This Japanese technique is written using two Chinese and one Japanese ideogram - with all three ideograms being routinely used in the Japanese written language - and two ideograms ('1' and '2') being used in the Chinese written language: 腰 - Japanese - Koshi (Chinese: yao1) = waist, hips and midsection 投 - Japanese - Na (Chinese: tou2) = throw, blend, redirect and reject げ - Japanese - Ge = down, low, depth and ground Interestingly, with regards the ideogram '腰' (Koshi) - both the Japanese and Chinese language dictionaries give an identical (and exact) physical location. Therefore, 'Koshi' represents the 'waist' (or the anatomical 'space' between the hips) situated toward the front of the body - whilst the back of the body corresponds 'Koshi' to the 'small of the back' or the 'lumbar' region. Although neither dictionary mentions the centre of gravity of the body - or the 'lower dantian' (both situated three-inches below the naval) it seems clear that such a 'special' area is implied. I think this assumption receives support as 'Koshi' is also used to refer to the 'kidney' area - perhaps slightly higher than the lumbar a 'cold' area significant within traditional Japanese and Chinese medicine. Although 腰 (yao1) is prevalent within Chinese martial arts (used to counter an opponent through penetrating their technique, blending with it and redirecting it) - 'Koshinage (腰投げ)' is a 'distinct' Japanese physical interpretation not found in China. When the Chinese government took Sō Dōshin (宗道臣) [1911-1980] to a Japanese Court in the early 1970s (an event covered in one of Donn F. Draeger's books on 'Modern Budo') - part of the evidence accepted by this Court that his style of 'Shorinji Kempo' ('Shaolin Gongfu') was NOT of Chinese origin - is that nearly all of its techniques include 'Koshinage' (the BBC chose to omit this Court verdict in its 1980 'Way of Warrior' series). Cooperation of this type is a Japanese cultural development - and is not found in China's traditional arts - even though the concept is present (and used in a different manner). However, I would note that the use of squat-kicks is found in Chinese arts and are used in exactly the same manner as this documentary suggests - although our Hakka style places a great deal on toughening the legs to take continuous impact (similar to Muay Thai fighters in Thailand) and keep effectively moving. The only Karate-Do style I have encountered that has squat-kicks is Goju Ryu.
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I think that about 40 people from Hereford boarded a coach during the Spring or Summer of 1986 - and headed to Poole, Dorset - a journey of 134 miles in a Southerly direction! This journey took about 4 hours to complete and when we arrived we all booked into a hotel - with two-people per room. If memory serves me correctly, we trained on Saturday and Sunday - before returning back to Hereford on the Sunday evening. I am featured in this video in the photographs listed below. If it was 1986 - I would have either 18 or 19 years old depending on whether this event took place before or after the end of May! We all trained in Shukokai Karate under Sensei Tom Beardsley at the Hinton Leisure Centre - although occasionally I understand that Tom Beardsley also taught at a number of other places. (I once graded on a Saturday morning in a small school training hall I never saw before or after)! I left the style in 1987 - along with many others - when the direction of the style started to locally depart from that advocated by Sensei Kimura - whom I got to talk to on the Course. As part of my overall gongfu training - I thoroughly enjoyed my time training with Shukokai and I learned a tremendous amount about hard-hitting! When Kimura's Shukokai was at its peak in Hereford - it was a thing of considerable beauty - and I will never forget the military connection or the kindness I experienced. This is 'me' - a 'hard' and 'ferocious' warrior - on a secret gongfu mission to learn as much as I can about Japanese Karate whilst still in education, before returning to the practice of our family gongfu style! The above video was forwarded to me by my Goju Ryu Karate-Do teacher - Sensei Tony Smith 5th Dan - as I had no idea it existed! Although it is difficult to tell - I am either a 'Purple' or 'Brown' belt at the time!
Part of educating ourselves (and our children) - has involved the continuous stimulation of mind and body through visiting museums, examining the past and striving to understand humanity as a broad expression of culture and creativity. During 2018, myself, Gee, Mei-An and Kai-Lin visited Torquay Museum (in South Devon). Astonishingly, this place has a Medieval Japanese Battle Kite! Oddly, I believe this object has been subsequently 'returned to storage' not long after our visit - and despite enquiring - I could not find out any further data as to provenance. An Imperial Archer (the Medieval equivalent of Early Japanese 'Special Forces') would be 'affixed' to the centre of a large (bamboo) kite and extended (through the use of a rope anchored to the ground) around 200 feet into the air above the battlefield. Sniping with arrows would then ensue - whilst the position of the enemy would be relayed to the Command on the ground! The kite could be moved with the soldier kept up in the sky if the terrain, weather and enemy activity allowed. What these individual soldiers went through whilst having to stand on such a flimsy device - we can only speculate! Their bravery, however, must be beyond doubt!
In the aftermath of the Xiamen “Chopping” incident – the victim Shi Jiaming (石佳明) is NOT dead – and thanks to advanced Chinese medical care and world-class surgery, his hand has been carefully re-attached and he is well in hospital! 1. Reviewing the “Chopping” Incident! On May 23rd, 2023, an astonishing “chopping” incident occurred on a college campus situated in the Xiang'an District area of Xiamen City, Fujian province (a place world renowned for its martial arts culture). Shi Jiaming - a Douyin ‘Influencer’ - was holding an outdoor “live” broadcast together with another well-known internet celebrity named ‘Ye Jianan’ (叶建安) when he was suddenly attacked by a man in black wielding a bladed weapon (Police photographs suggest the weapon used was a ‘Wakizashi’ - or traditional Japanese ‘Short-Sword’ usually worn with the ‘Katana’ or Japanese ‘Long-Sword’). During the fray - Shi Jiaming's left hand was cut off - whilst he and Ye Jian'an quickly fled the area – running for their lives! After the incident, the Police quickly apprehended the potential murderer – whose surname is ‘Luo’ (罗) - and sent the injured Shi Jiaming to the hospital for treatment. It is reported that the cause of the incident was a quarrel between Luo and Ye Jianan. Luo is from Sanming City, Fujian Province. He used to find a sense of ‘presence’ and ‘well-being’ in Ye Jianan's live broadcast chatroom - but was recently ridiculed and insulted by Ye Jianan. Feeling resentful - Luo took a bus from Sanming City to Xiamen and waited in ambush outside the college cafe. As Luo did not know who Shi Jiaming was – he mistook him for Ye Jianan's accomplice (and bodyguard) – and so attacked him! There were rumours on the Internet that Shi Jiaming could not be saved and had died. Obviously, these false ideas are not true. 2. The Hand Was “Surgically” Re-Attached! Fortunately, Shi Jiaming did not die due to excessive blood loss as falsely speculated by a number of people online. After emergency treatment by doctors - his severed hand was successfully re-attached, reset and fixed. The doctors stated that the cut was so ‘clean’ and ‘exact’ that it was easier to repair than if the cut had been haphazard or ‘jagged’ due to inexperience. This suggests Luo has had considerable martial arts experience with ‘foreign’ bladed weapons. Currently, Shi Jiaming is out of danger and is recovering. According to the doctor, if there are no complications (such as infection or rejection after the operation), he has a good chance of recovering all his hand function. Netizens expressed shock and outrage at the incident. Some people condemned Luo's cruelty and unreasonableness, some sympathized with Shi Jiaming's experience and loss, whilst others criticized Ye Jian'an irresponsibility and apparent cowardice in the face of danger. Some people also called for strengthening Internet usage regulations and legal education to prevent similar tragedies from happening again. Chinese Language Article: 厦门砍人事件后续,石佳明没有死,手已经接上,人在医院安好 2023-05-25 22:42
一、事件回顾 5月23日,一起惊人的砍人事件发生在厦门翔安区某学院内。一名抖音网红石佳明正在和另一名网红叶建安进行户外直播时,突然遭到一名持刀的黑衣男子袭击。 石佳明的左手被砍断,和叶建安夺路而逃。事发后,警方迅速出动,将凶手罗某抓获,并将受伤的石佳明送往医院救治。 据悉,这起事件的原因是罗某和叶建安之间的口角矛盾。罗某是福建三明市的人,曾在叶建安的直播间中找存在感,却遭到了叶建安的嘲讽和辱骂。罗某心生怨恨,从三明市乘车来到厦门,在学院咖啡厅外埋伏等待机会。由于不认识石佳明,罗某将他误认为是叶建安的同伙,便对他下了毒手。 有网络谣言说石佳明救不回了,已经死亡。 二、手已经接上 幸运的是,石佳明并没有因为失血过多而死亡。经过医生的紧急抢救,他的断手被成功接上,并进行了复位和固定。 目前,他已经脱离了生命危险,正在恢复期。据医生介绍,如果术后没有感染或排异等并发症,他有很大可能恢复手部功能。 对于这起事件,网友们纷纷表示震惊和愤慨。有人谴责罗某的残忍和无理,有人同情石佳明的遭遇和损失,有人批评叶建安的逃跑和不负责任。也有人呼吁加强网络文明和法制教育,避免类似的悲剧再次发生。 Whilst listening to the (1967) Jimi Hendrix album entitled 'Fire' - I thought I would make a copy of two Goju Ryu Karate-Ka displaying what is called 'Online Kata'! This involves an elaborately designed Kata being disassembled and applied in a straightforward 'one-on-one' self-defence situation. Generally speaking, Kata are multi-dimensional entities designed as a militarised response to multiple attackers coming in from all different directions. Online Kata condenses this down to just a single defender and a single attacker - with both changing roles when the sequence is completed. As can be seen, the blows are delivered with full-power - whilst safety is assured by each blowing landing an inch or two before the intended target area. The arms and legs are making full-contact with regards to 'blocking'. This is pure 'bone-on-bone' full-power conditioning. If the blows landed - then damage would certainly arise - although at this level the body-conditioning is of such a high standard that it would be limited only to the robust surface structures. Those who have mastered the 'internal' - are able to 'pierce' the conditioned outer areas (like a sharp metal knitting-needle) - so that a concentrated force is directed straight into the central nervous system and the neural pathway. The only way to counter this high level of power is to a) experience it within a strictly controlled environment, and b) learn to accept this incoming force and pass it 'through' the body' so that it does not congregate in the central nervous system. In the above example, this is probably happening in the limbs of the practitioners themselves - with the bones being made strong through a combined and integrated 'external' and 'internal' interaction. On a practical level, within a self-defence situation it is preferrable to harness the erratic technique of the aggressor and channel it into a more conducive frequency of aggression - a frequency that can be easily controlled, diverted and negated.
As regards 'tradition', 'lineage' and 'respect' - these are aboth fundamental Chinese cultural aspects which were brought suddenly into the modern world in 1911 (the ‘Nationalist’ Revolution) and 1949 (the ‘Socialist’ Revolution). In Japan, this process began with the Meiji Restoration of 1868. This all evolves around the concept of 'face' (面子 - Mian Zi) - or the ability to walk through the public spaces with one's dignity fully intact and face on display. To traverse the public spaces used to demand a stern adherence to the teachings of 'Confucius' as defined by various philosophers and politicians, etc. Indeed, Confucianism regulated not only the society of China for over two-thousand years, but also many other countries including Korea, Japan, Vietnam and Okinawa (including large areas of South-East Asia). Furthermore, wherever Chinese people have migrated - Confucianism has followed. Confucianism still defines Chinese society, but the way this happens has evolved over the centuries and can still seem baffling to the uninitiated. Regardless of this, understanding ‘Confucianism’ is the only way ‘in’ and ‘out’ of a Chinese cultural grouping. In the old days, breaking these rules led to the breaking of one's body - a simple correlation between spiritual morality and physical punishment. The individual body used to be the property of one's parents and belonged to the State (that is to the 'Emperor'). The body of a child used to represent the continuation of a family's ancestral 'Qi' energy and the lasting of the Clan Surname. Judicial execution often involved public beheading (the 'loss' of face through the loss of the head) – a punitive process which usually including the killing of all members of the same family (depending upon the severity of the offense). Social execution involved the 'exclusion' of an individual and a family (Clan) - from all meaningful social interaction. It is interesting to note that despite the differences in political and economic view that exist between Beijing and Taipei, for instance, Chinese people living in Taiwan and Mainland China would agree (both implicitly and explicitly) about what 'face' is, and about what 'losing' and 'saving' face actually entails - so important is this central aspect of Chinese culture. Today, the forces of modernity have radically redefined this tradition - but occasionally murders and beatings do still occur throughout Chinese society - usually involving disputes regarding love affairs, relationship betrayals and intimate deviations, etc. Of course, if an individual is known to have behaved in a terrible fashion for whatever reason, social ostracization tends to follow. Remember, China is comprised of 56 ethnicities which enlarged through the Chinese diaspora as it intermixes with different people throughout the world. This means that 'saving face' and 'losing face' tends to vary in interpretation. For instance, my modern academic colleagues in China tend not to give 'face' much consideration - but the older members of our Chinese family still live their lives by this concept! Okinawa, for instance, is still being punished by the Mainland Japanese for being historically ‘Chinese’ – and this has involved the post-1945 US Military Bases being lodged of the Island. This US neo-imperialist presence has been compounded by an assault on Ryukyu culture that has been intended to eradicate all obvious ‘Chinese’ cultural tendencies and replace these with a blend of Americana and Nipponisation. Yet the robustness of the Okinawan way of life stands inherently strong – with an older version of ‘Confucian’ ideology lurking firmly in the background and regulating the martial arts, leisure and business communities. Indeed, the Chinese concept of 'face' (面子 - Mian Zi) literally translates as 'Face Child' or 'Face Master'. The second ideogram '子' (zi3) means 'a child that is born already old and wise' - and is associated with 'Laozi' (老子) - one of the founders of Daoism. Perhaps 'Saving Face' would be better redefined as 'Preserving Face'. In England we talk of proudly holding our heads-up high in public.. Of course, in the strict Confucian model, the onus is on the individual rather than the social collective. Today, the social collective is just as responsible as the individual - so that the entirety of society works together to preserve the status quo. Now, it is as if the collective society has its own 'face' that has to be preserved in the 'face' of individual behaviour. It is a two-way street. Individual responsibility is now balanced with collective responsibility - creating a preserving 'tension' of positive interaction. An individual's 'face' is considered secondary and is only saved when the 'face' of orderly society is acknowledged and preserved. Having explained all this, there still exist pockets of Chinese culture spread throughout the world that uphold older versions of ‘Confucian’ ideology and expect all incomers to understand and respect this reality.
These ideograms are written in Old Chinese Script - but pronounced using Japanese and Okinawan language. [square] brackets = Chinese pronunciations (round) brackets = Japanese-Okinawan pronunciations a) 補 (Ho) = [bu3] - increase, aid, repair, supplement, mend, compensate and nourish b) 助 (Jo) = [zhu4] - help, support, augment and assist c) 運 (Un) = [yun4] - transport, carry, utilise, revolve, buoyancy and fate d) 動 (Do) = [dong4] - move, act, alter, momentum and touch It seems that the four ideograms are deployed using two couplets: 1) 補助 (Hojo) = supplement and auxiliary [Buzhu] 2) 運動 (Undo) = sporting and competitive vigorous movement [Yundong] The following is a contemporary webpage from Taiwan (auto-translated into 'English' entitled '法規內容-教育部運動發展基金補助各級學校運動團隊作業要點') continuously uses the term '補助運動' (Hojo Undo - Buzhu Yundong) - which is used exclusively to refer to 'supplementary sporting exercises': The inclusion of the terms 'buoyancy', 'touch', 'transport', 'momentum' and 'fate' - all suggest an 'internal' management of the 'external' (physical) body (through the attainment of an 'effortless momentum'). Therefore, although this term is common-place in China - the mastery it refers to is certainly not common-place. On the one-hand, a man or woman might train to win a Gold Medal or World Title - but these achievements (as important as they are for the 'Nation') only fall inside the 'external' component of this term. On the other-hand, Karate-Do Styles such as Goju Ryu exemplify the principle of the 'internal' superseding the 'external' - even though a lifetime must be spent subsumed in the 'external' whilst attempting to understand this relationship and transition into the infinitely powerful 'internal' position. Of course, ultimately, both the 'external' and the 'internal' integrate into a perfect, functioning 'whole' - as can be seen during a perfect execution of a Kata.
Interesting - Thank for drawing my attention! The following is what I can Tell you. 搂 - lou3 = A mother spreading her arms (and hands) to embrace an object - pulling it close to her body (like a mother embracing a baby). This might be described as 'grappling' in English - just as grappling-hooks were once used in the Royal Navy to grip-hold of enemy ships (preventing their free movement) and 'pulling' these structures close so that 'Marines' could then jump onboard, neutralise the enemy crew and take control of their ship! 子 - zi3 = Son, off-spring (children) or 'Master' and 'Teacher' (I think this derives from the legends stating that Laozi - one of the founders of the Daoist religion - was born as an old man with white hair. Daoism advocates a rejuvenating wisdom that purports to create the state of 'Immortality'). Stepping inside the opponent's critical distance and thus 'taking away' their ability to respond effectively. Furthermore, the manner in how the opponent is tripped and thrown involves the deliberate 'hurting' of their body through impat with the ground. This exists within all traditional Chinese gongfu and involves the breaking of fingers and toes, joint dislocation, eye-gouging and groin-kicking. Punching the nose and throat is a basic requirement. A practitioner gets inside the opponent's guard (seen in this video) and takes control of the limbs and torso. A Master of this art 'prevents' the opponent initiating the smooth rolling seen within modern Judo, Aikido or Jiujitsu - as 'falling' in this context must inflict damage upon the opponent - a punishment considered 'just' within ancient China for starting a fight! This why training in this type of in-fighting requires the ability to roll on an unpadded floor. The inner art is to prevent the intended damage from the fall - by 'countering' its intent through 'correct' placement (usually at speed). This is a key factor within traditional Taijiquan practice.
Enter the Dragon - Bruce Lee's legacy Still Inspiring 50 Years After His Passing! (21.7.2023)7/21/2023 HONG KONG, July 20 (Xinhua) -- The man, the myth, the legend. Bruce Lee was all of these things and more. On July 20, 1973, the world lost one of its most iconic and influential figures when he passed away suddenly at the age of 32. Yet, 50 years later, his legacy lives on, larger than life and more resonant than ever. Tourists flock to the Avenue of Stars along the Victoria Harbour waterfront in Tsim Sha Tsui, Hong Kong, a place of pilgrimage for Bruce Lee fans from around the world. They pause at Lee's bronze statue to pay tribute to the martial arts master, often laying flowers at the base of the two-meter-high effigy that showcases Lee's classic Jeet Kune Do move, inspired by his final complete film, "Enter the Dragon." Source: Xinhua Editor: huaxia 2023-20-07 Shin Yong-woo from South Korea is one such fan who has travelled over 1,000 miles (1,600 km) to pay homage to his hero. He stood before the statue, dressed in black pants with his bare chest exposed, just like Lee frozen in frame by the monument. With a pair of nunchaku in his hands, Shin began his performance, twirling the weapons with fluid precision. A fan since he was nine years old, Shin credited Lee with inspiring him to learn Chinese martial arts. Some pay their respects with a simple bow or a moment of silence, while others perform their own martial arts routines in front of the statue, channelling their inner Bruce Lee. Unlike Shin, who reveres Lee's Kung Fu as a physical art form, Patrick Weber from Britain is more drawn to the deeper meaning and philosophy behind Lee's teachings. Weber held a 25-year-old "Enter the Dragon" poster as he took photos in front of the bronze statue. He also brought a thick album that documents his more than 50-year journey as a fan. Lee's legacy includes a collection of inspiring and insightful quotes that have resonated with people of all ages and backgrounds. "The key to immortality is first living a life worth remembering." "The successful warrior is the average man, with laser-like focus." "Do not pray for an easy life, pray for the strength to endure a difficult one." "I love his philosophy on life," Weber said. "And the multiculturalism he portrayed was exactly what the world needed at the time." Born in San Francisco in 1940, Lee spent much of his childhood and formative years in Hong Kong, where his father was a well-known Cantonese opera singer. It was in Hong Kong that Lee began to study martial arts. His passion for Kung Fu and his innovative approach to martial arts quickly earned him a following in Hong Kong, where he starred in several successful films and TV shows. His fame and influence soon spread to other parts of China and Asia, inspiring a new generation of martial artists and popularizing Chinese culture and philosophy around the world. As one of Hollywood's most influential Chinese American actors, Lee introduced Chinese martial arts and its underlying culture and philosophy to the world through his films, and even brought the term "Kung Fu" into the English language. His confident portrayal of Chinese culture in martial arts movies continues to inspire people decades later. "He's so cool!" said Sophie Uekawa from Japan as she looked at the statue, reminiscing about her teenage years several decades ago. "In 1973, Bruce Lee's movies became a sensation in Japan when they were first released. The queues for his films were so long that they stretched for several blocks, and 'Enter the Dragon' played for more than a year in one cinema before it was taken." In recent days, a series of commemorative events in Hong Kong have confirmed the enduring influence of the Chinese Kung Fu culture that Lee represented. The "Bruce Lee: A Timeless Classic" exhibition opened at the Hong Kong Heritage Museum, showcasing various books, stamps, and figurines related to the superstar from different eras. The museum also has a permanent exhibition introducing his life story. Inside the exhibition hall, a wall of famous quotes presents Lee's philosophy: "Using no way as a way, having no limitation as limitation," "Success is a journey, not a destination," and more. Wang Wei, who works in the education industry, included the exhibition as one of the stops for Chinese mainland students on their educational tour of Hong Kong. "Bruce Lee is an important part of Hong Kong's pop culture and represents the Chinese spirit and character embodied by the people of Hong Kong," Wang said. "With a profound understanding of Chinese culture, he showcased the confidence of Chinese culture through Kung Fu." The Bruce Lee Foundation is holding its first "Camp Bruce Lee" event in Asia at the Hong Kong Heritage Museum, where about 30 primary school students from Hong Kong are experiencing Jeet Kune Do and learning about the star through various art forms over a few days. "This movie is about the history of Japanese imperialism invading China in the last century ..." Inside the museum, the guide points to a still from the movie "Fist of Fury" and introduces the plot to the young campers while explaining the national history. The still captures the moment when Lee's character Chen Zhen kicks down the "Sick Man of East Asia" sign in the movie. English Language Xinhua Article: Feature: Enter the Dragon -- Bruce Lee's legacy still inspiring 50 years after his passing
Wikipedia is a wealth of sagely advice – much of it misleading, incomplete and out of context. For instance, the author dealing with the ‘Tai Sabaki’ page - states that the usual interpretation of Tai Sabali in the West which involving ‘evasion’ is ‘wrong’. However, if an individual can ‘read’ Chinese and/or Japanese ideograms – it is obvious that whatever this concept is - ‘evasion’ forms a central aspect of it. The author in question does not fully comprehend the entire concept of Tai Sabaki and is attempting to join the two ends of an idea together whilst omitting a (vast) theoretical centre-ground! 1) 体 (Tai) - Japanese Equivalent of Chinese ideogram ‘體’ (ti3) = ‘body’ This is related to a body (comprised of - and structured by - its internal bone structure) which is augmented in the physical world through musical rituals (involving drumming) and the adornment of jade of jewellery. The body is enhanced by the placement and alignment of its inner structure and the means (rituals) through which this body traverses the outer world. That which is ‘detrimental’ is avoided and that which is ‘nourishing’ is embraced. There is an implication in the Japanese language that ‘体’ (Tai) refers primarily to the trunk and the abdomen – and only secondarily to the limbs. It is the ‘centre’ of the body which has priority over the ‘periphery’ of the body. 2) 捌 (Saba) - Japanese Equivalent of Chinese ideogram ‘捌’ (ba1) = Disentangle This ideogram - (in its Chinese interpretation) can mean ‘eight’ - an alternative form of ‘八’ (ba1). A ‘hand’ which expertly uses a ‘knife’ - cuts through the flesh and bones of a fish so that it is separated into ‘eight’ clean parts (probably a generic term meaning ‘many’). There is also the central idea of ‘disentanglement’ - so that no unnecessary error (or resistance) is met. This is because ‘entanglement’ means ‘hindrance’ - and the skill referred to here involves the ‘avoidance’ of such self-imposed difficulty. Evading ‘resistance’ is the correct path that leads to such a skill. The blade of the knife skilfully feels its way around (and along) the natural contours of the bones – and does NOT cut directly (at right-angles) into the bone-structure at any time. There is a ‘going with’ rather than a ‘going against’. This ideogram is the central element of this Karate-Do principle - and probably means slightly different things within the various styles which make use of it. 3) き(Ki) - Japanese Equivalent of Chinese ideogram ‘幾’ (ji3) = Skill There is an indication of ‘quantity’, ‘measurement’ and ‘refinement’ within Japanese language dictionaries. The suggestion is that the correct manipulation of exact amounts is a great skill which has to be mastered in any successful avenue of life. This idea spans both the material and the spiritual world! An individual can carefully follow the established criterion laid down by those who have gone before – or if such an individual possesses the correct (and right) amounts of psychological insight and physical strength – then they might set out on their own path and become an inspiration for those who are to come! Conclusion: Meaning When taken as an integrated whole – the martial principle of Tai Sabaki (体捌き) suggests that the physical body (its central core and not just its periphery) is skilfully used (manipulated) in a combat situation so that there is no direct conflict between the defender deploying this technique - and an attacker ignoring this technique. Tai Sabaki (体捌き) is NOT just the skilful movement of the arms and legs in ‘protection’ of the central core (the torso). Tai Sabaki (体捌き) is a ‘centre-out’ technique that requires the core and periphery to work in concord. Strength does not clash with strength. The ability to assertively ‘give-way' is the key to this technique. Indeed, when the timing is perfect - ‘giving-way’ becomes far stronger than the momentary strength associated with a dramatic (but short-lived) show of strength! Giving-way, at its highest manifestation, not only ‘absorbs’ and ‘nullifies’ ALL incoming power – but when performed correctly, generates the basis for ‘greater’ power to be produced that is not reliant upon linear (muscular) strength – but rather the ‘circular’ movement associated with the structures of the bones and joints! The bodyweight ‘drops’ into the ground through the shaft of the (aligned) bones and rebounds upwards through the centre of the bone-marrow – producing a seemingly endless supply of ‘muscle-free’ power! As this power is greater than that associated with the muscular ‘tension’ of thuggery – the defender occupies a unique time-space frequency within which the attacker cannot access (or penetrate) regardless of the willpower exhibited. The linear attacks cannot land on an object continuously moving in perfectly timed circles. Once such a level of mastery is achieved – the defender can decide the level damage perpetuated upon the attacker depending upon circumstance. Should the body of the attacker be temporarily or permanently disabled? Should the body of an attacker be only (gently) nullified as if in play? Someone who has mastered Tai Sabaki (体捌き) possesses all these choices. This is why the Wado Ryu Style of Karate-Do posits the highest ideal of a defender possessing the ability to prevent damage to both their own body AND the body of the opponent! An ideal of the highest nobility!
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AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |