. Whilst that may seem unwieldy the excellent photography and detail within this book make it more manageable. In fact I am still tempted as I type to embark on the mammoth quest of six months with religious vigour and see how I progress. Added into that there are specific “warrior challenges” to test yourself and a level system in place there is reason to think this book and Rooney's work provides many years of mileage for the hobbyist and pro alike.
Overall I really like it as a book and concept, its weaknesses are the same as any other book trying to relay the split seconds of physical exertion that is combat in still and academic media such as a textbook. It is perhaps biased towards the more well known arts it covers but for Rooney there is little market share for a book on obscure and esoteric fighting arts that while deadly have no place in rules and sport of MMA. For example it would be impossible and fruitless to try and capture the mechanics of Poon Sau that develops soft and reflexive responses to unprovoked attacks. In the scope of MMA you should know and expect an onslaught from the opening bell as it were.
The real strength of this book is the sport and athletic elements that are relevant to everyone. The attitude that technique prevails so common in many non-sporting arts is something that cuts little ice with me. Those that believe simply training ideas without any physical exertion are kidding themselves I'm afraid. While the ravages of time might be compensated for with technique when you are younger and more inexperienced the ability to be resilient and fit in order to fight is crucial as you don't have decades of practice to refine your skills behind you, unless of course, you hope not to use them until you are old. This book will no doubt inspire and guide you to become a “warrior” should you choose to accept the long and arduous path ahead. A great and easy to use manual that will help you up your game.
The pedigree of Rooney as a trainer of champions is impressive and in this book he relays some great philosophy and musings on the lot of the martial artist. I was worried when I invested in this tome on a whim I might have wasted my money on yet another book that promises a lot and fails to deliver. Luckily those fears were dismissed in the opening few pages.
Rooney wanted to write this book by training with the best in certain fields he identified as crucial to success for the MMA fighter in the octagon today. He identified the arts/styles and relevant instructors and went and trained with them on location. From Brazil for BJJ to Russia for Sambo or Thailand for Muay Thai to Japan for Karate and Judo to locations in USA for Wrestling etc. Offering a small apology to anyone offended by the omission of their style Rooney might be covering himself needlessly. As a WT exponent for years I'd be amazed and amused as to how he can reconcile it with what is clearly a sporting pursuit. While some WT guys bristle at the chiding challenges as to why no one from the art has stepped into the ring with the new boys on the block, it's not really necessary. When they let us go in un-gloved and able to gouge, pull, snap and break you might see WT in full fury and glory – you might also see the collapse of society back into a Roman state of bloodsport and grisly macabre.
I am not a purist. I've enjoyed sparring with other styles and am fully aware I do not represent WT, it represents me. Anything I do wrong or badly is not the fault of the art but my understanding of it. So with that in mind what does this book offer?
Well the answer is a lot of exercises that relate to specific arts and therefore the all round fitness of the MMA exponent or enthusiast. Personally I was bit concerned as each chapter seemed filled with hundreds of press up variations on first skim. This perhaps vindicates me in my notion that weightlifting is only a small part of the martial artist's needs.
Glossy and clearly written there is little here in terms of long essays but some honest and practical advice from a man who is clearly a fan-boy and student of martial arts as opposed to a self-aggrandising master or guru. Rooney comes across as quite likeable in the course of the book, from art to art and country to country. What you build up is a clear picture of the dedication all races and arts bring to the table and how there is more to martial arts than Oriental chaps in pyjamas smashing each other about. All countries have great fighters and ergo great martial arts if you scratch the surface a little.
There is a heavy flavour of 'sports science' pervading the book. A meal planner and massive six month (yes I know, SIX of 'em) workout schedule. Whilst that may seem unwieldy the excellent photography and detail within this book make it more manageable. In fact I am still tempted as I type to embark on the mammoth quest of six months with religious vigour and see how I progress. Added into that there are specific “warrior challenges” to test yourself and a level system in place there is reason to think this book and Rooney's work provides many years of mileage for the hobbyist and pro alike.
Overall I really like it as a book and concept, its weaknesses are the same as any other book trying to relay the split seconds of physical exertion that is combat in still and academic media such as a textbook. It is perhaps biased towards the more well known arts it covers but for Rooney there is little market share for a book on obscure and esoteric fighting arts that while deadly have no place in rules and sport of MMA. For example it would be impossible and fruitless to try and capture the mechanics of Poon Sau that develops soft and reflexive responses to unprovoked attacks. In the scope of MMA you should know and expect an onslaught from the opening bell as it were.
The real strength of this book is the sport and athletic elements that are relevant to everyone. The attitude that technique prevails so common in many non-sporting arts is something that cuts little ice with me. Those that believe simply training ideas without any physical exertion are kidding themselves I'm afraid. While the ravages of time might be compensated for with technique when you are younger and more inexperienced the ability to be resilient and fit in order to fight is crucial as you don't have decades of practice to refine your skills behind you, unless of course, you hope not to use them until you are old. This book will no doubt inspire and guide you to become a “warrior” should you choose to accept the long and arduous path ahead. A great and easy to use manual that will help you up your game.
Here's the Kicker
Sat, Aug 7 2010 04:25
| MMA, martial arts, training, muay thai, fighting, technique, Wing Tsun Kung fu, martial arts Altrincham, kickboxing, self defence
| Permalink
Ask anyone what they associate with martial arts and it won't take long for them to say, describe or even act out a roundhouse kick to the head! It is the iconic and most loved image from any chop sockey movie for most people. It's also the one attack students seem to fear or at least be the most wary of and for good reason. Anyone who can lift, aim and put power into a kick over 5ft off the floor has some skills. The main problem with it, is that anyone who knows what they are doing will probably never use it outside of competition.
It is something I can almost guarantee you won't be likely to face in a confrontation outside of training. The reason being is as a manoeuvre it is very risky, requires a lot of room and perfect timing to pull off well. As an opening gambit your opponent would have to be pretty brave, reckless or phenomenally good to try this one on you. In terms of shock and awe it can be a brilliant tactic and if it connects you're going to knock down and probably knock out your victim with it. The main disadvantage of it is that it relies on momentum and your assailant to barely move in the time it take to lift your foot off the floor and turn it in arc whilst raising it to the desired height. While this may be a matter of a second or two, ask yourself what you can do in a second or two to the opponent with his weight on one leg, his groin exposed and head often turned away from you – you'd be surprised.
This is often the main problem I face as a teacher. The lack of faith and belief in the art and their own skills often makes students reluctant to even try and stand up to a decent kick(er). My main principle in teaching kick defence is to demonstrate the need for range awareness. Kicks are long range attacks, the foot is the striking part of the attack and is pushed out to an extreme range of motion. The first port of call for a defender is to close the distance and to do that they must go forward – as the motto dictates 'when the way is clear, go forward!'.
This makes sense on two counts. Firstly the kicker is generating power in a circular motion this is a longer path than the straight line taken by the Wing Tsun exponent who moves towards the his attacker and tries to dominate the space yielded by the 'opening up' of the kicker. Secondly the force generated by the kicker whilst considerable is concentrated in the foot and lower limb. The closer the attacker moves to the source of the power (the kickers torso and standing leg) the easier they can dissipate the force which is simultaneously being sent 'past' them towards the kicker's foot. This is exactly the same as swing defence when you think about it.
The arrow step forward also ensures the WT student moves quickly, powerfully and with a low centre of gravity. Tipping and extenuating the spin of the kicking action dumping the kicker on his head on the floor. I always encourage students to master stepping in, dominating the kicker's balance and doing nothing more refined than using their hands to barge and push the kicker over. This allows the student to focus on using good tactics and concepts to beat the kicker and not fixate on specific techniques or the kicking leg which is rendered useless if the remaining 3/4s of the kicker's body is attacked well.
Once someone is confident with ploughing forward in the face of such an attack it is then we can introduce variations and techniques. Generally speaking if the kick is delivered above the waist (high kicks) then you should use your hands to deal with the kicking leg if necessary. If it is below the waist (low kicks) then legs should be used.
A high kick can be beaten taking a movement from section six of SNT. Sweeping the leg aside with a gwat sau, lifting it with a tok sau and stepping in and under the opponent, flips them onto their head and drives them into the floor. As an aside Muay Thai uses an almost identical move to slam the back of a boxers head onto the ropes to try and knock them out. Obviously with no ropes the impact of concrete from a much greater fall is one you might like to consider when dishing this technique out on your kicking assailant.
A low kick should be dealt with using your legs. As the motto says 'every step is a kick and every kick is a step'. Therefore the front foot stepping into the opponent can be used to attack not just their stance but their legs too with a kick. A stop kick to the standing leg will see the attacker crumple and buckle as all of their weight is taken from under them. Alternatively the thigh of the kicking leg can be stamped on using the stop kick. Both options require aggression, timing and accurate footwork to work but with a little practice they can be achievable. They are also highly effective due to the short and impacting way in which they attack a kicker. From here a falling attacker can easily be picked apart with follow ups either using strikes or kicks and stamps as the situation dictates.
Kicks are fairly high up in the syllabus because they require decent impulses from confident training partners. The students must also have a decent understanding and ability in WT to successfully pull off the defences and avoid injury for themselves and their partner. They are also not a pressing concern for those who are looking to learn self defence due to their rarity in street fights – for that reason I believe it is also a topic pushed higher up more for technical interest than necessity.
It is something I can almost guarantee you won't be likely to face in a confrontation outside of training. The reason being is as a manoeuvre it is very risky, requires a lot of room and perfect timing to pull off well. As an opening gambit your opponent would have to be pretty brave, reckless or phenomenally good to try this one on you. In terms of shock and awe it can be a brilliant tactic and if it connects you're going to knock down and probably knock out your victim with it. The main disadvantage of it is that it relies on momentum and your assailant to barely move in the time it take to lift your foot off the floor and turn it in arc whilst raising it to the desired height. While this may be a matter of a second or two, ask yourself what you can do in a second or two to the opponent with his weight on one leg, his groin exposed and head often turned away from you – you'd be surprised.
This is often the main problem I face as a teacher. The lack of faith and belief in the art and their own skills often makes students reluctant to even try and stand up to a decent kick(er). My main principle in teaching kick defence is to demonstrate the need for range awareness. Kicks are long range attacks, the foot is the striking part of the attack and is pushed out to an extreme range of motion. The first port of call for a defender is to close the distance and to do that they must go forward – as the motto dictates 'when the way is clear, go forward!'.
This makes sense on two counts. Firstly the kicker is generating power in a circular motion this is a longer path than the straight line taken by the Wing Tsun exponent who moves towards the his attacker and tries to dominate the space yielded by the 'opening up' of the kicker. Secondly the force generated by the kicker whilst considerable is concentrated in the foot and lower limb. The closer the attacker moves to the source of the power (the kickers torso and standing leg) the easier they can dissipate the force which is simultaneously being sent 'past' them towards the kicker's foot. This is exactly the same as swing defence when you think about it.
The arrow step forward also ensures the WT student moves quickly, powerfully and with a low centre of gravity. Tipping and extenuating the spin of the kicking action dumping the kicker on his head on the floor. I always encourage students to master stepping in, dominating the kicker's balance and doing nothing more refined than using their hands to barge and push the kicker over. This allows the student to focus on using good tactics and concepts to beat the kicker and not fixate on specific techniques or the kicking leg which is rendered useless if the remaining 3/4s of the kicker's body is attacked well.
Once someone is confident with ploughing forward in the face of such an attack it is then we can introduce variations and techniques. Generally speaking if the kick is delivered above the waist (high kicks) then you should use your hands to deal with the kicking leg if necessary. If it is below the waist (low kicks) then legs should be used.
A high kick can be beaten taking a movement from section six of SNT. Sweeping the leg aside with a gwat sau, lifting it with a tok sau and stepping in and under the opponent, flips them onto their head and drives them into the floor. As an aside Muay Thai uses an almost identical move to slam the back of a boxers head onto the ropes to try and knock them out. Obviously with no ropes the impact of concrete from a much greater fall is one you might like to consider when dishing this technique out on your kicking assailant.
A low kick should be dealt with using your legs. As the motto says 'every step is a kick and every kick is a step'. Therefore the front foot stepping into the opponent can be used to attack not just their stance but their legs too with a kick. A stop kick to the standing leg will see the attacker crumple and buckle as all of their weight is taken from under them. Alternatively the thigh of the kicking leg can be stamped on using the stop kick. Both options require aggression, timing and accurate footwork to work but with a little practice they can be achievable. They are also highly effective due to the short and impacting way in which they attack a kicker. From here a falling attacker can easily be picked apart with follow ups either using strikes or kicks and stamps as the situation dictates.
Kicks are fairly high up in the syllabus because they require decent impulses from confident training partners. The students must also have a decent understanding and ability in WT to successfully pull off the defences and avoid injury for themselves and their partner. They are also not a pressing concern for those who are looking to learn self defence due to their rarity in street fights – for that reason I believe it is also a topic pushed higher up more for technical interest than necessity.
Welcome
Sat, Dec 19 2009 04:18
| MMA, kung fu, martial arts, boxing, fighters, martial arts Altrincham, fitness, kickboxing
| Permalink
This is my blog, welcome. I have found the idea of doing this odd as it seems incredibly indulgent.
However I do have good intentions. I hope this blog will be a chance to help me and you learn more about smarter training, to be better equipped for achieving goals, to make greater strides at being fitter, faster, leaner, stronger and better.
Please feel free to add comments, links, ideas and counter opinions as you see fit.
Matt
However I do have good intentions. I hope this blog will be a chance to help me and you learn more about smarter training, to be better equipped for achieving goals, to make greater strides at being fitter, faster, leaner, stronger and better.
Please feel free to add comments, links, ideas and counter opinions as you see fit.
Matt