Month: September 2019

Generating More Power From Hip Rotation – Lessons From Martial Arts

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One of the important lessons of Martial Arts training is the ability to use hip rotation as a way to generate power and speed for maximum impact.

Martial artists know that the hips are where the body’s ‘center of gravity’ is located. It lends balance and stability to every move. The lower body is designed for power- the upper body for finesse.

If you can translate this knowledge into a better golf swing, you will be blessed with both power and accuracy.

Here are a few tips to get you started:

Hip rotation holds the key to a powerful swing. Do you want to turn easily from the hip and get more yards out of your swing? It’s not hard when you know the proven secrets of golf pros.

The first thing you need to know about turning, is that you won’t get a flawless turn till you develop stabilization and strength in the lower body.

To get your upper body in sync, make sure you stand straight with your shoulders pulled back, to facilitate that perfect swinging motion from the shoulder- instead of the elbow. Practice turning your shoulders as far back as possible, with your trunk acting as the pivot. If you are right handed, you can see your left shoulder aligned with your chin.

Strong shoulders and well-conditioned abs are a must to maximize torque, while minimizing the distorting forces at the hip- which can lead to imbalances and injury.

Top players initiate their downswing with the powerful muscles of the abs and hips. Once the desired momentum is generated by the lower body, they use their arm muscles to effectively “fine tune” the swing.

Recreational players, on the other hand, use their arm muscles right at the outset. As a result, they are unable to recruit the latent muscle-power in their lower body, while the arm muscles work extra hard both to power and guide the club. No wonder it leads to a shaky, inconsistent swing!

Many players employ faulty swing mechanics, which actually dissipate the energy generated by the lower body, before it can be transmitted to the upper body.

Recreational golfers show a higher tendency for movements that rob swing momentum, such as hip sliding and lateral bending.

The reason can often be traced to reduced range of motion in the hip joints. Often, the process of aging or a sedentary lifestyle can lead you to lose some internal rotation at the hip joint. This condition can be helped with stretches and strengthening exercises that target the hip flexors, hip adductors (inner thigh and groin), hip adductors (outer thighs or hips) and the glutes (buttocks).

Deadly Street Fighting Techniques You Won’t Learn In The Dojo!

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Traditional martial arts methods might be leaving you feeling annoyed, agitated and bored. This situation is exacerbated by the fact that plenty of black belt martial arts masters would never win in a real world fight on the streets.

You can only learn killer street fighting moves from someone who has actually engaged in street fighting. It’s this type of fighter who has demonstrated and developed the necessary skills to help you survive a fight in the street. You will be taught how to employ every technique and tip listed in this article. Read on for a list of the techniques which you’ll never learn by simply studying classic martial arts methods.

Deadly street fighting techniques #1 : If you have the chance, don’t hesitate to bite your attackers face. If they use their hands or arms to grab close to your face, use your teeth. Every part of the attacker’s body is vulnerable to biting. The attacker’s muscles can be very effective targets, as you can sink your teeth deep into them and cause serious loss of blood. Now the following idea is very important to remember.

Deadly street fighting techniques #2 : If you kick your opponent, focus on the lower portions of the body, such as the knees. One hard kick at your attacker’s kneecap can shatter the bone. If you are fighting a larger attacker, aim your kicks at his groin. If your attacker traps you in a tight hug, kick at their chins and stomp down on their feet. There are many ways to injure the lower sections of your opponent’s body and create significant pain. These are the areas to deliver your kicks towards.

Deadly street fighting techniques #3 : Rehearse these methods with a partner, and improvise scenarios. Work in a spacious area, and find someone who is willing to attack you as if they were an attacker on the street. By being spontaneous, you can practice your responses to an unprovoked attack more realistically.

Deadly street fighting techniques #4 : Gouging at someone’s eyes can be even more effective than delivering a punch during a street fight. When your attacker comes close, your best target is their eyes. Do absolutely anything it takes to hurt and injure an attacker don’t hold back. Aiming for the eyes will create serious pain and temporarily blind them as well, which is a great advantage to have.

Deadly street fighting techniques #5 : Be conscious of weapons being introduced to a fight. I was recently attacked by someone holding a hammer. Someone nearby yelled out that this opponent had a hammer in his hand. I didn’t realize this because of the shere chaos during the fight. I used this tip to make sure he never got a second chance to attack me with his hammer. I quickly won the fight and got out of the situation.

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I will turn you into a deadly street fighter when you discover the list of 27 barbaric street based self defense moves here! Or you can get some more free self defense techniques from my newest site now!

Literature And Performing Arts School Trips To New York

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Frank Sinatra coined the phrase a city that never sleeps, when he sang New York, New York – and the words sum up the atmosphere of this city. Vibrant, diverse and dynamic, it has been the inspiration for films, plays, novels and poetry for centuries. Whatever genre interests you, school trips to New York will satisfy your interests in literature and the performing arts.

Broadway

Broadway, in Upper Manhattan, is the theatre district of New York and is probably the only one in the world to rival the West End in London. There are forty theatres on Broadway and the diversity of the plays being shown reflects the diversity of the city. Everything from Macbeth to The Lion King is being performed in a theatre on Broadway, and the history of this area has offered up shows from The Ziegfield Follies to plays by Eugene ONeill and Oscar Wilde.

Many playwrights have been praised or pilloried for performances of their work and history has taken place on this street; Abraham Lincoln was shot and killed by the actor John Wilkes Booth in 1865 while he was watching a performance of Our American Cousin by the English playwright Tom Taylor. Arthur Miller was born in New York and his plays The Crucible and Death of a Salesman are as popular today as when he wrote them. He was married to Marilyn Monroe and wrote the film The Misfits, which was the last film Marilyn Monroe appeared in.

New York Novelists

F. Scott Fitzgeralds work has been studied by literature students for many years and school trips to New York would not be complete without exploring his links to the city. Baz Luhrmans recent production of The Great Gatsby has once again brought this wonderful novel back into the public eye, and its depiction of the development of the city of New York is vivid and dramatic. The novel is set in the roaring twenties when prohibition was at its height – which ironically resulted in New York becoming one huge party. F. Scott Fitzgerald and his wife Zelda were part of New York society at this time and his novels reflect this. Fitzgeralds character in The Great Gatsby, Nick Carraway, describes New York as offering the “first wild promise of all the mystery and the beauty in the world.”

Norman Mailer was brought up in New York and his novels The Naked and the Dead and The Executioners Song raised him to the top echelons of respected writers; he won the Pulitzer Prize for The Executioners Song. He is considered to be one of the founders of the genre “Creative Non-fiction”, which makes narratives out of accurate facts.

New York Poets

The Beat Generation of poets were prolific during the 1940s, 50s and 60s and many of them made their homes in New York. Students can prepare for school trips to the city by reading some of the words these writers used to describer her. Jack Kerouac wrote On the Road while living in Manhattan and the novel examines the diverse social groups that were emerging in post-war America. Other members of the Beat Generation include William S. Burroughs and Allen Ginsberg, both of whom spent time living in New York.

Fortunate students on school trips that focus on literature and the performing arts will be surrounded by the resonance of the words of the wonderful writers who have lived and worked in this city.

ONLINE EDUCATION (Associate of Arts with a concentration in Communication)

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Explore the world of communications through the pursuit of an Associate of Arts with a concentration in Communication* degree. This is a great way to start your journey into the field of communications, including journalism and broadcasting. In addition to building a solid foundation by studying the growth and convergence of telecommunications technologies, the role of media in a democratic society, and standards of social responsibility within the culture of journalism, you’ll develop sought-after critical-thinking skills as well as invaluable leadership abilities. All of our courses are updated regularly to ensure real-world relevance and are taught by leaders in the field of communications.

The Associate of Arts in Communication prepares students to enter professions in the communication field and to continue their undergraduate education in one or more of the related fields of public relations, advertising, journalism, corporate communication, and media. Enrolled students gain valuable experience in a variety of contexts while establishing a broad foundation in communication theory. Students who successfully complete the coursework for this program are provided with the critical thinking and analytical skills needed to thrive as a communication professional.

The Associate of Arts in Communications degree program focuses on the growth and convergence of telecommunications technologies, the role of media in a democratic society, and standards of social responsibility within the culture of journalism. The concentration courses will help students develop win-win communication processes and information strategies for problem solving, while also providing an extensive review of information sources and news presentations for print, web, and broadcast delivery. Additionally, students will learn to review and assess pivotal influences on the development of mass media and speculate on their future evolution.

Program Learning Outcomes

Analyze the effectiveness of oral communication messages. Establish appropriate communication goals. Create content that fulfills communication objectives. Apply critical analysis of mediated messages. Deliver an effective presentation using digital technology. Effectively deliver a clear and well-researched argument.

What you’ll learn Associates of Arts degree with concentrations in business, accounting, information technology, criminal justice, health care administration, human services management, communication, psychology, and paraprofessional education. The Associate of Arts curriculum provides a foundation and overview within the academic disciplines of communication arts, social sciences, mathematics, life sciences, and the humanities. Instruction focuses on the development of student skills in writing, critical thinking, and information utilization, as well as foundational competencies in the selected discipline. The completion of an Associate of Arts degree represents an important milestone for many students as they pursue their educational goals.

The Associate of Arts in Communications degree program focuses on the growth and convergence of telecommunications technologies, the role of media in a democratic society, and standards of social responsibility within the culture of journalism. The concentration courses will help students develop win-win communication processes and information strategies for problem solving, while also providing an extensive review of information sources and news presentations for print, web, and broadcast delivery. Additionally, students will learn to review and assess pivotal influences on the development of mass media and speculate on their future evolution.

What Courses Can I Take? Coursework covers oral, written, visual and electronic communication. All associate’s degree programs require general education courses in addition to your major courses, and you learn about various computer programs used for communication in a variety of industries. Core coursework might include:

Art history Web publishing Newswriting Computer Illustration Drawing Photography

Nine weeks in length, courses are offered in pairs, or “blocks,” designed to complement each other. In these courses, emphasis alternates weekly between reading and online discussion one week and a work project the next.

The completion of an Associate of Arts degree represents an important milestone for many students as they pursue their educational goals.

The Associate of Arts with a concentration Communication Studies degree is designed by the Texas Higher Education Coordinating Board to facilitate transfer to public two-year and four-year colleges and universities throughout Texas. Communication Studies concentration can be foundational to any Baccalaureate degree or vocational choice. Numerous studies find communication skills as one of the most desirable personal qualities for future employees. Students may choose from a number of courses to complete their major including interviewing, small group discussion, interpersonal communication, presentational speaking and oral interpretation.

A communication arts associate’s degree program provides you with an understanding of written communication, visual communication, graphic arts, Web design and other subjects. Many community colleges and technical schools offer 2-year programs in this area, and some qualify you to move onto a 4-year bachelor’s degree program once you’ve graduated.

Some programs require you to select a concentration, while others allow you to pursue a broader education. Concentration options include advertising, electronic media, public relations and organizational communication. You can also find programs that focus on the technology involved with the communication arts and others that allow you to explore the fine arts. These programs aren’t typically offered online.

Depending on your program, your curriculum may be tailored to a general area of the communication arts. For example, if you choose to focus on advertising, your courses will cover mass media, media writing, advertising research and media literacy. Other courses sometimes discuss interpersonal communication, group dynamics and public speaking. You may even have the opportunity to complete an internship, providing on-the-job experience that may even translate into a job.

You May Qualify For Financial Aid.

Shashidhar Kote Being As Junior Yesudas (kote Music And Arts Foundation)

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Bengaluru Ratna, Gayana Mantrika, Vishwamanava, Gana Gandharva, Kannada Saarathi…that’s Shashidhar Kote for you.

The Kannada singer talks to Shruti Indira Lakshminarayana about his journey from Dakshina Kannada to Bangalore and being called ‘Junior Yesudas.’

How did music happen to you?

I was exposed to music and Yakshagana at a very young age. As years passed, I realised that I wanted to be a singer. With my father Kote Vasanthkumar’s support I came to Bangalore to live my dreams.

Did you give up your career as a teacher to become a singer?

Yes, I used to teach literature at Mangalore University. But lecturing to a large class meant straining my voice. I couldn’t afford to do that as I wanted to pursue music. It is my lifeblood. In fact, when I was on a past-life regression reality show recently, I saw that even in my previous birth, I was a singer. Apparently I was a singer in the Mysore maharaja’s court and had been honoured by him.

Did you go through formal training?

After coming to Bangalore, I took classical music training from Vid Gurudutt. Before that, I had trained with Satyabhame and Gopalkrishna Iyer. However, it is Balamuralikrishna and Yesudas who have inspired me a lot. Listening to them has been an education in itself.

Have you interacted with your idols?

I met Yesudas 15 years ago. He had liked my voice. I’m yet to meet Balamurali. S P Balasubramanyam is also one of my favourites and I’ve interacted with him when I went as a judge on Yede Tumbi Haduvenu.

How does being called ‘Junior Yesudas’ feel?

God has gifted me with a good voice, but I’m no match for a legend like him. People think I resemble him because I sport a beard too and sing a lot of his songs. But even though the songs are his, the style is mine.

What is Kote style?

Be it Kannada, Telugu, Tamil, Malayalam or Hindi, when I sing a song, I make it mine. I place utmost importance on presentation. I judge the audience and present songs accordingly. There is always a variety in my programmes — from film hits to folk songs and classical pieces. You’ll find a Vaatapi, Hendati Obbalu and Kuladalli Kilyavudo, all in one programme. I try and make my presentation lively. Also, people feel my pronunciations are clear.

Your ‘Geetha Chitra’ is also unique…

‘Geetha Chitra’ is the coming together of music and painting. Lending support to this concept is B K S Verma. He paints the subject of the song I sing. Take for instance Vaatapi. He’ll paint a picture of Ganesha as I am singing. We are a popular pair in Bangalore, Chennai and Mumbai [ Images ].

You have received several accolades. Which would you rate as your best?

I have given over 4,000 concerts. The compliments I’ve got for them are the true awards. I have had elders falling at my feet. Another unforgettable incident is that of a beggar giving me the alms he had collected. He was that impressed with the programme. It is the love of the people that matters at the end of the day.

Are you saying awards and titles mean nothing to you?

Awards are bought these days. If anything, awards should come looking for you. But recognition pleases me. It encourages me to perform better.

While you have given many stage shows, you are not all that visible in the film circles. Why?

I have lent my voice to Shivaleele and Aiyappa. But today’s music directors want singers to approach them and I have too much self respect for that. Also, I am busy and don’t consider playback singing my ultimate destination. But Kannada youngsters should be given a chance. Why bring Hindi singers when you have so much talent here? Even singers like S P Balasubramanyam have not been utilised properly. How long will Hindi singers remain a trend? Even their Kannada numbers sound so Hindi!

What do you think of the current film music scenario?

Most songs are not backed by good lyrics. Rhythm is ruling over melody. Everyone wants an instant formula. In this bid, capable music directors, singers and lyricists are being ignored. We are not coming out with evergreen songs like Ellelu Sangeethave or Kuladalli Kilyavodo any longer. In comparison, the Malayalam industry manages to churn out tasteful music even now.

What is your take on fusion music?

I see it more as confusion rather than fusion! Half-baked knowledge on part of musicians is responsible for this state.

And what about reality shows?

The SMS-voting system is playing spoil sport. The judges’ words should be final. I have judged shows like Little Star Singer, Sangeetha Lahari, Hadondu Haduvenu and Sangeetha Sambrahma and I can say that what we need is opportunity and not competition, more so in the case of children. It would also do good if the channels popularised folk and classical music, not just film songs through these shows.

Speaking of young talent, both you and your wife are artistes. Is your son Saagar also aspiring to be one?

My wife Seetha is a dancer and a television actor. But that doesn’t mean we expect our son to tread the same path. He has shown interest in music, but he seems more inclined towards direction. As parents, our duty is to support him. All that I tell him is to learn and respect his language — Kannada.

Any word of advice for aspiring musicians?

First of all they should understand that just by singing on S P Balasubramanyam’s show they don’t become SPBs! There is no short cut to success. Dedication and a good teacher are the key words. They should be well-informed about musical notes and grammar, and make music that touches people. Money will follow.

What are your other interests?

I act in television serials. I also endorse products occasionally. Going out with my family and watching movies and cricket with them keep me relaxed. I also follow news keenly. Listening to songs set to my favourite ragas Kalyani, Anandha Bhairavi, Hindola, Karaharapriya and Abhogi also keep me going.

What’s the flipside of being an artiste?

Any artiste’s life is complex and unpredictable. There is too much tension and running around to do. For a singer, maintaining his/her voice is a task in itself. But all the effort seems worth it when you are on stage.

What’s next from your side?

There are a few music albums. One will be a collection of Dasara padas and another of devotional songs. I also want to make an album of Bharatanatyam dance numbers. My big dream is to start a music and dance academy along with my wife and brother.

Nude Portraits

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Passionately painted or sketched nude portraits of loved ones by art school-graduated portraitists will certainly be highly appreciated, memorable and unique Christmas presents.

Additionally, surprising your partner with an intimate nude black and white charcoal pencil drawing or oil colour portrait will definitely boost your relationship!

Experienced and art school-educated portrait artists in Chiang Mai create the most magnificent nude portraits.

What could possibly be more discreet than having unique Christmas painted or drawn by a professional portrait painter based in faraway Thailand?

Those wishing to buy nude portraits should select a special photo and send it to the online portrait art supplier via email. However, theres also the option to upload a pictures directly to their website.

Once the nude photo has been received, one of the passionate and skilful Thai artists will turn it into a magnificent oil colour portrait or black and white charcoal pencil sketch.

In general nude portraits will be finished within five working days. Once the art painting has been completed, a digital photo of the nude portrait painting will be send to the customer.

This allows the client to review the finished portrait and perhaps suggest any reasonable modifications.

Only when the customer is fully satisfied with the artworks end-result, the nude portrait will be shipped free of charge! Obviously the nude photo that was used to create the lifelike portrait will be deleted.

Completed nude portrait orders will be stored in solid, cardboard tubes guaranteeing that the artworks arrive at the postal addresses in a perfect state.

Normally it takes about 10 working days having the ordered nude portrait delivered at your home address. You can buy a mini charcoal nude portrait online for as low as $65!

The most popular Christmas portrait presents are black and white nude charcoal pencil drawings. Nude charcoal portraits come in sizes varying from mini (19x28cm) to large (56x76cm) drawings.

Portraitists based in Chiang Mai, Thailand are the worlds most skilful art painters. In addition, the fees are considerably cheaper than those offered by the main online portrait painting suppliers in the West, while the artistic quality of the nude charcoal drawings and oil colour portraits is even higher!

How to Do Fa-Jing –Issuing Energy — in Tai Chi, Hsing-I and Bagua

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He was one of the greatest kung-fu masters in the world, a direct descendant of the creator of tai chi, and he was asking me to show him a punch. It was an exciting moment but also nerve-wracking. Trying not to be nervous, I settled into the posture and prepared to show him internal power. Grandmaster Chen Xiaowang stood in front of me, watching carefully.

Trying to remain relaxed, I shifted my weight from my right to my left leg and my right fist shot out, fast, relaxed, and powerful. At the same time, my left elbow thrust backward and my left hand stopped at my ribcage.

Grandmaster Chen was not impressed. He took my right hand in his left, my left hand in his right and told me to relax. Before I knew what was happening, he jerked the right hand out and pushed the left hand backward. I wasn’t quite relaxed enough and almost suffered whiplash in my neck.

Relax, he told me again, and once again he jerked my arms — hard — forcing one to punch and the other to return to my ribcage. For a minute, I was like a rag doll, completely limp as he repeatedly demonstrated how relaxed I was supposed to be when performing fa-jing.

It’s amazing how the internal arts of China — Tai Chi, Hsing-I and Bagua — have been distorted by teachers who take what they have read too literally. The subject of fa-jing (pronounced “fah-zhing”) is one example of how a simple concept is misunderstood and misinterpreted.

Fa-jing means “issuing energy.” Unfortunately, the people who desperately need to believe in the supernatural think that in doing fa-jing, you are shooting chi out of your hands or body. They take it literally.

It’s not magical or mystical. It’s a matter of physics, and in the internal arts, it’s a matter of body mechanics.

Boxers issue energy anytime they deliver a jab, a hook, or an uppercut. If you’re into karate, you issue energy when you break a board with your foot, and if you’re into MMA, energy is issued when you drive a knee into an opponent’s face.

In the internal arts, fa-jing — issuing energy — is more complex, but the end result is the same. You knock someone into next week.

Grandmaster Chen Xiaowang, whose ancestor,Chen Wangting created Tai Chi 11 generations ago, teaches that fa-jing is a matter of proper body structure (posture) and good internal movement. From there, he says you simply “step on the gas.” He likes using automobile metaphors. In other words, if you use good structure and mechanics and then add speed, you will create the unique relaxed power of the internal arts.

I’ve studied other martial arts and have found the body mechanics of the internal arts far more difficult and complex. For high-quality tai chi you must maintain ground strength, peng jin, whole-body movement, silk-reeling (spiraling movement through the body), dan t’ien rotation and opening/closing the kua. You must connect all of these skills through the body as you deliver the strike with speed, power, and relaxation.

It takes years to learn how to do this from an internal perspective, because we all bring bad habits to the internal arts and it takes years to learn the above-mentioned skills and learn to maintain the whole-body connection as you move. It takes years for us to lose the muscular tension that we’ve developed all of our lives.

When Grandmaster Chen worked with me on the punch, I didn’t have it the first few times I did the punch and he corrected me each time. Suddenly I understood, and the next time I punched I connected the relaxed power from my foot, through my body and out my hand, exploding and shifting my weight at the same time.

“Ahh!” he said, his face lighting up. “Good.”

As a martial artist, few things are better than getting a “good” from Chen Xiaowang.

A short time later, he astonished those of us attending his Washington, D.C. workshop by doing a series of fa-jing strikes.C. With each strike, it seemed his uniform was exploding in all directions. That type of power comes from being connected and relaxing — and from a lifetime of practice. When he does fa-jing, you can almost feel the energy even standing halfway across a room. It reminded me of being on the floor right behind the basketball hoop during a University of Iowa game. When the big players were slamming into each other beneath the hoop, you could feel the body heat and almost feel the energy as they collided. I’ll never forget it, and being close to Chen Xiaowang when he does fa-jing is very similar.

There are two myths about tai chi that all martial artists should put aside. One is that tai chi is a slow motion health and meditation exercise. In truth, it’s a powerful martial art that is practiced slowly so students can learn the body mechanics and later can speed up the movements and deliver amazing power without a lot of obvious effort to the untrained observer.

The other myth people should forget is about chi. Fa-jing has nothing to do with shooting energy out of your body. Instead of focusing on chi, which has never been proven exist in independent scientific studies and which is too often the focus of tai chi teachers, you should focus on proper posture and body mechanics. Do this and you’ll be closer to developing the relaxed power of fa-jing.

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Ken Gullette has practiced martial arts for 36 years and is best known for his high-quality instructional DVDs, his online internal arts school and his internal arts blog. He is dedicated to dispelling the myths surrounding tai chi, hsing-i and bagua, showing that the skills required for the internal arts are physical, not metaphysical.

What To Do If Someone Wants To Fight You!

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PHYSICAL COMPETANCE

Have you ever seen raw violence or someone getting ‘owned’? Just search google for “martial street fights” – “martial owned” Watch those movies and cringe!!!

Kung Fu, Boxing, dancing, balley, incompetance? What will you display to your attacker if that day comes?

Can you throw a punch or even stand steady on one leg? can you do a round-house or even give a kick to the knee? Ever heard of a combination, technique or form?

Today we are lazy, probably fat too.. Go look in the mirror and skip for ten minutes, then check your image again and what do you see?

I can judge I am probably half the strength and endurance form 10 years ago, how about you?

MARTIAL KNOWLEDGE

a martial art is defined as – 1 : of, relating to, or suited for war or a warrior 2 : relating to an army or to military life 3 : experienced in or inclined to war : WARLIKE

a martial art is defined as: various styles of self-defense, usually weaponless, based on techniques developed in ancient China, India, and Tibet.

The term ‘Kung Fu’ does not relate to any specific form of martial art, but rather translates as ‘talent’ or ‘aptitude’.

Wu Shu is traditionally the term popularly used to describe the traditional Chinese martial arts, though other descriptions akin to Kuo-shu, Kuo-chi, Chien-shu and Tao-fa have also been used occasionally. (Wu Shu is the term of late used for Chinese martial arts by the People’s Republic of China).

If youve never studied a martial art, your awareness of them most likely starts at Bruce Lee movies and ends with the stylized theatrics of The Matrix. If thats the case, you may not realize from what youve gleaned onscreen that there are an estimated 200 unique kinds of martial arts, and within these, thousands of different styles. Karate, judo, kung fu, and tae kwon do are among the most popular and well-known of the martial arts in the U.S., but there are numerous others.

Despite the array of martial arts and styles, most of them share common techniques, and so they can be organized into broad categories that facilitate understanding. The primary way of classifying martial arts is by the basic physical technique they use: striking or grappling.

Because karate, judo, kung fu, and tae kwon do have been more prominent than other forms in popular culture, from film to sporting events, many people mistakenly believe that all martial arts are Asian in origin. In fact, diverse cultures throughout history from Europe, Africa, the Americas, and the Middle East have also given birth to their own martial art forms.

Or a combination of triangles with small circles as can be seen in chinese trapping, wrist locks or Aikido entry and endings.

Do you even know the diffference between kung fu and karate? Do you think wing chun is a chinese dish?

The different styles can even be related to shapes or geometry – squares, triangles and circles.

MARTIAL TRAINING TO LIVE

Training is hard..really hard. The most hard is to get started and its down-hill easy from there. What you need is a martial arts machine – something new and exciting to get you off your fat ass.

Everyone knows someone who knows how to fight – with fists, knives, weapons, guns, tactical, sensless, whatever but START!

Or find a martial arts school in your area.

GO to the local phone book and look up kung fu or karate. Then give them a call, go along or take your kid.

Whats important now is to do something, start with brief excercise, get into stretching, shadow box, then step up and train hard.

ITS DANGEROUS OUT THERE

Its dangerous out there and especially for you..

The enemy may be next door and you dont know it but you got to have the guts too look. What can you really do once you see some violence or get scared or worse because you receive a bashing or king hit – do you hide in your house?

TV today scares the shiit out of many people as it promotes violence and turns the meek yellow and nervous.

The danger today is maybe not too obvious to you but you better hone your sensors or youll get hit without seeing it coming.

You know that given a situation to be a hero and stop a crime, terrorism or violence you’ll be able to step up or chase after them etc – or maybe you’ll cower or be the victim.

Were are you on the scared meter of life? Are you out there amongst it or a bit of a shy body or house mummys boy?

CONCLUSION IS ACTION

Life is not scarey but maybe your lack of skill, self confidence and personal competance is making you petrified.

Be pro-active and look, then choose and participate in action whether alone with a martial arts training machine or go to a dojo.

Life is not scarey but maybe your lack of skill, self confidence and personal competance is making you afraid.

If you are not liking what you see in the mirror, afraid to go down a dark street, scared of a potential confrontation then train now.

Be pro-active and look, then choose and participate in action whether alone with a martial arts training machine or go to a dojo.

We cant all be Bruce Lee but you also dont want to be an emotional and physical punching bag do you?

THE TRAINING ANSWER

The Martialarm is the only martial arts training dummy that bequeaths you consummate realism in all your martial arts training in kung fu, karate, krav maga, jeet kune do, tae kwon do, kempo and more.

The martialarm is unlike similar training dummies: The wooden dummy has been used for centuries as a solo training machine. In contemporary years, they’ve been provided accessible in different materials as well as synthetic. But still they all have one item in general:

They dont swing and they’re all static.

The wooden dummy frequently costs hundreds of dollars but is still only produced to absorb your blows and step up your precision moves. It doesn’t react to your attacks akin to a factual partner can. So although you get apt repetition training, which is acceptable for accomplishing the basics down, it may well be difficult to use and will get dreary so quickly.

Why A little Martial Artists Improve Faster Than Others

As martial artists, we all recognize this. Your martial arts instructor probably hammers the point home in practice every day. Alas, there are only so so many classes in a week and this can stunt your learning and headway.

You want to improve – swift. And you’re keen put in your time with home training. But solo training can only take you so far due to the fact it lacks the interaction that only a assistant can award.

Until Now!

The Gwynne Jones Misleading Article in MartialArts Illustrated

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News

Gwynn Jones misleading article in Martial Arts Illustrated. and its effect on British Aikido History.

Bends the Branch

A statement by Henry Ellis

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I am writing this brief statement to correct the serious errors stated within the MAI June 2005 article interview “Bends the Branch” with Mr Gwynne Jones. The article would have served the readership better had it been titled ” Bends the Truth ” . I have both emailed and written to the editor of MAI magazine to politely request that the errors be corrected, or for my letter to be added to the letters to the Editors page. I am sorry to add that neither of my communications to MAI editor were acknowledged, nor were they added to the letters to the Editors page in the following two issues.

I would have thought that MAI would have have made a positive response to such serious errors to the history of British Aikido and the named students from that period. Mr Gwynne Jones has also chosen not to apologise for his confused perspective of the history of British Aikido.

Mr Jones makes misleading statements of a period before he himself had started Aikido, describing events as if he were actually there, he did not bother to contact any of the Abbe students of that time to verify his ” facts ” .

As it was proved with Mr Jack Poole’s serious memory distortions with the history of British Aikido, If left for a period of time these matters can soon be recalled as fact, and sadly history is altered for the genuine students of the future. One can only assume that Mr Jones has decided it would be prudent to follow Mr Poole and not apologise for their deliberate mistakes, they obviously stand by their statements. I find it most ironic that in the very same article of errors Mr Jones states with some pride “When I eventually go to the great dojo in the sky, the epitaph on my grave to read ‘An error does not become a mistake until you refuse to correct it ! ‘” Perhaps now is a good time to think of a new epitaph ?

I have never been surprised by any of Mr Poole’s claims or actions in recent years, I would add that I am surprised and disappointed by the statements of Mr Gwynne Jones who I once considered a friend.

The original dan grades of Abbe Sensei along with Sensei Ken Williams did so much in those early days to promote Aikido which then was a little know Martial Art. Teaching for free, Derek Eastman and I traveled around the UK teaching for free. we never received any payment, just a bed occasionally for the night and a meal, many a night we spent sleeping in the car, we never complained, we actually enjoyed what we were doing. These efforts and sacrifices were to promote the name of Aikido. Derek and I were the first to introduce Aikido to the Further Education System. These original students should be recognised for their part in the inception of UK Aikido. People such as Mr Jones and Mr Poole and so many others now reap the benefit from those early teachers.

The Article

Mr Jones refers to Kenshiro Abbe Sensei as ” Abe ” Matsutharu Otani Sensei as “Tani”

Mikito Nakazono Sensei as ” Nagezomo ” .

Although Mr Jones uses these strange names in every reference in the article, I will use the correct names for historical reasons.

Gwynne Jones:

Well, Ken Williams had trained under Abbe Sensei (Abe) who was a great Budo man and his style was very linear. YoshinKan formal Aikido.

Ellis:

Abbe Sensei nor Williams Sensei ever taught Yoshinkan, there was no Yoshinkan style when Abbe Sensei was with OSensei. ( Shihoda Sensei developed YoshinKan in 1955 )

Gwynne Jones:

However, when Nakazono ( Nagezomo ) was called over by Abbe Sensei ( Abe ) to properly introduce Aikido to this country.

Ellis:

Mr Jones’s words baffle me, on the arrival of Nakazono Sensei ( Nagezomo ) there were eight dan grades, one 3rd dan and two second dans, I think it is fair to assume that Aikido was well established and healthy on his arrival.

Gwynne Jones:

He Nakazono ( Nagezomo ) became famous for saying, while he was looking at four or five people on the mat wearing hakamas, that three of them should ” Best sell hakama today while you can get a good price” .

Ellis:

The previous statement is pure nonsense. Fact.. Nakazono Sensei ( Nagezomo ) looked at one student in particular a stated ” Necessary sell your Gi whilst prices are high ”

Gwynne Jones:

He ( Nakazono) proceeded to downgrade them, Ken Williams kept his grade as did Hayden Foster and possibly Henry Ellis and Andy Allen with a few others who were the nucleus of Aikido then in the London area.

Ellis:

Nakazono Sensei ( Nagezomo ) down graded one student and one student only from second dan to first dan, which we all thought was so very wrong. No others were downgraded, Henry Ellis was not that student, Ellis has never ever been down graded or ever over graded.

For the record, Andy Allen was not there on this occasion, he was only a beginner at this time and had been introduced to Aikido by Henry Ellis.

Ellis:

Nakazono Sensei had been invited to the UK as he was the official AkiKai Hombu representative for Europe and North Africa. Kenshiro Abbe Sensei wanted to devote his time to his main objectives of promoting Judo and his philosophy of Kuy Shin Do. He had asked that Nakazono Sensei ( Nagezomo ) supervise the further promotion of British Aikido, and not to ” Properly introduce Aikido to this country ”

Ellis:

I hope that students having read this statement will now be more aware of the facts.

A brief statement by Henry Ellis.

Co-author: Positive Aikido

http://www.EllisAikido.org

http://www.geocities.com/britishaikido

Preventative Medicine and Sports Therapy for Performing Arts

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Theatre is a wonderful form of entertainment and depends on performing artists who are highly dedicated to their craft to create the magic so often found there. The industry, however, is highly competitive and extremely demanding of performers. When people think of athletes they may picture football, tennis or basketball players or long distance runners. But like other athletes, dancers and musicians also experience injury and develop conditions as a result of their trade.

Professional musicians and dancers face common injuries like tendinitis, sprains, muscle strains, carpal tunnel syndrome, neck and back pain, and other orthopedic, neurologic and musculoskeletal conditions.

Think about the repetitive nature of practice and performance for string musicians, pianists and wind instrument players. Its little wonder they often suffer from conditions related to overuse of the tendons, ligaments, muscles and joints. Neck and shoulder pain is very common. So is pain in the hands. Dancers tend to face musculoskeletal and orthopedic conditions involving the feet, ankles, hips and knees and are also more prone to injury regarding bones and ligaments such as the ACL.

For these reasons preventative medicine and sports therapy for performing artists are growing.

Occasionally chronic injuries and/or conditions develop as a result of incorrect posture, stress, insufficient rest and excessive force placed upon the bones, ligaments, joints, muscles or tendons. Passion that drives performing artists also tends to produce people so committed to the craft they often tend to accept a lifestyle of injury as easily as theyve embraced the physical demands placed upon them. But the two are not the same, and injury left untreated can jeopardize a performers career. Performing artists who ignore early symptoms of an injury or condition and continue working, without allowing conditions or injuries to heal, arent thinking of the long term consequences to their body and their ability to work. Ignoring a small problem now can lead to a larger one later.

Preventative medicine and sports therapy for performing artists can teach them how to avoid injury and reduce the likelihood of a developing an unwanted condition. Performers can learn techniques for reducing force on joints by selectively strengthening and balancing the muscles needed to perform. Musicians can learn about how different postures reduce muscle tension produced while playing their instruments. Dancers who struggle with osteoarthritis in their hips and knees may receive Durolane injections directly into the joints to lubricate them, relieving pain and inflammation. Can you imagine how much relief this brings to a dancer otherwise forcing him or herself to continue dancing in pain?

Techniques that both dancers and musicians can adopt include warm up and cool down exercises, stretches, short breaks, adjustments in technique, use of devices and modified foot gear, massage therapy and more. Sports therapy professionals can work with performing artists to stretch and loosen tight areas and strengthen weak ones. Combination treatment options like injections in correlation with procedures for reducing inflammation and blood flow to a targeted region are essential restorative therapies which often remove the need for surgery.

It is not uncommon to see medical personnel from sports therapy clinics present at rehearsals and performances. These behind the scenes professionals can do wonders to support and enhance performing artists, helping them avoid injury and also mitigating injuries to avoid further damage. Sports medicine is a quickly evolving industry and medical advances are constant. Performing artists stand to increase their rate of long-term success by establishing and building a relationship with a good sports therapy clinic that understands and specializes in treatment of people in their industry.

Sound care now becomes an investment enabling performing artists to increase their level of pain-free comfort, physical strength, enjoyment and longevity within the field they are passionate about — and that many hope to continue well into their senior years.