Friday, March 19, 2010

Gokui no Utai

Poema de los principios secretos. Encontrado en los pergaminos de Kukishin Ryû.

“No existe un pueblo en que la luz de la luna no brille,
pero en la mente del que mira parece que existe.
Los ligeros brillos de la luna caen sobre cada cosa.
Si sientes que no está brillando donde tu te encuentras,
es porque la mente del que está mirando está nublada.

Incluso la tierra lavada durante un diluvio,
dejándose llevar,
flotará en cualquier torrente.
Incluso la suciedad lavada llevada por un diluvio
flotará naturalmente en la superficie del agua.

Esto significa que aún cuando estás en una situación de desesperación,
si tu estado de ánimo es como el Sutemi,
proyectándote a lo lejos,
podrás encontrar una manera de vencer.

En todas las defensas que el cuerpo usa para mostrar valor,
el verdadero secreto es la mente.
Las posiciones del cuerpo parecen expresar la fuerza de cada uno
pero la verdadera fuerza está en el corazón.

¿No es el secreto o el poder hacer uso de la fuerza del enemigo, el corazón de un sauce en el viento?

Lo que es importante del camino marcial
es omitir el exceso de poder y usar la fuerza del oponente,
haciendo exactamente como las ramas del sauce
cuando son sopladas por el viento y oscilan sin tensión”

Wednesday, March 10, 2010

Keith Larman on Aikiken

The always recurring theme of Aikiken has given one of the most complete advice in an internet forum in AikiWeb.

Quoted here:

I tried very hard to avoid any implication of superiority of anything. I practice Aikiken myself, usually daily as a break from my work. I do, however, also believe that some questions give the appearance of being easily answerable while hiding a myriad of vastly more complex questions that are not being asked. This is was one of those for me. In my training there have been many times when I've asked the same question only to be told to keep practicing. Over time you begin to realize that the question asked was not really answerable as there were 1000 things unasked, each arguably more important than the one asked. Or maybe a better analogy for me is the solving of a rubic's cube. People will get one surface correct and then ask what to do next. They don't want to hear that they have to destroy everything they've accomplished to "fix" the whole thing.

The cut doesn't exist in isolation.

A person with an incorrect grip will pull their elbows out to the side causing them to not get correctly "behind" the tsuka. This makes it very difficult to get a straight cut. Fix the grip.

A person with a correct grip can still push out their elbows. With the elbows out the person cannot get behind the tsuka correctly during the cut. Keep the elbows in correctly.

A person with a correct grip and elbows in will often push the sword too far forward, basically pushing their shoulders out of proper alignment. As the arms come down the realignment of the shoulders being out of phase can cause wobble. Keep the shoulders correctly in place throughout the arc of the cut.

A person with incorrect alignment of the hips to their shoulders (hence to the target) will often find themselves rotating slightly during the cut causing the shoulders to come out of alignment. Fix the body alignment.

A person with poor posture will often have to compensate throughout the movement causing alignment issues.

Footwork is always an issue as too much movement in any one direction can cause the same issues of rotation within the body. Remember that power is generated from the one-point/hara/dantien/whatever and sent through the body. The sword cuts, you guide, and power is a result of the entire body. When that does not happen muscles have to compensate and it becomes extremely difficult to keep a consistent path to the sword.

Overextension in any part of the body tends to cause wobbles as balance is thrown off. Control, control, control.

Hand dominance is a constant issue. Often hints such as "focus on the left hand for power, right hand for guidance" are given to a person who needs that advice due to how they're swinging. The same advice to someone else will just make their cut worse. The reality is that the hands have to work together seamlessly with the entire body transmitting movement. So advice here usually has to be given very carefully depending on the person's needs.

For some a lighter sword will help fix issues, especially if they're throwing themselves off balance. Other times a heavier sword will make the difference for the exact same issues. Control is the underlying thing being addressed. Sometimes having a lighter sword allows the person to find the proper "groove" for cutting. Sometimes a heavier sword slows them down enough for them to find the proper "groove" for cutting. So YMMV.

Keep in mind that everything as described up above may be slightly different depending on what style you study. Some styles do bigger cuts, some smaller. Some slashing, some cleaving. Some are very fast with small movements, some are bigger, mean, cut them in half type things. Some emphasize being square (hips/shoulders) to the opponent, others not so much. Some emphasize foot alignment as well that is square, others not so much. Those changes alone will dramatically change how cuts are done. So each style will address most of the above issues slightly differently because each thing affects the other. The individual "tips" exist as part of a larger whole. What works with one will be absolutely wrong for another because internal consistency is what matters. Later styles of swordsmanship tended to emphasize draw/cut movements. Some earlier styles (some regional differences as well) will emphasize a slightly different grip which allows a more "leveraged" fast movement of the blade. Watch Toby Threadgill's demos on youtube with the sword. Compare how the sword moves with someone doing something like iai. Very different in subtle ways. Neither is incorrect. But each does what they do with an internal consistency that is critical to proper form.

In the end (after that long post) my point originally was that most advice regarding swordsmanship cries out for a larger context to ensure that the internal consistency is there. I do iai differently at times than I do my aikiken. Because they are different. And I've seen many aikiken demonstrations by high ranking people of many styles and there are more differences than similarities. Straightening out a cut depends on what you're doing wrong. What's "wrong" or "right" depends on who you study with and how they do things.

This is not an issue of superiority. I enjoy aikiken. I would not give advice to someone from another style, however, because I don't know what they might be doing wrong. Because I wouldn't know what is "right" in their style.

But yes, there are basic things. Smooth cut. Don't over muscle. Slow down. Get good extension without over-committing. For the rest? Ask your sensei to watch and fix what you're doing wrong.

Now I'm sure some think I'm being an elitist snob anyway (I get e-mail, yes, I get e-mail...) I don't think it is a highjack but an attempt to see the larger picture.

That said, please do not hesitate to put me in your ignore list. Or just scroll right past.

So please pardon the intrusion in your thread. I was trying to answer the OP's questions as sincerely as possible.

The author, Keith Larman, is a member of Seidokan Aikido as well as a sword expert and has published some very detailed articles on the matter.

Keith Larman became interested in Japanese sword crafts in the late 1970’s. In the 1990’s he began training in traditional methods of polishing and mounting of the Japanese sword. In 2002 he decided to devote himself full-time to the profession of polishing and mounting.

Tuesday, March 09, 2010

Curso de Kempo con Jeff Speakman en Zaragoza

Nihon Kobudo Aragón organiza un stage de Kempo con Jeff Speakman el 10 de Abril en el Polideportivo San Agustín en Zaragoza.

Sin duda alguna será un gran curso y una oportunidad única de trabajar con un maestro de su nivel.

Thursday, February 25, 2010

Iaido in Iwama

“I was uchideshi this year again for one month (tooooo short) and had the opportunity to learn Battojutsu directly from [Hitohiro Saito] Sensei. First, Sensei handed us the Iaito (the Tanrenkan has several) and told me, as the highest grade present, to practice suburi, and kumitachi. Since I did not know anything about it, I had to depend on Kasper (an excellent long time sotodeshi), and another day on Yasuhiro Saito, to teach me the Sekiguchi Ryu. About a week later, Sensei taught us directly with many details. It was a wonderful class. Sekiguchi Ryu is a ryu originally from Wakayama (O’Sensei’s country). It is a vigorous style with lots of kiai. We also practiced with live blades using some excellent swords that Sensei has.

One site where you can have a look at this Battojutsu style is bushinjuku.com.

It seems that Sensei has had a long connection with this style.”

Tristão da Cunha Sensei from Portugal.

Click here to view forum thread in Aikidojournal.

Tuesday, February 23, 2010

Aikido Principles

Just found this while surfing the web and thought it would be interesting to share.

Fudo Genri (Immovable principles)


Four points towards Body, Mind and Spirit unity...
  • Concentrate on seika tanden or center.
  • Mind, heart and body must relax.
  • Feel the Ki in any movement and extend it
  • Mushin (no mind, or stop thinking too much)

Kihon Genri (Basic Principles)


These are movement principles that follow the Aiki Law or Natural Universe Law.
  • Chushin: Center line. Always move from your own center line. Connect to uke and bring him into your center line. Do not move his center line separate from yours.
  • Shuchu: Focus power starting from the mind into the body.
  • Kokyu: Breath power, connecting the energy of the body and the physical aspects.
  • Enshin: Circular movement or more precisely, spiralling. You can spiral inwards or outwards.

Aiki Genri


Energy principles, essential in resolving conflict.
  • Awase: Blending, to harmonise with incoming force not to avoid or fight it. Body leads the mind.
  • Musubi: Connection, stage two of harmonising. Musubi can occur in many levels not just at the physical level. Mind leads the body.
  • Nagare: Fluid movement, there is no stop in movement or conflict. Joining with partners energy and moving synergistic-ally.
  • Takemusu Aiki: Unlimited manifestation of Aiki. This is a stage when you are living in harmony with the universe. Technique is not essential because your opponent cannot defeat you since he will be fighting himself.

Five Stages of Understanding Aiki

  • Aiki no Kokoro: Understand and belief within your heart the principles of Aiki.
  • Aiki no Genri: Know and understand the Aiki Principles.
  • Aiki no Waza: Embody the techniques of Aiki in training and life.
  • Aiki no Chikara: Resulting from training and embodiment of Aiki principles, achieve the power of Aiki.
  • Aiki no Seishin: True Aiki. Its 'switched on' without your active participation.

[Source: Aikihut]

Monday, February 22, 2010

Sociedad General de Fabricantes de Mesas

Recién llegado a mi dirección de correo electrónico:

Yo creo la Sociedad General de Fabricantes de Mesas.

Yo fabrico una mesa a Victor Manuel, él va, me la paga y se la lleva a su casa. Un día invita a comer a los corruptos de sus amigos para hacerse una cena con jabugo, ostras, caviar de Beluga y otras delicatessen propias de un currante como él.

Pues bueno, ¿cómo es que sus amigos están comiendo en MI mesa, disfrutando de ella Y NO ME ESTÁN PAGANDO?.

¿Que ya la pagó en su momento Victor Manuel y él hace lo que quiera con la mesa?. ¡De eso nada!.

Yo se la vendí a ÉL y no al gordo de Echanove que se está poniendo ciego comiendo en mi mesa.

Así que cada vez que alguien coma en una mesa y no sea éste el que la compró me tiene que pagar.

Pero espera, no solo eso, sino que al que saque beneficio económico de mi trabajo (la puta mesa), lo voy a sangrar.

Osea, todos los restaurantes que me paguen 2mil€ al mes por usar mis mesas. ¿Pero por qué restaurantes solo?, TODO EL MUNDO USA MESAS: las oficinas necesitan mesas para trabajar Y GANAN DINERO POR ELLO, los voy a sangrar a todos.

¿Una boda?, que paguen por las mesas, ¿NO PAGAN POR LOS LANGOSTINOS? (Victor Manuel dixit).

Pero claro, hay un problema: yo antes hacía mesas, pero hace años que no hago ni una y nadie usa una mesa mia. Pues no pasa nada, yo cobro por TODAS las mesas. Es más, por todo lo que tenga 4 patas y una tabla encima. Por si acaso, vete a saber si alguna de ellas es mia o de mis amigos de la Asosiación.

Pero da igual si esas mesas son de Ikea, YO las cobro y luego digo que el dinero se lo lleva Ikea.

Grab my wrist; no, really!


One of the big problems people seem to have with Aikido is all the wrist grabbing. It seems silly and unnecessary if you come from a sport martial art school. If you’re into RBMA (reality based martial arts) then it seems only mildly useful, and only in self defense situations. Punching and kicking seem reasonable, headlocks, body to body clinching, these things are what martial arts should be about, right…

The biggest problem our martial art faces today, in terms of our ability to develop (as individuals and as a whole), is understanding what we are doing and why. There is so much confusion in our community as to what we are doing. Why do we practice such strange techniques? How does our system even work in a martial context?

Even if you are not interested in martial questions directly, this should be important to you. So you’ve never been in a fight, and don’t ever expect to be. You’re probably right, if you are a reasonable person, it’s unlikely that you will ever get into a fight. However even if you were never put in a position to “use” your martial arts training, this question is important to you. Not because of your ability to “use” Aikido outside of the dojo, but because of your ability to “use” Aikido inside of the dojo!

Para leer el artículo completo: aikidostudent.com

Friday, February 19, 2010

Guardería Magic Forest - Bilingüe en Utebo

Mi vieja y buena amiga Toscahua se embarca junto con su socia María en la aventura de abrir una guerdería bilingüe en Utebo. Se estrenan este sábado con una jornada de puertas abiertas a la que no podéis faltar todos los nuevos padres que deseen una educación bilingüe y de calidad para los peques.

Más información en la web de la guardería Magic Forest en: www.guarderiamagicforest.es.

Thursday, February 18, 2010

Fallece Kuroiwa Sensei

Kuroiwa Yoshio Sensei falleció el pasado 19 de Enero a causa de un cancer de pulmón y enfisema. Con su fallecimiento perdemos a otro de los grandes.

Ellis Amdur publica una nota en su memoria en: In Memory of Kuroiwa Yoshio.

Descanse en paz, Kuroiwa Sensei.

Tuesday, February 16, 2010

Transmission, Inheritance, Emulation (XVII)

Tras dos meses de impaciente espera, ya tenemos el capítulo 17 de Transmission, Inheritance, Emulation del Profesor Goldsbury.

¡Ahora a leer y a disfrutar!

Friday, February 05, 2010

Chugairi

A judoka recovered an old ju-jutsu technique.

On May 16 in Poasco (Milan), during AISE ‘s grade exam, Giancarlo Manenti, 5th dan from Siena, showed during randori an old breakfalling ju-jutsu technique named “chugairi”.

At Bu-sen Milano we always practised it as space conquest exercise (see training film), with the recommendation to our judokas not to use it because it was a technique reserved to jiu-jutsu expert, that could cause accidents to less skilled judokas.

Giancarlo Manenti took the Shodan in Siena, studied 5 years at Bu-sen Milano. When he went back to his native town he put right chugairi in randori as counter-attack to o-soto-gari, and ending up with waki-gatame or kesa-gatame (see randori film).

Due to this brilliant achievement proved in randori, as person in charge for exams, I've taken the liberty to propose him for 6th dan, as the only judoka in AISE who has brought a study of (I believe) worldwide relevance on judo to a conclusion.

I add some details: “ukemi” means “break-fall” and comprises all techniques that allow uke to absorb a fall escaping tori's control. Saigo Shiro nicknamed “The Cat” was famous for this. Among these techniques: Chugairi, Dai-sharin and mae-ukemi.

With the spread of judo, these techniques were considered unsafe and abandoned, admitting in the Ukemi category only techniques which permit to absorb the ippon without damages to the body.

-- Cesare Barioli

[Fuente: How do armbar?]

Friday, January 08, 2010

Ki

Una miniserie de tres artículos de Mike Sigman:

Y un articulo de Howard Bornstein:

Lectura para un ratito...

Tuesday, December 22, 2009

Exámenes de Grado de Nihon Taijutsu

Anoche se realizaron exámenes de paso de grado de Nihon Taijutsu en el grupo Nihon Kobudo Aragón. Felicitar a todos los aspirantes por el alto nivel demostrado y, como no, a los sufridos ukes que recibieron inmerecidas palizas.

¡Por fin conseguí el segundo kyu de NTJ, después de tantos años! Vamos lento pero creo que estamos en el buen camino. Cómo no, gracias a Miguel Ángel Ibáñez por su santa paciencia con nosotros!

Wednesday, December 16, 2009

Transmission, Inheritance, Emulation (XVI)

Imperdonable el retraso por mi parte, pero aquí teneis el capítulo 16 de Transmission, Inheritance, Emulation del Profesor Goldsbury.

El día que saque el libro va a ser referencia obligatoria en todas las escuelas de Aikido!

Wednesday, December 02, 2009

Manifiesto ‘En defensa de los derechos fundamentales en Internet’

Ante la inclusión en el Anteproyecto de Ley de Economía sostenible de modificaciones legislativas que afectan al libre ejercicio de las libertades de expresión, información y el derecho de acceso a la cultura a través de Internet, los periodistas, bloggers, usuarios, profesionales y creadores de internet manifestamos nuestra firme oposición al proyecto, y declaramos que…

1.- Los derechos de autor no pueden situarse por encima de los derechos fundamentales de los ciudadanos, como el derecho a la privacidad, a la seguridad, a la presunción de inocencia, a la tutela judicial efectiva y a la libertad de expresión.

2.- La suspensión de derechos fundamentales es y debe seguir siendo competencia exclusiva del poder judicial. Ni un cierre sin sentencia. Este anteproyecto, en contra de lo establecido en el artículo 20.5 de la Constitución, pone en manos de un órgano no judicial -un organismo dependiente del ministerio de Cultura-, la potestad de impedir a los ciudadanos españoles el acceso a cualquier página web.

3.- La nueva legislación creará inseguridad jurídica en todo el sector tecnológico español, perjudicando uno de los pocos campos de desarrollo y futuro de nuestra economía, entorpeciendo la creación de empresas, introduciendo trabas a la libre competencia y ralentizando su proyección internacional.

4.- La nueva legislación propuesta amenaza a los nuevos creadores y entorpece la creación cultural. Con Internet y los sucesivos avances tecnológicos se ha democratizado extraordinariamente la creación y emisión de contenidos de todo tipo, que ya no provienen prevalentemente de las industrias culturales tradicionales, sino de multitud de fuentes diferentes.

5.- Los autores, como todos los trabajadores, tienen derecho a vivir de su trabajo con nuevas ideas creativas, modelos de negocio y actividades asociadas a sus creaciones. Intentar sostener con cambios legislativos a una industria obsoleta que no sabe adaptarse a este nuevo entorno no es ni justo ni realista. Si su modelo de negocio se basaba en el control de las copias de las obras y en Internet no es posible sin vulnerar derechos fundamentales, deberían buscar otro modelo.

6.- Consideramos que las industrias culturales necesitan para sobrevivir alternativas modernas, eficaces, creíbles y asequibles y que se adecuen a los nuevos usos sociales, en lugar de limitaciones tan desproporcionadas como ineficaces para el fin que dicen perseguir.

7.- Internet debe funcionar de forma libre y sin interferencias políticas auspiciadas por sectores que pretenden perpetuar obsoletos modelos de negocio e imposibilitar que el saber humano siga siendo libre.

8.- Exigimos que el Gobierno garantice por ley la neutralidad de la Red en España, ante cualquier presión que pueda producirse, como marco para el desarrollo de una economía sostenible y realista de cara al futuro.

9.- Proponemos una verdadera reforma del derecho de propiedad intelectual orientada a su fin: devolver a la sociedad el conocimiento, promover el dominio público y limitar los abusos de las entidades gestoras.

10.- En democracia las leyes y sus modificaciones deben aprobarse tras el oportuno debate público y habiendo consultado previamente a todas las partes implicadas. No es de recibo que se realicen cambios legislativos que afectan a derechos fundamentales en una ley no orgánica y que versa sobre otra materia.

Este texto se publica multitud de sitios web. Si estás de acuerdo, publícalo también en tu blog, twittéalo, facebookéalo.

Monday, November 23, 2009

Terminado el primer Nihon Jujutsu Taikai de IMAF Spain

El pasado fin de semana tuvo lugar el primer Nihon Jujutsu Taikai de IMAF Spain, dirigido por José Miranda Sensei, delegado de IMAF Europe para España.

Durante la primera jornada se trabajaron las distintas líneas de Jujutsu englobadas en IMAF Spain, lo que nos sirvió para obtener una más completa visión de diferentes formas de trabajo, unas más tradicionales y otras más modernas. Con cuatro tatamis a nuestra disposición, nos dividimos según el grado de cada uno para estudiar las técnicas correspodientes a nuestro nivel. Todos los maestros pasaron por los cuatro tatamis para que nadie se quedara sin probar ninguno de los sabores del Nihon Jujutsu de la Asociación.

Los maestros Mònica Sánchez, Xavi Teixidó, José Miranda, Juan Antonio Salas, José Manuel Guisado, Miguel Ángel Ibáñez, Marcel del Río, Salvador Arbós... todos mostraron su capacidad técnica y rico conocimiento del arte.

La jornada del domingo sirvió para mostrar el programa técnico hasta primer dan del Nihon Kobudo, exponiendo los trabajos de Tanbo, Hanbo y Suntetsu. Un gran trabajo de rescate de las escuelas clásicas por parte del Maestro Miranda.

Agradecer a la organización y a los maestros el que pasáramos un gran fin de semana.

Thursday, November 05, 2009

1er Nihon Jujutsu Taikai IMAF Spain

Nos complace compartir con vosotros uno de nuestros eventos importantes del año. El segundo fin de semana de noviembre se celebrará el 1er Nihon Jujutsu Taikai IMAF Spain. Un certamen completamente abierto a practicantes de cualquier disciplina marcial, incluso a los no pertenecientes a IMAF Spain.

Programa TAIKAI

El Sábado 14, durante todo el día trabajaremos Jujutsu, en 4 tatami simultáneos
El Domingo 15, durante la mañana trabajaremos Nihon Kobujutsu: Tanbojutsu, Hanbojutsu, Suntetsu/Tenouchijutsu.

Lugar

Pabellón Polideportivo de LLers (3 Km. de Figueres), Girona. www.llers.info

Cuotas

  • 30€, curso completo a miembros IMAF
  • 45€, curso completo a NO miembros IMAF

SÁBADO 14, programa.

  • 09.30 Inscripciones
  • 10.00 Comienzo (presentación, asignación de tatami,etc.)
  • 13.00 Finalizan clases
  • 13.45 Comida de Profesores.
  • 13.45 Comienzan las Clases
  • 18.30 Finalizan las Clases. Entrega de Diplomas y Actos de protocolo.
  • 19.15 Asamblea Nacional IMAF España (1)

DOMINGO 15, programa.

  • 09.30 Comienzan las clases Nihon Kobudo Tanbo-Hanbo-Suntetsu programa 1º Dan.
  • 13.00 Finalizan las clases.

Profesorado

  • José Miranda, 7º dan Aikijujutsu
  • José Guisado, 7º dan Jujutsu
  • Marcel del Rio, 6º dan Jujutsu
  • Salvador Arbós, 6º dan Jujutsu
  • Juan Antonio Salas, 5º dan Aikijujutsu
  • Xavier Teixidó, 4º dan Aikijujutsu
  • Miguel A. Ibáñez, 4º dan Aikijujutsu
  • José L. Lorente, 4º dan Jujutsu

Alojamiento

Hotel Sidorme Figueres, a precios muy asequibles.
www.sidorme.com/hotel-economico/sidorme-figueres

Información y reservas en dama@ctv.es, Tel.: 669 55 71 13.

OS ESPERAMOS!!!

Wednesday, October 28, 2009

Serie Nihon Jujutsu: "Atemi Giho" por Xavier Teixidó

Calentito de la prensa, la Editorial Alas publica por fin Atemi Giho. Técnicas de golpeo en el Jujutsu tradicional japonés, el primer libro de Xavier Teixidó, que versa sobre las técnicas de golpeo dentro del Nihon Jujutsu.

Esta es la reseña de la Editorial Alas:

Colección Nihon Jujutsu. Volumen I
Atemi Giho (método de golpeo), es el primero de los 5 volúmenes dedicados a la historia y técnica de las escuelas de Nihon Jujutsu. En este primer texto, el autor nos adentra en los orígenes históricos de estas técnicas en Japón, los detalles de cada escuela, las formas de entrenamiento y series prácticas que muestran su uso en el arte flexible japonés.

Esperamos con mal disimulada ansia el día de su puesta a la venta, que el autor estima sea a mediados de noviembre.

Tuesday, October 27, 2009

Velocidades (y costos) de acceso a internet de banda ancha en el mundo

España, como siempre, vergonzosamente por la cola. Tanto en velocidad de acceso como en el costo de la conexión. Click para ampliar el gráfico.

Thursday, October 22, 2009

Religion vs. science / TMA vs. MMA

Since I practice both a traditional martial art (aikido) and mixed martial arts, I often get caught up with lots of arguments and discussions about the relative merits of the two. It's a touchy subject, since experienced TMA practitioners are highly invested in their arts, and MMA practitioners often have TMA experience that they "outgrew", so personal bias comes into play a lot.

For me, the two are not competing against each other, they are orthogonal in their attributes, overlap some, and only become antagonistic when someone postulates an either-or scenario. This is very similar to debates about religion vs. science or faith vs. evidence.

First, let's get some definitions out of the way. For me, a traditional martial art is one that emphasizes martial artistry along with cultural and character attributes. They are generally very formal, have a rigid hierarchy (often denoted by titles such as 'master', 'sifu', and 'sensei' and colored belts indicating rank), and tons of splinter groups and off-shoots from "mainlines". Examples of TMAs include the various flavors of aikido; karate-do; judo; tae kwon do; kung fu; wing chun; and Brazilian jiu-jitsu. Most of these arts also claim to be extremely effective in self-defense situations and/or particularly lethal, an assertion based on their heritage and not on evidence.

Related to these are what I call "sporting martial arts". These are combat sports that are generally one-dimensional, have competitions governed by rigid rules, and often lack formal or culturally steeped rules of etiquette. Amateur wrestling, boxing, and, to a lesser degree, Muay Thai kickboxing are examples of this. Ironically these don't really claim to be strong for self-defense due to their one-dimensional nature, but their training methods make them surprisingly effective for that purpose. BJJ is a sporting art as well, but its roots are in self-defense and NHB fights so I don't put it in this classification.

A mixed martial art combines the techniques of multiple combat sports and martial arts, and eschews the rigorous rules of conduct and hierarchies typically seen at a traditional martial art. MMA practitioners train at a gym (not a dojo or kwoon), don't have a belt system, don't practice forms or kata, and work under a coach.

MMA arose in two big steps.

The first was Bruce Lee's introduction of the Jeet Kune Do philosophy, which discarded the dogma of "you train under one style only" in favor of "use those techniques which work, discard the rest". This was a revolutionary concept at the time (if you ignore a couple of the "ancient MMAs" such as aikijujutsu and ancient Greek pankration) and counter to the rigid mindset of so many traditional martial arts.

The second step, and quite possibly the most important, was the arrival of mixed martial arts as a sport, with organizations such as the UFC, Pride, Rings, various K-1 derivatives, IFL, Cage Rage, Rumble on the Rock, and so on providing fight cards and venues. This greatly popularized the sport of MMA and, at the same time, the notion of MMA as a martial art in its own right.

And it was about this time that the TMA crowd freaked the fuck out. To understand why, you need to realize that traditional martial arts typically do not have full contact sparring with "anything goes" type rules. Almost all TMAs require a uniform that is very unlike street clothes. Each style limits the techniques for sparring to emphasize that style's strengths. Almost all striking styles (tae kwon do, kyokushin, goju ryu, et. al.) disallow clinching, throws, or joint locks during sparring; often require heavy padding; and in some cases disallow many types of practical strikes (TKD doesn't allow knees or kicks to the leg; kyokushin does not allow punches or elbows to the face). Almost all grappling styles (judo and Brazilian jiu-jitsu) disallow striking during sparring.

There's nothing particularly wrong with all that, but these limitations mean that a style's effectiveness is a matter of faith. Too often bold claims were made about a particular style's lethality, i.e. "I could use these killer techniques but I'd maim you, so I can't spar". This is, not to put too fine a point on it, bullshit.

Why is it bullshit? Because, as Jigoro Kano (creator of judo) discovered almost 100 years ago, if you do not practice your techniques against a fully resisting opponent, then you have not mastered that technique. That is an absolutely unavoidable reality. If you possess some devastating joint break or nose smash or eye gouge or throat crush that you've never actually used it, then there's no way you can tell if it's effectiven (in absolute terms) and if you've really mastered it.

This is where many sporting martial arts (and judo, which is part TMA and part sport), developed a practical advantage, even with huge gaps in their curricula. A practitioner of a sport art competes against others on a regular basis, exposing them to opponents that do not want a technique performed on them. By using only techniques that won't kill someone, combatants can use their full repertoire at full speed and power.

This has a couple benefits. The first is that a student truly learns how to use a technique, under duress, and under less than ideal circumstances. This cannot be emphasized enough. The second is almost entirely intangible -- the student learns to deal with conflict and confrontation at high speed. Many TMAs train students using rote partner drills or unrealistic attack patterns (aikido's randori). The student's mettle is rarely tested against an attacker using skills or strategies outside that TMA's comfort zone.

A boxer may not be great at take downs or kicks, but he's usually very comfortable having someone trying to knock his head off. A wrestler may not have good striking skills, but he's used to someone trying to tackle him and slam him to the ground. Real world experience will trump theoretically dominant skill sets almost every time.

Now, MMA is the polar opposite of a TMA when it comes to the effectiveness of a technique -- it is purely evidence based. Faith doesn't play into it. Techniques are researched, developed, enhanced, and then tested in the crucible of a mat, ring, or cage. Techniques that simply do not work very well eventually fall by the wayside, so you have an accelerated evolutionary mechanism at work.

Over the past 15 years this has been strikingly evident in the MMA world. In the early days of the UFC you had Brazilian jiu-jitsu guys dominate using very rudimentary take downs and almost no striking skills. Over time wrestlers with superior take downs and take down defense, but sub par striking and submission abilities, started to dominate the scene. Then fighters like Fedor, BJ Penn, Wanderlei Silva, and GSP started showing up. They would use Brazilian jiu-jitsu submissions, wrestling take downs and take down defense, boxing punches, and Muay Thai kicks and knees.

MMA practitioners today are much, much different than those of even 10 years ago. An MMA fighter today probably still specializes in one domain, but he will be at least "good enough" in every other facet of the game or he won't be competitive. This is the evolution of MMA today.

MMA techniques and training regimens are based on evidence, not faith. You don't learn a technique with a master scowling at you saying "This will work when you need it, trust me!" If you can't pull off something, you won't use it, and you'll find out soon enough if you can pull it off.

TMAs, on the other hand, don't have the laboratory of no-holds barred competition with which to evolve, which is why, by and large, the goju-ryu or wing chun of today is nearly identical to that of 50 years ago.

TMA practitioners have their counterarguments when it comes to pure combat efficiency. The most common is that a TMA isn't a "sport" and thus is potentially more lethal. But as I discussed earlier, if you have a host of lethal techniques that you've never used against someone trying to beat the crap out of you, it's doubtful that you'll be able to use them when the shit hits the fan. The second most common, and ironic, argument is that a TMA is more effective "for real" since MMA competitions occur inside a regulated ring, wearing protective gear, minimal clothing, no weapons, and a well-defined one-on-one scenario.

This claim of "more realistic" would have a lot more weight if TMAs regularly trained in street clothes, wearing shoes, with weapons, against multiple opponents, and outside on concrete or inside on hardwood floors -- using a wide range of techniques. But they don't, making the argument specious at best.

So all that said, I must be pretty down on TMAs, right? NOT AT ALL! As I said at the beginning, I still practice a TMA (aikido) regularly. And here's why: MMA and TMA offer completely different things.

If you want to learn how to fight, then I do strongly believe than an MMA is going to be far more effective than any TMA in existence. It's faith vs. science -- I have evidence of MMA effectiveness and, more importantly, as I progress with MMA I can test my own abilities. It is true that MMAs are really optimized for fighting against someone who also has training, but I don't consider that a liability. Many TMAs are really setup to fight against others of their own style or against completely untrained opponents.

But not everything is about fighting. TMAs offer a host of valid benefits:

  • minimal but real exposure to history and cultural information
  • a feeling of learning an art form. For many people things like kata, practice drills, etc. are relaxing all on their own.
  • flexibility, strength, and cardiovascular improvement
  • relaxed environments where you can hang out and have a good time without feeling competitive pressure
  • a feeling of accomplishment based on your own advancement, not on your competitive ability

For some these benefits are absolutely massive. There are people that would be woefully uncomfortable wearing board shorts, rashguard, and mouthpiece while getting the shit kicked out of them. For your average house wife or mid-40s executive, something like tai-chi or wing chun or shotokan may be just what they're looking for.

An MMA practitioner poo-pooing those elements is missing the point entirely -- those features of a TMA aren't meant to appeal to an MMA practitioner hell bent on crushing the opposition.

If you want to learn how to fight, then MMA is the answer. But MMA training would leave a lot of people empty and cold, people who would otherwise find deep satisfaction with a TMA.

The analogy is religion vs. science. Religion doesn't make a lot of sense to a lot of people, and it may not be practical as a cure for cancer or your financial problems, but it's a source of wonderment, comfort, and camaraderie with like minded individuals. And this is what TMAs are like.

Science won't comfort you or tell you what you want to hear, but it will provide data in a measureble, repeatable format based on experiments and observed behaviour. It is up to you to draw what you can from MMA, but it cares not for your own needs. But you can rely on it to be fairly objective or, more callously, uncaring.

And as in the modern world, religion and science are not mutually exclusive, unless you choose to put them at odds with each other. TMAs and MMAs can coexist as long as you understand their roles and accept their limitations. And if you choose not to do both, that's great, but don't disparage the other because you're projecting your values onto something that isn't a good fit for you.

[Fuente: mma-journey.blogspot.com]