Copyright © IJCMAS ICMAUA 2002. All rights reserved
# 1. 2002
The international Journal of Combat Martial Arts and Sciences ICMAUA
Scientific street fighting approach: Jones (08.2002)
Jeremy Galvez's Kaishi Waza: Galvez (09.2002)
Butokutsuru Ryu Kenpojutsu Yellow Book or yellow belt's training manual. INTRODUCTION: Hoover (10.2002)
The Jin Shou Mind at a glance: Murphy (12.2002)
Copyright © Mihails Pupinsh 2002. All rights reserved.
Scientific street fighting approach
Copyright © Dean Jones 2002. All rights reserved.
Tae-Jitsu is design to provide simply effective method to survive in today world. Through this unique system the physical and mental aptitudes are developed to achieve ones’ fullest potential. The system consists of the four range of fighting, punching, kicking, trapping and ground wrestling. Our goal is to teach students how to be aware of, and avoid potential violent physical confrontation, but if confronted then how to win that confrontation.
There are no "kata" in this style, kicks are directed to the lower part of the body, blocks are natural and stances are similar to a boxers stance. Our Tae-Jitsu self-defense classes concentrate on a few kicks, punches, trapping and grappling techniques that can be perform under distress. We practice with partners, contact gears and focus pads to help developed power and techniques. We recreate scenarios that are like life situation. We simply use what works best, depending on the situation. It may be kicking for long range or punching for mid range or wrestling for grappling range. Tae-Jitsu makes the stand up fighter and grappler stronger by eliminating the limitations of each.
Remember strength comes from health, speed comes from effort, technique comes from experience and progress comes from new knowledge.
Jeremy Galvez's Kaishi Waza
By Jeremy R. Galvez
Copyright © Jeremy Galvez 2002. All rights reserved.
In Shintosuru An'ei Ninjutsu, the style is broken up into sub-sections. Ueshiba Gijutsu, Naguritobasu, Tatakou Kyoshintankai, Kuppuku Kakutou, Kaishi Waza, and many more. The focus of this article will be on the Kaishi Waza, or mysterious death (not literally) techniques.
Kaishi Waza originated from my personal studies on the art of pressure point fighting, and the writings of Earle Monatague. I found that anyone can discover ways to kill or maim someone with a single hit, just by understanding their own body, what makes it work, and what would make it stop working. These techniques are not to be practiced by anyone other than a trained professional, and are not to be taken lightly.
The key is to think about each function individually, and in terms of war. In a war to destroy an enemy, you cut off their supply lines, hand to hand it's the same concept. If you want to cut off the oxygen supply, you destroy the asophogus, right below the adam's apple. It does not take a hard strike to cause damage here, just the slightest tap will disable your enemy, if only for a couple of seconds. Just to the left (your opponents right) of the asophogus, along this same line is a large vein, which supplies blood to the brain. A hard strike to this could rupture the vein, cutting off the brain's blood supply. When you see the articles promising to show you a secret touch that will knock your opponent unconscious, they usually teach to press on this veign, causing your opponent to lose circulation to their brain temporarily, and lose consciousness.
There is a nerve at the bottom of the sternum that when hit at the right angle, with the right amount of force, causes there to be a heavy feeling in the lungs, and the loss of consciousness due to a lack of oxygen, basically, it's a lung spasm. Any finger strikes below the belly button can cause severe pain, and possible loss of consciousness, but are not practical strikes. Strikes in the armpits can cause severe pain, and the loss of mobility in that arm temporarily.
There are several more strikes and a few other techniques, but in order to even outline them all would take a small book. These are just a few of the ones I teach my Intermediate students. I do not teach Kaishi Waza to my beginners class. For anyone that has questions on Kaishi Waza, or Shintosuru An'ei Ninjutsu, e-mail me at: INFheadquarters@aol.com
Butokutsuru Ryu Kenpojutsu Yellow Book or yellow belt's training manual.
By Reginald Hoover
Copyright © Reginald Hoover 2002. All rights reserved.
This Butokutsuru Ryu Kenpojutsu Yellow Book consists of the Basic White Belt Motion And Meditation. Which includes 3 Moving Hard Qi Gong Fist Sets, And 3 Moving Soft Gong Fist Sets. The moving hard gong sets are as follows; (1.): “ Xia Ya Shang”, or Pressing Downward And Drill Forward; (2.): “Zao You Lan Kao”, or Left And Right Bump; (3.): “Lian Huan Pao Quan”, or Linking Cannon Fist. The moving soft gong sets include 2 “Flapping Sets; (A.): “Shang Pu”, or Upward Flapping and (B.): “Xia Pu”, or Downward Flapping. The moving soft gong sets are as follows; (1.): “Shuang Pu”, or Double Wing Upward Flapping; (2.): “Dan Pu”, or Single Wing Flapping; (3.): “Shuang Pu”, or Double Wing Downward Flapping.
These six moving hard and soft gong sets will open the doors to the Virtuous Crane’s Law creative motion concepts. Standard breathing concepts will be considered for all hard gong motion and reverse abdominal breathing will be addressed in the execution of soft gong motion. Once the practitioner has advanced to the green belt ranking, an (Introduction To Basic Applications In Reverse Abdominal Breathing), will be considered in both moving hard and soft gong motion. Remember that this is a workbook of creativity in upper and lower extremity motion. Once these six sets have been included into your personal training program, only then should you move on to the yellow belt creative conceptual techniques.
The Yellow Belt Techniques consist of the following nomenclature; Basic Motion; Applied Combative Forces; Introduction To Throwing Method’s; and Scalars & Vectors:( 1.) Let us consider first (Basic Motion); In this text basic motion can be defined as the linear, circular, and combined linear and circular movement of the body’s upper and lower extremities in relation to offensive and defensive martial arts street combative applications of qi gong stationary, moving hard and soft gong sets. ( 2.) (Applied Combative Forces) ; In this text is defined as a concentrated or distributed mass existing on a cross-sectional area of an object. This “Object” pertaining to martial arts can be defined as the Practitioner or Defender. We can also represent the “Object” as the Attacker. The attacker as an object refers to the defender using an applied combative force, such as a punch, strike, push, pull, press, strangle, choke, lock, thrust kick, stomp, etc, which will bend, twist or torque, tense, deflect, deform, crack, break, rupture, and fail a specifically targeted cross-sectional area and fail the internal structure (organs, muscles veins, and tissue, or any combination thereof) of that object. We will further discuss the “Object” as it applies to the body’s basic internal and external structure in the Applied Combative Forces Section of this text. ( 3.) (Introduction To Throwing Methods) can be defined in this text as the basic throwing motions, concepts, techniques and their application’s analogies in the Butokutsuru Ryu Kenpojutsu Martial Street Combative System. Further discussion on this throwing introduction will be covered in the Introduction To Throwing Methods Section of this text. ( 4.) (Scalars And Vectors); first let us look at the actual definition of a scalar. ( 4a.) A Scalar; is defined as a length, temperature, and mass, which has magnitude only. So, a scalar in reference to the martial arts can be described as any part of the upper or lower extremities of the body, which create motion that is not directed toward any particular destination. ( 5.) A Vector; is defined as a force, displacement, acceleration, moment, and velocity which has magnitude, sense and direction. ( 5a.) So, a vector in reference to the martial arts can be described as any part of the upper and lower extremities of the body, which create motion that is directed toward a particular destination. This destination in relation to the body’s extremities are the defender’s and attacker’s exposed targeted, both non-vital and vital areas. Scalars And Vectors as they apply to the various martial arts street combative offensive and defensive execution analogies will be further discussed in the Scalars And Vectors Section of this martial arts manual workbook!
Typical Nomenclature In Butokutsuru Ryu Kenpojutsu Physics Defined;
1.) Mechanics: The branch of science, which relates to Motion and Forces!
1a.) Therefore, in the martial science of Butokutsuru Ryu Kenpojutsu, the relationship between Body Motion and Body Forces of the Extremities will be considered in this text.
2.) Force: Is defined as a Mass, either molecular, bio-molecular, or physical interaction of one body upon another, which tends to change the motion of a body, or it’s state of rest.
3.) Reaction: Is defined as a force exerted by a body that is equal and opposite too the force acting upon it.
3.a) Thus, a reaction is defined in the martial science of Butokutsuru Ryu Kenpojutsu
as any force exerted by an attacker as an offensive motion to produce physical bodily
harm upon the Butokutsuru Ryu practitioner knowingly or unknowingly, etc. Where-
as the practitioner will exert the most brutal equal and opposite force needed to
counter and fail the attacker’s offensive.
4.) Kinematics: Is defined as that branch of mechanics which considers the motion of
bodies without the influences of forces affecting their motion.
4a.)Therefore; Defensive Kinematics in the martial science of Butokutsuru Ryu Kenpojutsu is the study of the attacker’s aggressive physical actions and his/her forces in which they use to create these violent aggressive exertions. Here, there will be specific emphasis placed on the theory of Yin and Yang Forces as they apply to Tai (strong) physical application. Thus, providing the White Crane Kenpojutsuka with the abilities of adaptation, evasion, neutralizing, countering and finishing (through speed counter-striking applications) the attacker in his/her most explosive state of tai yang physical expression.
5.) Kinetics: Is defined as that branch of mechanics which examines the effect of
unbalanced external forces in changing the motion of bodies.
5a.)Thus, Defensive Kinetics in the martial science of Butokutsuru Ryu Kenpojutsu
is the study of an attacker’s aggressive and non-aggressive physical actions which
determine the practitioner’s physical motion options in both aggressive and
non-aggressive states of physical confrontation.
6.) Semicircle: Is defined as one half of a circle. The semicircle can consist of the
(Major Arc; An arc which is greater that one half of a circle), and (Minor Arc; An
arc which is less than one half of a circle).
5a.) In the martial science of Butokutsuru Ryu Kenpojutsu, major and minor a arc’s
are used in the practitioner’s execution of upper and lower extremity defensive blocking, trapping, elbowing, kneeing, striking, kicking, and dodging (evasion) countering motions.
7.) Tangent: Is defined as a straight line which meets a circle at one point.
7a.)Therefore, in the martial science of Butokutsuru Ryu Kenpojutsu, the tangent
can be defined as a straight line vector that intersects a circle, semicircle, major, and minor arc at one point which has magnitude and direction. Thus, a circular left outward block executed by the White Crane Kenpo-Jutsuka to impact at the upper arm above the elbow of an attacker, can be tangent at the blocks minor arc by the execution of a straight right hammer-fist strike to the attacker’s left temple, jaw, etc!
This tangential methodology can also be reversed, (flip-flopped) as the practitioner can see an imaginary straight line leading from a vital area on the attacker. The stylist then executes a major or minor arcing strike (which is tangent to the imaginary line leading too and from the vital target area). The execution of a right arcing Phoenix Eye Fist Strike to the vital point under the attacker’s left ear explains this method!
The Moving Hard Gong #4. set in the Yellow Book consists of, Right And Left Arching Wings and White Crane Spreads Wings; (Zhou You Gong Chi , and Bai He Zhan Chi) respectively. While the Moving Soft Gong set consists of, Backward Flying ( Double Wing / Shuang Chi Fei and Single Wing Flying / Dan Chi Fei ) respectively.
The beginner’s Women’s Moving Hard Gong Form#1. set is the “Poison Fan”.
The Jin Shou Mind at a glance
Copyright © Jin Murphy 2002. All rights reserved.
It is the purpose of United States Jin Shou is to develop an exceptional understanding of the human animal, the complete being. But to understand the fundamental concept of the Jin Shou Mind, one must first be understood. For the Jin Shou Mind the human being is comprised of four states that coincide with the four elements: the logical state, the core state, the energy state, and the physical state.
The Logical State
The Logical State is mostly composed of the thought that we are aware of, otherwise referred to as continuous surface thought. In this sense the “mind” is primarily dominated by the Logical State and the Core State. In concept, the Logical State is what surrounds our innermost thoughts, which is represented as the Core State. The Logical State includes cognitive ability and reasoning. It holds our decision-making processes and our reactionary ability, including tactics and general or common responses. The Logical thought is the realm of surface awareness, the things that we can mentally see and feel and the things that we can influence and try to control through the body.
The elemental parallel is Water in motion, the running stream: Reflecting the constantly flowing nature of this state. Just as water, thought is in constant motion. Just as a stream flowing down a rocky mountainside it is swirling around, over and sometimes directly into the stones in its path.
Water as an example: Regardless of the seemingly chaotic nature of its movement it maintains its grace and beauty at all times. In fact, it is not chaotic at all. This is accomplished not by resisting its obstacles, but developing with it. As it is, the water maintains a constant amount of pressure on the stones. It is the repeated and rhythmic contact that causes stones to settle and smooth overtime, and thus, a relationship is born. Born through consistency, diplomacy and patience.
The Logical State is often based on a very “matter of fact” flow or continuous thought. This is as a result of one’s observations and systematically searching for the root cause of something. In other words “breaking down” the overall pattern of a thing. In concept it is devoid of emotion or personal desire, the Logical State, in the simple sense, is without personal consideration, and it is this that separates the Logical and Core concept.
The Core State contains our deepest thoughts, which we are mostly unaware of. It is the origin of instinct and desire. It is often the source genuine motivation beyond the logical and is referred to by some as willpower (note that true willpower is the combination of the Logical and Core States). One should note that it is in this state that our true direction and motives can be found. It is this state that determines the direction in which we are moving in combination with our Logical intentions. In addition it is considered to be the hardest state to keep in check and to see clearly because of its close, yet subtle, interaction with the Logical State. Yet, it is also considered one of the most powerful tools at human disposal.
The elemental parallel is Air in motion, the gusting wind: As in the Logical State thought here is also in constant motion, but it is significantly more transparent. Its direction is not something that can be seen as in the Logical State, but it can be felt or sensed. This makes its presence seem uncontrollable, yet, not a constant. Its effects can be seen seemingly only after the fact. Thus, it appears random if unchecked.
Air as an example: Just as water, air too appears to be chaotic, though this is far from the case. It too maintains its grace and beauty at all times, gusting around, through, over and into anything that it comes into contact with. It is in constant motion. But is rarely if ever seen with the eye. Except in instances of extreme activity, and even then you mostly see the effects of it rather than the air itself. Though it is difficult to see it can be felt, and on a hot day the motion of air can be of great comfort. When we feel air we get a sense of its direction, where it is headed. This, combined with the understanding of the physical signs the movement of air leaves behind, has allowed man to use air to travel by sea and has opened the realm of flight. In the same sense the Core state is a motivator able to get even the heaviest goals off of the ground.
It is the seat of motivation and true
compassion. Any concept that is “plugged” into the Core State is destined for completion. The Core
State says, “I
will” rather than “I will try”. Therefore, it
can be said that the Core State is what you truly believe verses what you wish
The Energy State is the embodiment of our emotions including the chemical reactions that produce those emotions. In the Jin Shou mind there is the fundamental idea the energy cannot be created or destroyed. That “energy” in all of its forms has always been in existence in one way or another, usually as part of a repeating pattern. It is also understood that all things are composed of one form of energy or another. Energy, like anything else, has patterns and can be affected by numerous outside forces, which include, but are not limited to, the other states of the Jin Shou Mind. The Energy State resides between the mind (the Logical and Core states) and the body; it is the link between the two. As the Core State could be considered the seat of motivation, the Energy State would be considered the fuel of that motivation. It is the intensity of our existence. In a sense the Core State (Air) fans the flame of the Energy State (fire).
The elemental parallel is fire. Not only in motion but also in the complex nature of fire in the sense of a chemical reaction. What one is able to see of fire is the byproduct of the reaction. Just as a flame the Energy State is intense and unpredictable. Also, its intensity attracts immediate attention. Therefore it is difficult to light a flame without someone noticing. As a tool it produces quick results. The emotional (energy) state can often cause drastic changes in others and in the self. Note that these changes are not always good. One must be very careful when dealing with the Energy State; it is the most potentially dangerous state of the Jin Shou Mind.
Fire as an example: Again there is the obviously chaotic nature, and again it maintains its grace and beauty at all times. Fire is able to affect its area without making contact because it produces heat, which is a form of radiation. It is able to gently warm a cold body and, when harnessed, is able to power almost anything including the human body. At the same time when misused it is capable of mass destruction. Therefore fire is used responsibly and with great caution.
Looking more closely at the idea that “fire” radiates there is a short logical leap to understanding that emotion also radiates. This is reflected in the idea of an angry or upset person entering a room occupied by otherwise calm persons. The angry person may change the entire mood of the area just by entering the room because his emotions radiate to others. Of course, the opposite is also true.
In the simplest terms it is the physical body or material of the body. It is what establishes the rest of the world for our minds. It is the device, combined with the other states, that provides us with the necessary data to survive in this reality. Through, these things being, our many senses including the very materials physically compose our mind and consciousness. It is the housing of us and the expression of all that is (a repeating pattern). It is also the victim of our actions and the actions of others, and to an extent, the reason the martial art even exist. It is something that we must protect and is a means of protection. It is also the common link of our existence that this state is unavoidable and takes time to understand. It is how we share and come to understand each other. Through this state comes even the possibility of communication. It is through this state that humanity is truly able to communicate its gifts to itself being that the body is the device. It is something that we must express and is a means of expression.
The elemental parallel is earth. It is established and it is establishment. It is solid, yet prone to cascading problems. Like the earth it may be in constant tension resulting in quakes, sudden strikes. Or it can be peaceful, full of color and far vaster than we can imagine. It is what sustains life and it the source of life. It is graceful in all its ways.
Earth as an example: Earth in the sense of our world comes in great variety. Yet, like any land it must be tilled and worked to get results. Like the earth changes take time and rarely happen as a result of the earth itself, the land itself (suggesting other elements or states). It is the collective actions of the earth and the other elements combined. Landscapes also leave an impression based on what is perceived. The earth can be full of life or desolate.
Physical state is a tool that we use to affect and interact with our environment. Our mannerisms and expressions can convey our deeper states and thus it is the ultimate device.
The Fifth Element and the Completed state
In most traditional systems there are five elements. The same is true in Jin Shou; thou the fifth state has not physical parallel.
The Completed State
This where the four elements all coexist. No one element is ever in complete control of ones reality, though one may be more dominant at any given time. The ultimate product of one’s existence is a result of the completed interaction of all four aspects of the Jin Shou Mind.
Each individual is prone to one element or another and to an extent this is ones personality. But, being that the completed being is a product of the completed interaction of the elements, no individual is alike. The Completed state is not just being fully aware of all the other states, but being fully aware of their interactions and the patterns that they produce in the self and the outside world with the idea of maintaining balance.
The completed state goes back to the yin yang theory. The honorable Bruce Lee stated in his book The Tao of Gung Fu, “yin yang are two interlocking parts of one whole, each containing within its confines the qualities of its complementaries.” This is the same sense of balance that must be realized in order to attain the completed state of the Jin Shou Mind. Each of the elements are also subject to the yin yang theory, being that each one can produce both positive and negative results on any of the other states and the outside world. In order to acquire the completed state none of the elements can be overly yin or overly yang, they all most be balanced with themselves and with each other, harmony. Thus the complete state is also referred to the harmonic state, meaning that an overall rhythm as been accomplished.
The words “completed, harmonic and rhythm” all indicate that there is a pattern to the completed state and all of the states for that matter. This leads us into the Fifth Element.
The Fifth Element
This element is based on the concept of a fractal equation, a repeating pattern that is constantly reproducing itself infinitely. For example: how it is that computers and their networks use similar principles of the nervous system of the human body. That is a repeating pattern. Highways and blood vessels could be seen the same way. Another example would be a molecule and the solar system or the four seasons and the life cycle of every living thing. The common thread is the circle, which is also infinite.
The Fractal equation is the best visual representation of this concept. For the Jin Shou Mind all of reality is an infinitely repeating pattern. Everything in existence is as a result of a repeating pattern. Science and magic are both based on repeating patterns. The more one understands the nature of the repeating pattern the more one is able to affect it and be affected by it.