About Me
0
Ok,I've finally gotten it.
Style:Kuo Shou
Used By:Jade
First Appearance:Mortal Kombat:Deception
Kuo Shou("national art")is another name for Kung Fu.It refers to sparring methods sanctioned by various groups who hold international competitions.Over fifty countries,including the U.S.,have their own Kuo Shou tournaments.Kuo Shou tournaments are open to all styles of Kung Fu,and these competitions have raised tremendous positive awareness and unity between practitioners of the many hundreds of styles of this ancient art.These tournaments have been gaining great popularity and notoriety over the last few decades.
The origins of Kuo Shou fighting were in ancient China,where martial artists conducted "challenge matches" to test each others skills,because of a personal dispute,or to prove one martial arts superiority over another system.
The term Kuo Shou came into common use in the early part of the 20th century,when the Chinese government endorsed central and regional martial arts academies.The Chinese phrase Kuo Shou is composed up of two characters,which mean "national art" and was said to represent the unique contributions of Chinese martial arts to the culture of the Chinese people.
In 1949,the Communists won the civil war in China.Members of the Republican government or Kuo Ming Dang,and their allies escapd to the Island of Taiwan.In addition,many martial art masters left mainland China for safer places such as Hong Kong,Singapore,and Taiwan.
Soon after the Communists consolidated control in China,they outlawed martial arts fighting,allowing only demonstrations.Several years later,during the Cultural Revolution,the government banned all martial arts practice of any kind.Martial arts training was revived in the 1970's,intially for demonstration;fighting training was reintroduced several years later.
While mainland China curtailed martial arts training,full contact fighting training and matches continued in other Asian countries,Taiwan especially.An important tournament in Taiwan in 1955 illustrated the conditions of such matches;during this all-island event,competitors fought without rounds or time limits,without protective gear,and without weight classes.The only restrictions were prohibited target areas,such as attacks to the groin,the eyes,the throat,and the back of the head.Literally,over 100 fighters showed up;tournament organizers paired off the fighters and declared the last man standing the winner.Another tournament in 1957 introduced three weight classes:light,medium,and heavy.
In 1975,the Kuoshu Federation(K.F.),Republic of China(R.O.C),held the first World Kuo Shou competition in Taiwan,R.O.C.The tournament organizers set conditions similar to those outlined above:no protective gear,limited weight categories,a few iillegal strike areas and some time limits.In 1978,a group of martial artists formed the Chinese Kuoshu Worldwide Promotion Association(C.K.W.P.A)to promote Kuo Shou on a worldwide basis;the Kuoshu Republic of China became a member of he organization of the C.K.W.P.A.
The C.K.W.P.A.,later renamed the International Chinese Kuoshu Federation(I.C.K.F),hosted additional World Tournaments roughly every three years-1978,1980,1983,1986,1989,1992,1996.They conducted the 1980 tournament in Hawaii and the 1989 tournament in Las Vegas;otherwise,the I.C.K.F held these tournament in Taiwan.
Also,during this period,Kuo Shou organizations affiliated with the I.C.K.F emerged in countries in Africa,Asia,Europe,North America,and South America.
So,basically,Kuo Shou is is another name for Kung Fu.Kuo Shou is Kung Fu.Chrome,hopefully this enough info.
Style:Kuo Shou
Used By:Jade
First Appearance:Mortal Kombat:Deception
Kuo Shou("national art")is another name for Kung Fu.It refers to sparring methods sanctioned by various groups who hold international competitions.Over fifty countries,including the U.S.,have their own Kuo Shou tournaments.Kuo Shou tournaments are open to all styles of Kung Fu,and these competitions have raised tremendous positive awareness and unity between practitioners of the many hundreds of styles of this ancient art.These tournaments have been gaining great popularity and notoriety over the last few decades.
The origins of Kuo Shou fighting were in ancient China,where martial artists conducted "challenge matches" to test each others skills,because of a personal dispute,or to prove one martial arts superiority over another system.
The term Kuo Shou came into common use in the early part of the 20th century,when the Chinese government endorsed central and regional martial arts academies.The Chinese phrase Kuo Shou is composed up of two characters,which mean "national art" and was said to represent the unique contributions of Chinese martial arts to the culture of the Chinese people.
In 1949,the Communists won the civil war in China.Members of the Republican government or Kuo Ming Dang,and their allies escapd to the Island of Taiwan.In addition,many martial art masters left mainland China for safer places such as Hong Kong,Singapore,and Taiwan.
Soon after the Communists consolidated control in China,they outlawed martial arts fighting,allowing only demonstrations.Several years later,during the Cultural Revolution,the government banned all martial arts practice of any kind.Martial arts training was revived in the 1970's,intially for demonstration;fighting training was reintroduced several years later.
While mainland China curtailed martial arts training,full contact fighting training and matches continued in other Asian countries,Taiwan especially.An important tournament in Taiwan in 1955 illustrated the conditions of such matches;during this all-island event,competitors fought without rounds or time limits,without protective gear,and without weight classes.The only restrictions were prohibited target areas,such as attacks to the groin,the eyes,the throat,and the back of the head.Literally,over 100 fighters showed up;tournament organizers paired off the fighters and declared the last man standing the winner.Another tournament in 1957 introduced three weight classes:light,medium,and heavy.
In 1975,the Kuoshu Federation(K.F.),Republic of China(R.O.C),held the first World Kuo Shou competition in Taiwan,R.O.C.The tournament organizers set conditions similar to those outlined above:no protective gear,limited weight categories,a few iillegal strike areas and some time limits.In 1978,a group of martial artists formed the Chinese Kuoshu Worldwide Promotion Association(C.K.W.P.A)to promote Kuo Shou on a worldwide basis;the Kuoshu Republic of China became a member of he organization of the C.K.W.P.A.
The C.K.W.P.A.,later renamed the International Chinese Kuoshu Federation(I.C.K.F),hosted additional World Tournaments roughly every three years-1978,1980,1983,1986,1989,1992,1996.They conducted the 1980 tournament in Hawaii and the 1989 tournament in Las Vegas;otherwise,the I.C.K.F held these tournament in Taiwan.
Also,during this period,Kuo Shou organizations affiliated with the I.C.K.F emerged in countries in Africa,Asia,Europe,North America,and South America.
So,basically,Kuo Shou is is another name for Kung Fu.Kuo Shou is Kung Fu.Chrome,hopefully this enough info.
About Me
Aka Dead Angel
0
Chrome Wrote:
thanks, wanna join our Martial Arts Team? DeadlyCobra and i are doing some hard job here. Alll you have to do is search the web for usable info on any style you encounter. This is about making MK realistic and historic.
-to a degree
.
The weapon Tanya has, something is funny with it...
thanks, wanna join our Martial Arts Team? DeadlyCobra and i are doing some hard job here. Alll you have to do is search the web for usable info on any style you encounter. This is about making MK realistic and historic.
-to a degree
The weapon Tanya has, something is funny with it...
again back to the Okinawan weapons
The History of Okinawan Karate Weapons
Much of the history of the martial arts is obscure and there are several versions of it's origins. This is because many stories of great Masters and legends may have been exaggerated to the point of mysticism. Many masters of the past also died with their knowledge and secrets went with them to the grave since they were very concerned about whom they would take on as a disciple. It was not uncommon that a student used the power of martial arts in the wrong way.
When this happened in ancient China, the Master himself would customarily be responsible. Also, there were many wars and feuds in which secrecy was important to survival and other records of martial arts were burned with the temples that maintained their records. This secrecy on the other hand is what actually gave strength to the Okinawan art of kobujutsu or kobudo (ancient weapons art).
Okinawa started out as a beautiful and peaceful country of the peninsula near China and Japan.
There were many emperors who eventually produced laws that were supposed to keep the peace. Laws like, no production of iron (which could produce metal weapons) and laws like "Turn in your swords for all Samurai warriors).
In 1609 Okinawa was occupied by the powerful Samurai clan of Lord Satsuma. Although the Okinawan people were required to be subject to the new laws, they continued to practice life protection karate and kobudo skills with the undetectable farming implements that could be found around the farm and in the home without appearing as threatening weapons.
Among these weapons were the nunchaku which was used as a rice flail and wheat thrasher.
The nunchaku was originally a six foot long staff with a one foot staff attached to it by a rope, chain or leather thong. Other uses reportedly included it's use as a device used by the night watchman which would alert the village in the event of an emergency like a fire. This instrument was more flat than round. The nunchaku was also said to have been used as a removable horses bridle.
The Tonfa, or Tuifa has been adopted by civil and military police as a restraining and striking type of weapon based on its flexibility and power. The nickname for this weapon is "Spinning Fury." And is quite a versatile weapon. It was used as a rice mill grinder with the handle deeply embedded into a stone mill.
Possibly the oldest close quarters weapon known to man. Originally used on Okinawa as a means to more effeciently carry buckets for water from the well or fruits and vegetables from the market, the Bo staff or RokuShakuBo (six foot staff) could suddenly be used as a long reach weapon against weapons like the katana or Samurai sword which average over five feet in length. The length of the Bo staff is typically longer than most weapons and has a reach advantage. The bo staff is the most popular weapon in the Okinawan martial arts to this day.
The Kama or sickles is jokingly referred to by Old masters as the Okinawan lawn mower.
This weapon is normally used in pairs but not limited to being used in connection with the staff connected by chain or ropes for reach and versatility. The Kama is quite possible the most dangerous of the farming type weapons on Okinawa. It can be razor sharp and can move as fast as the wielders arms can move. There are several other exotic weapons in the kobujutsu arsenal and are all mere extensions of the arms. Here is a listing.
Eku bo or oar (boat paddle)
Sai or truncheon (miniature pitch fork)
Manji sai or sai that is pointed on both ends
Nunte bo or spear (a bo staff with a manji sai attached to the end)
Tekkos or inverted brass knuckles
Tinbe Rochin or shield and dagger
Kusarigama or sickles with a weighted chain
Sansetsu bo or three sectioned nunchaku
Ni tan bo or short staffs
-----------------------------
Weapon: kusarigama
From Japanese: Kurasi=chain, Gama or Kama=sickle. Japanese chain sickle. A chain connects a sickle weapon to a weight at the other end. The Kusarigama is a weapon, that requires a much longer time for championchips as other weapons. In old Japan it was used mainly by Ninjas and monks. Under the Samurais this weapon was called unfair and therefore was not used (exception: Ji-Samurai). The techniques of this weapon were taught in over 100 Ryu. By a few Japanese Ryu, which teach the use of this weapon, the Araki Ryu is to be mentioned particularly. The historical origin could be in the Isshin Ryu, that was created in 15. Century by a monk named Jion. Combat art with the Kusarigama: Kusarigama jutsu
the kusarigama and the samurai/ the present kusarigama
Shindo Muso Ryu Jodo
A brief history
The "Way of the Stick" is arguably one of the most challenging martial disciplines to ever emerge from Japan. By appearance Jodo seems deceptively simple to master. Training provides the realization that the practitioner is kept away from the sword's cutting edge by only fractions of an inch. As training intensifies, Jodo demands exceptional timing and the absolute concentration of the student.
Historically, the samurai or bushi class of warriors studied many different weapons systems. Today many ryu have focused only on one weapon to develop the adept's skills. Jodo still incorporates several different weapons such as the Tanjo, Jutte, and Kusarigama into the ryu to develop the practitioner's martial prowess.
Shindo Muso Ryu Jojutsu emerged on the martial arts scene around 1603 with the founder, Muso Gonnosuke Katsukichi. Gonnosuke discovered the efficacy of the jo in a dream. Gonnosuke had already trained and gained mastery in several of the most formidable sword schools of the day. Traveling the country (musha shugyo) Gonnosuke matched skills with many warriors. Legend has it that he met and bested the most famous swordsman of all, Miyamoto, Musashi at a second bout between the two warriors in the castle town of Himeji.
Kasumi Shinto Ryu Kenjutsu or sword art is venerated for being at least 600 years old and is recognized as a cultural keepsake of Japan. It is preserved as a "mukei bunkazai". Recently acquired research places the dates of origin of the Ryu and its name even further back in time than previously thought.
Kasumi Shinto Ryu Kenjutsu
The following information are excerpts from a history book of Macabei-shi, a small town in Ibaraki Prefecture that was designated a Historic Site five years or so ago.
The Macabei family who served the Akita, was not particularily famous but they had a written history that remained virtually intact through 19 lords in succession. These excellent family archives were donated to the town for use in historical research and preservation.
The Macabei family gave a copy of this book to Kaminoda Tsunemori Sensei at the fifth festival commemorating the making of Macabei-shi a historic site.
When Kaminoda Sensei earned his Menkyo Kaiden in Kenjutsu, formerly called only Shinto Ryu, he was told by his teacher, Shimizu, Takaji that no one knew exactly where the Shinto Ryu name had its specific roots or where the 8 tachi and 4 kodachi techniques had originated. The dramatic discovery of the archives specifically linking the Macabei family and the famous Kenshi, Tsukahara Bokuden provides a highly probable missing link in the story.
These archives positively shed light on the roots of the Kenjutsu that would later be incorporated into the Shindo Muso Ryu. Indeed even the 12 kata can be traced to materials found within these archives which call the Kenjutsu style Kasumi Shinto Ryu. These documents clearly identify the kenjutsu of Tsukahara Bokuden as Kasumi Shinto Ryu.
Tsukahara Bokuden's deshii was the famous warrior Doumu "Hisamoto" or Oni Doumu (1522-1589). A minor lord and contemporary of Takeda Shigen, indeed these men were friends, Oni Doumu was a famous budoka with many battle exploits and accomplishments to boast of. He was the deshii of the famous Tsukahara Bokuden and he suceeded the Kasumi Shinto Ryu.
Besides the sword, Oni Doumo liked to use a polearm that was said to be almost 10 inches in diameter and reinforced with iron spikes.
According to the family archives, a deshii of Oni Doumo and the Kasumi Shinto Ryu was challenged by a Tendo Ryu practitioner, defeated and killed. Members of the Kasumi Shinto Ryu ambushed the successful warrior and killed him at Sakuraimura. The event is still commemorated at Uramimatsu (Revenging pine).
About the cover: The picture is a popular portrait style of the Sengoku era and might be modeled after a portrait of Takeda Shingen. Although no one really knows for certain, it is believed that it is the portrait of Oni Doumo. The bushi is wearing the Aoi mon. The portrait is obviously of a member of the warrior class who is depicted as being quite pleased. His long and short swords as well as a fan are resting near a tree which has a hawk or Taka perched overhead. There is also a wood hammer which probably was used to break a very expensive style of porcelain vessel as the earlobe design in the plate suggests. This portrait was part of the archives turned over to the city.
We plan to add more information about this interesting archive and of course the famous Tsukahara Bokuden.
Isshin Ryu Kusarigama-jutsu (sickle and chain) was incorporated because Gonnosuke was an expert with the kusarigama, a weapon said to be originated by Nen Ami Gion around 1408.
Ikkaku Ryu Jutte-jutsu or forked truncheon art first appeared during Muromachi jidai becoming popular with law enforcement during the Edo period. The art form originated with the third successor to the Shindo Muso Ryu, Matsuzaki, Gonemon.
Ittasu Ryu Hojojutsu or rope tying art was used until quite recently by Japanese law enforcement officers to control criminals. Some officers find rope tying superior to handcuffs and continue to use the cord tying skills today. Knots reflected the crime, social caste, gender and even the season of the year, providing for a particularily interesting view of premodern Japanese culture.
Uchida Ryu Tanjojutsu or "Sutteki-jutsu" as the word stick is pronounced in Japanese is known as the walking stick art and emerged during the Meiji era when walking canes wear in vogue. Uchida, Ryogoro included "sutteki-jutsu" into the Shindo Muso Ryu.
another chain-weapon of note is the Kusarifundo, Manriki-gusari
Chain weapon. The Kusarifundo consists of a chain, which possesses a weight at both ends. For the purposes of practice also a heavy rope is used (e.g. climbing rope), enwoven at their ends with a thick knot. The length of a Kusarifundo was within the range of approx. 0.6m - 4m. It was originally developed by the Japanese sword master Masaki Toshimitsu as defensive weapon against the sword and used afterwards predominantly only in the Ninjutsu. A typical version, which is used in the Bujinkan, is approx. max. 0.5 cm thick rope, whose ends are doubled and tied together. The length is selected in such a way that if the rope is held at an end in the hand, the other end should reach the floor (if one stands normally e.g. in Shizen nokamae). It also works if you install a wooden knob but it might be dangerous.
The History of Okinawan Karate Weapons
Much of the history of the martial arts is obscure and there are several versions of it's origins. This is because many stories of great Masters and legends may have been exaggerated to the point of mysticism. Many masters of the past also died with their knowledge and secrets went with them to the grave since they were very concerned about whom they would take on as a disciple. It was not uncommon that a student used the power of martial arts in the wrong way.
When this happened in ancient China, the Master himself would customarily be responsible. Also, there were many wars and feuds in which secrecy was important to survival and other records of martial arts were burned with the temples that maintained their records. This secrecy on the other hand is what actually gave strength to the Okinawan art of kobujutsu or kobudo (ancient weapons art).
Okinawa started out as a beautiful and peaceful country of the peninsula near China and Japan.
There were many emperors who eventually produced laws that were supposed to keep the peace. Laws like, no production of iron (which could produce metal weapons) and laws like "Turn in your swords for all Samurai warriors).
In 1609 Okinawa was occupied by the powerful Samurai clan of Lord Satsuma. Although the Okinawan people were required to be subject to the new laws, they continued to practice life protection karate and kobudo skills with the undetectable farming implements that could be found around the farm and in the home without appearing as threatening weapons.
Among these weapons were the nunchaku which was used as a rice flail and wheat thrasher.
The nunchaku was originally a six foot long staff with a one foot staff attached to it by a rope, chain or leather thong. Other uses reportedly included it's use as a device used by the night watchman which would alert the village in the event of an emergency like a fire. This instrument was more flat than round. The nunchaku was also said to have been used as a removable horses bridle.
The Tonfa, or Tuifa has been adopted by civil and military police as a restraining and striking type of weapon based on its flexibility and power. The nickname for this weapon is "Spinning Fury." And is quite a versatile weapon. It was used as a rice mill grinder with the handle deeply embedded into a stone mill.
Possibly the oldest close quarters weapon known to man. Originally used on Okinawa as a means to more effeciently carry buckets for water from the well or fruits and vegetables from the market, the Bo staff or RokuShakuBo (six foot staff) could suddenly be used as a long reach weapon against weapons like the katana or Samurai sword which average over five feet in length. The length of the Bo staff is typically longer than most weapons and has a reach advantage. The bo staff is the most popular weapon in the Okinawan martial arts to this day.
The Kama or sickles is jokingly referred to by Old masters as the Okinawan lawn mower.
This weapon is normally used in pairs but not limited to being used in connection with the staff connected by chain or ropes for reach and versatility. The Kama is quite possible the most dangerous of the farming type weapons on Okinawa. It can be razor sharp and can move as fast as the wielders arms can move. There are several other exotic weapons in the kobujutsu arsenal and are all mere extensions of the arms. Here is a listing.
Eku bo or oar (boat paddle)
Sai or truncheon (miniature pitch fork)
Manji sai or sai that is pointed on both ends
Nunte bo or spear (a bo staff with a manji sai attached to the end)
Tekkos or inverted brass knuckles
Tinbe Rochin or shield and dagger
Kusarigama or sickles with a weighted chain
Sansetsu bo or three sectioned nunchaku
Ni tan bo or short staffs
-----------------------------
Weapon: kusarigama
From Japanese: Kurasi=chain, Gama or Kama=sickle. Japanese chain sickle. A chain connects a sickle weapon to a weight at the other end. The Kusarigama is a weapon, that requires a much longer time for championchips as other weapons. In old Japan it was used mainly by Ninjas and monks. Under the Samurais this weapon was called unfair and therefore was not used (exception: Ji-Samurai). The techniques of this weapon were taught in over 100 Ryu. By a few Japanese Ryu, which teach the use of this weapon, the Araki Ryu is to be mentioned particularly. The historical origin could be in the Isshin Ryu, that was created in 15. Century by a monk named Jion. Combat art with the Kusarigama: Kusarigama jutsu
the kusarigama and the samurai/ the present kusarigama
Shindo Muso Ryu Jodo
A brief history
The "Way of the Stick" is arguably one of the most challenging martial disciplines to ever emerge from Japan. By appearance Jodo seems deceptively simple to master. Training provides the realization that the practitioner is kept away from the sword's cutting edge by only fractions of an inch. As training intensifies, Jodo demands exceptional timing and the absolute concentration of the student.
Historically, the samurai or bushi class of warriors studied many different weapons systems. Today many ryu have focused only on one weapon to develop the adept's skills. Jodo still incorporates several different weapons such as the Tanjo, Jutte, and Kusarigama into the ryu to develop the practitioner's martial prowess.
Shindo Muso Ryu Jojutsu emerged on the martial arts scene around 1603 with the founder, Muso Gonnosuke Katsukichi. Gonnosuke discovered the efficacy of the jo in a dream. Gonnosuke had already trained and gained mastery in several of the most formidable sword schools of the day. Traveling the country (musha shugyo) Gonnosuke matched skills with many warriors. Legend has it that he met and bested the most famous swordsman of all, Miyamoto, Musashi at a second bout between the two warriors in the castle town of Himeji.
Kasumi Shinto Ryu Kenjutsu or sword art is venerated for being at least 600 years old and is recognized as a cultural keepsake of Japan. It is preserved as a "mukei bunkazai". Recently acquired research places the dates of origin of the Ryu and its name even further back in time than previously thought.
Kasumi Shinto Ryu Kenjutsu
The following information are excerpts from a history book of Macabei-shi, a small town in Ibaraki Prefecture that was designated a Historic Site five years or so ago.
The Macabei family who served the Akita, was not particularily famous but they had a written history that remained virtually intact through 19 lords in succession. These excellent family archives were donated to the town for use in historical research and preservation.
The Macabei family gave a copy of this book to Kaminoda Tsunemori Sensei at the fifth festival commemorating the making of Macabei-shi a historic site.
When Kaminoda Sensei earned his Menkyo Kaiden in Kenjutsu, formerly called only Shinto Ryu, he was told by his teacher, Shimizu, Takaji that no one knew exactly where the Shinto Ryu name had its specific roots or where the 8 tachi and 4 kodachi techniques had originated. The dramatic discovery of the archives specifically linking the Macabei family and the famous Kenshi, Tsukahara Bokuden provides a highly probable missing link in the story.
These archives positively shed light on the roots of the Kenjutsu that would later be incorporated into the Shindo Muso Ryu. Indeed even the 12 kata can be traced to materials found within these archives which call the Kenjutsu style Kasumi Shinto Ryu. These documents clearly identify the kenjutsu of Tsukahara Bokuden as Kasumi Shinto Ryu.
Tsukahara Bokuden's deshii was the famous warrior Doumu "Hisamoto" or Oni Doumu (1522-1589). A minor lord and contemporary of Takeda Shigen, indeed these men were friends, Oni Doumu was a famous budoka with many battle exploits and accomplishments to boast of. He was the deshii of the famous Tsukahara Bokuden and he suceeded the Kasumi Shinto Ryu.
Besides the sword, Oni Doumo liked to use a polearm that was said to be almost 10 inches in diameter and reinforced with iron spikes.
According to the family archives, a deshii of Oni Doumo and the Kasumi Shinto Ryu was challenged by a Tendo Ryu practitioner, defeated and killed. Members of the Kasumi Shinto Ryu ambushed the successful warrior and killed him at Sakuraimura. The event is still commemorated at Uramimatsu (Revenging pine).
About the cover: The picture is a popular portrait style of the Sengoku era and might be modeled after a portrait of Takeda Shingen. Although no one really knows for certain, it is believed that it is the portrait of Oni Doumo. The bushi is wearing the Aoi mon. The portrait is obviously of a member of the warrior class who is depicted as being quite pleased. His long and short swords as well as a fan are resting near a tree which has a hawk or Taka perched overhead. There is also a wood hammer which probably was used to break a very expensive style of porcelain vessel as the earlobe design in the plate suggests. This portrait was part of the archives turned over to the city.
We plan to add more information about this interesting archive and of course the famous Tsukahara Bokuden.
Isshin Ryu Kusarigama-jutsu (sickle and chain) was incorporated because Gonnosuke was an expert with the kusarigama, a weapon said to be originated by Nen Ami Gion around 1408.
Ikkaku Ryu Jutte-jutsu or forked truncheon art first appeared during Muromachi jidai becoming popular with law enforcement during the Edo period. The art form originated with the third successor to the Shindo Muso Ryu, Matsuzaki, Gonemon.
Ittasu Ryu Hojojutsu or rope tying art was used until quite recently by Japanese law enforcement officers to control criminals. Some officers find rope tying superior to handcuffs and continue to use the cord tying skills today. Knots reflected the crime, social caste, gender and even the season of the year, providing for a particularily interesting view of premodern Japanese culture.
Uchida Ryu Tanjojutsu or "Sutteki-jutsu" as the word stick is pronounced in Japanese is known as the walking stick art and emerged during the Meiji era when walking canes wear in vogue. Uchida, Ryogoro included "sutteki-jutsu" into the Shindo Muso Ryu.
another chain-weapon of note is the Kusarifundo, Manriki-gusari
Chain weapon. The Kusarifundo consists of a chain, which possesses a weight at both ends. For the purposes of practice also a heavy rope is used (e.g. climbing rope), enwoven at their ends with a thick knot. The length of a Kusarifundo was within the range of approx. 0.6m - 4m. It was originally developed by the Japanese sword master Masaki Toshimitsu as defensive weapon against the sword and used afterwards predominantly only in the Ninjutsu. A typical version, which is used in the Bujinkan, is approx. max. 0.5 cm thick rope, whose ends are doubled and tied together. The length is selected in such a way that if the rope is held at an end in the hand, the other end should reach the floor (if one stands normally e.g. in Shizen nokamae). It also works if you install a wooden knob but it might be dangerous.
About Me
0
Wow.Great info on Kusarigama.I use the Kusari gama and the Kusari-Shoge.I use two kusarigamas instead of one but I can only use on kusari-shoge because it is so damn heavy!Anyway,what do you think of my info on Kuo Shou?What martial art do you think I should do next?
Man that was awesome. Thanks by the way.
As for what next? Hm, what yet unitroduced styles MKDA and MKD have?
Fu Jow Pai, Nan Chuan-I think I did that already, check it, HuaChuan,
Mian Chuan, Yang Yanga Lu Chan and some weapons, yes? How about:
Yari spear, Te-Boku, Hookswords, Steel Fans, Sun-Moon, Kabutsuchi and
the Kirehashi?
As for what next? Hm, what yet unitroduced styles MKDA and MKD have?
Fu Jow Pai, Nan Chuan-I think I did that already, check it, HuaChuan,
Mian Chuan, Yang Yanga Lu Chan and some weapons, yes? How about:
Yari spear, Te-Boku, Hookswords, Steel Fans, Sun-Moon, Kabutsuchi and
the Kirehashi?
About Me
0
I can do Fu Jow Pai and Hua Chuan.I've done Mian Chuan and you've done Nan Chuan.As for the weapons,the only thing is that the Kirehashi is not a real weapon(I think).I'll check to make sure.I'm also working on White Tiger and some others so a lot will be coming.
About Me
Aka Dead Angel
0
deadlycobra I took a look at your profile..... 8 DIFFERENT MARTIAL ARTS??? That's sick... what are they, if you don't mind answering? I my self have been in Wado-ryu karate for eight years, and half a year in Kobujutsu. I've been thinking of starting Iaido.
Wow, eight styles are wonderful. I'm curerntly practicising Baranta, and I have some experience with Shotokan-Kodokan and Daito Ryu (not akarate style-mainly)
OK, this thread will boom soon. I'll post something terribly wicked. DeadlyCobra and all of you, prepare, for I shall send the description of my favourite weapon (not used in the MK history)
OK, this thread will boom soon. I'll post something terribly wicked. DeadlyCobra and all of you, prepare, for I shall send the description of my favourite weapon (not used in the MK history)
0
Well, I was still gonna bug you about Mi Tzu, but I did find a couple of things about it.
MI Tzu is short for Mi Tzu Chuan. It means Rice Ancestor Fist or Rice Ancestor Boxing. It's a style of Chinese Kung Fu and is similar to Cha Chuan (Zha Chuan) and Shaolin Chuan. It's long ranged and uses fast and clear movements.....Sounds like a good style for Smoke to me.
I'd still like to know more about Mi Tzu so if anyone can provide me with more info on it, that'd be great.
I'd also like to know more about Ghost Hands and Devil Hands. I do know that they are two styles of Dim Mak.
MI Tzu is short for Mi Tzu Chuan. It means Rice Ancestor Fist or Rice Ancestor Boxing. It's a style of Chinese Kung Fu and is similar to Cha Chuan (Zha Chuan) and Shaolin Chuan. It's long ranged and uses fast and clear movements.....Sounds like a good style for Smoke to me.
I'd still like to know more about Mi Tzu so if anyone can provide me with more info on it, that'd be great.
I'd also like to know more about Ghost Hands and Devil Hands. I do know that they are two styles of Dim Mak.
About Me
0
What styles are they?I'm not a "master" of them.I am a master of Snake and its 4 branches(Viper,Cobra,Python,Sea Snake).Let's see Monkey(All 7),Mi Tzu(A little),Mantis(Its impossible to master Mantis as a whole.There are too many sub-branches),Shen She Ch'uen,Capoeira,Stav,and Crab(Yes,Crab is a very real martial art.A very effective one too.)Understand that I have been in the martial arts since I was 5.Damn,that's 18 years.I also do the double kusarigama,the kusari shoge,and the double chained flail(which is REALLY hard to use).Sub-Zero 7th,Ghost Hands and Devil Hands are sub-branches of Dim Mak.When you learn Snake,Dim Mak is an essential.I don't know that much about them except that they use different methods of striking.I'll try to research it more.If anyone wants to know about any of my styles,let me know and I'll tell you.
About Me
Ghostdragon - Fan Submission Director ghostdragon@mortalkombatonline.com
Mortal Kombat Online - The Ultimate Mortal Kombat Experience
http://www.mortalkombatonline.com
-Isaac Watts
0
I don't think anyone's mentioned Hong-clan Chuan or Liuhe Quan yet.
Liuhe Quan
Liuhe Quan or the six-combination Chuan is combat orientated. It is believed to be a derivative of Shaolin Quan and to have been passed on from an old boxer named Cao who lived at Botou in Hebei Province during Emperor Daoguang's reign in the Qing Dynasty (1821-1850). This style of Chuan was handed on from Cao to Li Guanming; from Li to Wang Dianliang, Tong Zhongyi and Li Shuting. Tong Zhongyi, known as one of the twin heroes in Cangzhou, opened a club in Shanghai to disseminate it further.
Liuhe Quan features strong, yet graceful stances. Its moves look comfortable, compact and vigorous. They are powerful with a clear-cut difference between substantial and empty moves. The moves of six-combinations Chuan imitate those of the dragon, tiger, crane, rabbit and monkey, and boxers rove in accordance with the Chinese eight diagrams. Resourcefulness and dexterity are demanded in executing the moves of evading, extending, jumping and moving either fast or slow, heavily or lightly
Hong-clan Chuan
The Hong clan, named after Hongwu, the title of the reign of the first Emperor of the Ming Dynasty, was one of the secret associations in the Qing Dynasty. It is believed to have been set up in the 13th year of Emperor Kangxi's reign (1674).
Hong-clan boxers practised their own style of Chuan, which has been passed on to the people for about 300 years. During this time it exerted great influence on the people and many branch styles developed, such as the Hong Quan of Guangdong Province and the Hong Quan of Hubei Province.
Most of the routines of the Hubei Hong Quan are hand plays, such as the general hand plays, defensive hand plays, Jingang (Buddha's warrior attendant) hand plays, etc. Influenced by the Wudang-style Chuan, one of the famous schools in China, the Hubei Hong Chuan also includes newly developed routines called Jiugong-shou, nine-palace hand plays and Laojuntang, the Hall for Laozi, founder of Taoism. Two-way spear holding plays are the main methods to deal with the Hubei Hong Quan, which emphasizes both attack and defence.
The Guangdong Hong Quan is a routine of animal imitating movements of the dragon, snake, tiger, leopard, crane, lion, elephant, horse, monkey and small-sized wild beasts.
The Hong Quan, which places an emphasis on stances, is powerful and mighty. The Guangdong style concentrates on interim actions and turns on the ground to ward off the attack from the opponent. The Hubei style focuses on generating power when delivering feet and fist blows. It demands hard blows and Chuan. straightforwardness.
GD
Liuhe Quan
Liuhe Quan or the six-combination Chuan is combat orientated. It is believed to be a derivative of Shaolin Quan and to have been passed on from an old boxer named Cao who lived at Botou in Hebei Province during Emperor Daoguang's reign in the Qing Dynasty (1821-1850). This style of Chuan was handed on from Cao to Li Guanming; from Li to Wang Dianliang, Tong Zhongyi and Li Shuting. Tong Zhongyi, known as one of the twin heroes in Cangzhou, opened a club in Shanghai to disseminate it further.
Liuhe Quan features strong, yet graceful stances. Its moves look comfortable, compact and vigorous. They are powerful with a clear-cut difference between substantial and empty moves. The moves of six-combinations Chuan imitate those of the dragon, tiger, crane, rabbit and monkey, and boxers rove in accordance with the Chinese eight diagrams. Resourcefulness and dexterity are demanded in executing the moves of evading, extending, jumping and moving either fast or slow, heavily or lightly
Hong-clan Chuan
The Hong clan, named after Hongwu, the title of the reign of the first Emperor of the Ming Dynasty, was one of the secret associations in the Qing Dynasty. It is believed to have been set up in the 13th year of Emperor Kangxi's reign (1674).
Hong-clan boxers practised their own style of Chuan, which has been passed on to the people for about 300 years. During this time it exerted great influence on the people and many branch styles developed, such as the Hong Quan of Guangdong Province and the Hong Quan of Hubei Province.
Most of the routines of the Hubei Hong Quan are hand plays, such as the general hand plays, defensive hand plays, Jingang (Buddha's warrior attendant) hand plays, etc. Influenced by the Wudang-style Chuan, one of the famous schools in China, the Hubei Hong Chuan also includes newly developed routines called Jiugong-shou, nine-palace hand plays and Laojuntang, the Hall for Laozi, founder of Taoism. Two-way spear holding plays are the main methods to deal with the Hubei Hong Quan, which emphasizes both attack and defence.
The Guangdong Hong Quan is a routine of animal imitating movements of the dragon, snake, tiger, leopard, crane, lion, elephant, horse, monkey and small-sized wild beasts.
The Hong Quan, which places an emphasis on stances, is powerful and mighty. The Guangdong style concentrates on interim actions and turns on the ground to ward off the attack from the opponent. The Hubei style focuses on generating power when delivering feet and fist blows. It demands hard blows and Chuan. straightforwardness.
GD
About Me
Aka Dead Angel
0
deadlycobra26 Wrote:
What styles are they?I'm not a "master" of them.I am a master of Snake and its 4 branches(Viper,Cobra,Python,Sea Snake).Let's see Monkey(All 7),Mi Tzu(A little),Mantis(Its impossible to master Mantis as a whole.There are too many sub-branches),Shen She Ch'uen,Capoeira,Stav,and Crab(Yes,Crab is a very real martial art.A very effective one too.)Understand that I have been in the martial arts since I was 5.Damn,that's 18 years.I also do the double kusarigama,the kusari shoge,and the double chained flail(which is REALLY hard to use).Sub-Zero 7th,Ghost Hands and Devil Hands are sub-branches of Dim Mak.When you learn Snake,Dim Mak is an essential.I don't know that much about them except that they use different methods of striking.I'll try to research it more.If anyone wants to know about any of my styles,let me know and I'll tell you.
What styles are they?I'm not a "master" of them.I am a master of Snake and its 4 branches(Viper,Cobra,Python,Sea Snake).Let's see Monkey(All 7),Mi Tzu(A little),Mantis(Its impossible to master Mantis as a whole.There are too many sub-branches),Shen She Ch'uen,Capoeira,Stav,and Crab(Yes,Crab is a very real martial art.A very effective one too.)Understand that I have been in the martial arts since I was 5.Damn,that's 18 years.I also do the double kusarigama,the kusari shoge,and the double chained flail(which is REALLY hard to use).Sub-Zero 7th,Ghost Hands and Devil Hands are sub-branches of Dim Mak.When you learn Snake,Dim Mak is an essential.I don't know that much about them except that they use different methods of striking.I'll try to research it more.If anyone wants to know about any of my styles,let me know and I'll tell you.
This is all I have to say......
About Me
0
Oh,thank you very much.Keep in mind that the only styles that I've "mastered" is Snake and Shen She Ch'uen.All of the others I've either dabbled in(Mi Tzu,Stav) or I am currently training in(Monkey,Capoeira,Mantis).You can never truly "master" a style unless you created it.I love martial arts and I always have.It's not my job,it's just a hobby.And it really helps in the area of work that I'm in.
0
Cool! I'd like to know more about Ghost Hands and Devil Hands as well as know more about the 4 branches of Snake.
From what you learned in Mi Tzu, can you tell me what it's like?
From what you learned in Mi Tzu, can you tell me what it's like?
What? are you a riot controll squad leader? No offense...
Fighting style: Stav (St-arv)
Stáv is a Nordic style of martial arts based upon runic postures, using the 16 runes of the Younger Futhark Each of the runes can be found within the Stáv symbol above.
"Stáv (pronounced st-arv) is a traditional European system which is designed to improve the mind body and spirit. It has been maintained and developed for over 44 generations by the Norwegian Hafskjold family.
"Although based on an ancient philosophy, Stáv is a dynamic and evolving system that can be adapted to meet the requirements of the individual in today's world. The principles have now been made available to a wider audience in order to preserve and enhance the system for future generations". by Mark Alex Pidd Stáv - Tradtional European Philosophy
"[A] recent discussion on the origins of the term Stáv has been interesting and no doubt for some people confusing, so here goes with an attempt to explain things - I trust Ivar will correct any errors I may make here. Ivar's family, the Hafskjolds / Hosling, have practiced a martial art for as long as anyone can remember. This martial art centers around the use of the staff - in Norwegian, the "Stáv". The weapon is used to teach combat principals in general (thus methods for both the use of all / any weapons and for unarmed combat are drawn from staff-work).
"This martial art has, for want of a better term, always been referred to as simply "Stáv" within the family. However, as most of you will be aware, there is rather more to the Hafskjold's martial art than just weapons play. The basis of the martial art is the use of five principals which are related to the five "classes" (Trel, Karl, Herse, Jarl and Könge) and five elements (Earth, Water, Fire, Ice and Wind) but in addition to this the use of sixteen postures and associated breathing techniques and "incantations" (called "galdor"). The sixteen postures are used to make the body form the shape of the 16 runes of the futhark (in the variation used by the Hosling). When a rune is formed, be it carved in wood, written on paper, or formed with the body, it is both the rune itself (the "mystery") and a symbolic depiction of the rune - a rune-stáve.
"Simply, a "Stáv" is thus another way of saying "rune" and to practice Stáv is also to use the runes. This is at once a simple pun allowing one for example to infer the practice of either staff-fighting (which was publicly acceptable in Christian Norway) but also the use of runes (which was not). To those unfamiliar with the Stáv martial art it may seem like suggesting that staff-fighting and the use of runes is an awkward combination, however, the martial aspect of Stáv and the runic philosophy which informs the art are inseparable - no doubt having influenced each other to a great extent within the Hafskjold family.
"However, the Hafskjold tradition is somewhat wider than just a martial art, or for that matter the use of runes. The Hafskjolds also engaged in other activities such as herbalism and the practice of seid - it is my understanding that while these are traditional within the family such arts were not originally referred to as "Stáv" (for example, in the Hafskjold tradition seid has just about nothing to do with the runes and is a very different phenomenon).
"When Ivar first began to teach outside his family he referred to the tradition he was teaching as "Stáv". Initially he basically taught weapons work, concentrating at first on the staff, as well as the use of the runic postures. To those of us that expressed our interests in such things he also passed on his knowledge of seid and various other activities. Lacking any specific traditional name for the practices in general employed by his family, it became standard for us to refer to everything in the Hafskjold tradition generically as "Stáv". In this sense Ivar (and his students) are indeed responsible for coining the term "Stáv" as a way of describing the WHOLE of the tradition, but we in no way invented the term itself, which is indeed traditional (albeit a bit more specific).
"Things have become even more complicated in that having used the term Stáv to refer to diverse practices within the Hafskjold tradition, the term Stáv has also been used (and here I am as guilty as anyone) as a generic term to refer to what others might choose to call "Northern Tradition" or "Asatru" or "Nordic Pagan Philosophy" etc. I'm quite happy for anyone to state that this is a misnomer, and at one level it is (if we define Stáv as either a staff-fighting system based on the runes or as the Hafskjold tradition as a whole then anything beyond that is not Stáv) however, it is as valid a term as describing Native American traditions as "Shamanism" or all Chinese martial arts as "Kung Fu" - a definition that is at a precise level inaccurate but describes things in a way so that people generally get the gist.
"Of course this has in turn meant that in order to describe specifically the Stáv martial art some of us tend to now call it "The Stáv Martial Art" rather than just Stáv so as to avoid confusing a feature of the martial art with Stáv (the whole tradition) as a whole. And in turn, if one uses the term Stáv generically to mean something like "Norse Pagan Culture" one then finds oneself almost obliged to refer to the Hafskjold tradition as "Hafskjold Stáv" to distinguish it from, say, Icelandic runic traditions. I hope this goes some way to clearing things up a little but please post any queries.
In a sense, it is accurate to say that Stáv is both the term always used by the Hafskjold family and also that it is a modern invention - the point being that what has altered is the meaning behind the term not the term itself. Certainly the term Stáv was in use by the Hafskjold family before Ivar started to teach outside the family and it is referred to in the Hafskjold family's traditional poem which describes the activities that should be undertaken by. "Heimdall's Sons" (for which you can read either the Hosling, who via the Möre line, claim descent from Heimdallr; or the whole of mankind as Heimdallr / Rígr is said to have fathered all the classes of humans)." by Shaun Brassfield-Thorpe
January 24, 2000, Stáv-web e-Group, a subscription mailing list.
Stáv is a 1500 year old (living) runic tradition that has been preserved in Norway by the Hafskjold family. Stáv contains many aspects, including healings arts. Stáv Healing contains the use of postures, breath techniques, herbalism, joint manipulation, massage, counseling (via the runes) and many other aspects.
The Stáv Seid Circle is devoted to practicing Seid and is a part of the Stáv Association. Stáv, a 1500 year old (living) runic tradition has been preserved in Norway by the Hafskjold family. Seid is basically a form of Witchcraft or Shamanism, as practiced by the Nordic peoples.
Stáv Index - A site dedicated to Stáv, especially the martial arts, runic and craft aspects. "Stáv is a Northern European mind, body and sprit system. The basis of Stáv is Runes, specifically the Danish or Younger Futhork. There are several aspects to Stáv, which can be equated to other better-known systems. The first aspect is the stances, these are at the core of Stáv; they are the embodiment of the runes on which they are based. The stances bring many benefits including low impact exercises, promoting healthy natural breathing, improved posture and relaxation. In addition to the physical benefits the stances promote the flow of megin (life force). In this aspect Stáv is a lot like Tai Chi. As well as the stances Stáv also includes a martial art aspect and a healing aspect but also many other aspects. Stáv is not only all of these but it is also a way of life and outlook.
"The stances have many benefits, many of which are only revealed once the stances have been performed regularly over a period of time. Two direct and almost immediate benefits can be obtained from the stances.
The first is that they exercise the body gently and without pressure. They are very low impact exercises which can be performed no matter what your age or ability. The stances can be modified to compensate for injury and disability in order to gain the maximum benefit from them.
The second is that they promote complete breathing using the whole of the lungs. This has shown to be beneficial to asthma and other respiratory ailment sufferers.
"Regular practice of the stances brings other benefits including improved body posture, firmer stomach muscles and increased flexibility. Indeed those suffering from injury, stiffness in the joints and other restrictions to their movement can gain increased mobility and suppleness from performing the stances on a regular basis. The stances can also be a form of moving meditation which is useful for relaxation and in relieving stress and tension." By Phillip Brough.
Stav International - Heimbu - Beverly, East Yorkshire, England. "This site is the official official site for Ivar Hafskjold, 44th generation heir of the Hafskjold family tradition of Stav. Instructors of Stav as recognized by Ivar are listed here, as are links to all recognized Stav websites. "
Stav - Einherjar Vé, Hull, England. "This site is all about the traditional European philosophy of Stav, it's practice, teaching and development. Stav has been described as European TaiChi and Viking KungFu. While these descriptions are intended to be tongue in cheek they perhaps give a taste of what can be gained. The core of Stav is 16 stances or body postures. These are combined with breathing exercises to give gentle, non-impact exercise to tone and relax. This is where the TaiChi reference comes in. However, these stances, with the breathing techniques, can also be combined in a martial arts aspect. This can be likened to KungFu (the aggressive version of TaiChi). The Stav martial aspect is very effective and again does not put excessive stress and strain on the body.""
Stav Academy - Orkney Islands. The Stav Academy is affiliated to Valgarth Hov and is endorsed by Heimbu and Stav International.
Oxford Stav Hov - Oxford, England. The Oxford Stav Hov is a non profit making organisation devoted to the practice and promotion of the North European Mind-Body-Spirit system of Stav. It is run by Master Graham Butcher, a personal student of Ivar Hafskjold, and is affiliated to Heimbu.
Stav Heimdalla Vé - Dallas Fort Worth area, Texas, USA. The Heimdalla Ve is attached to the Valgarth Stav Hov located in Orkney Islands, under Hov Master Shaun D. L. Brassfield-Thorpe.
Stáv Australia - "Next to the U.K. (where Ivar Hafskjold first started teaching Stav outside of his family), Australia is one of few places that Stav has reached and taken hold so far. Our little community is growing slowly but surely. We are quite widespread across the country at the moment which makes us seem a little thin on the ground. "
Berlin Stav - Berlin, Germany. In August 2001 the first Stav course was held in Berlin. Melinda Kumbalek made contact with the Oxford Stav Hov and organised for Graham Butcher to visit Berlin and teach a two day seminar on the 11 and 12 of August. Eleven people attended, some local to Berlin and others from Hamburg.
Stav Marketing and Publishing - an authorised supplier of Stav literature, videos, and training in Stav.
Stav Stances, a Beginners Guide - a downloadable booklet in pdf (Adobe Acrobat) format for all platforms, by M.A. Pidd. "The foundation of Stáv is a set of 16 stances. These are based on runes and the system includes health, healing, relaxation, meditation, counseling, Norse gods, myths, crafts and martial aspects in a complete and working system."
Stav Runes Notebook, a Beginners Guide - a downloadable booklet in pdf (Adobe Acrobat) format for all platforms, by M.A. Pidd. "At the core of Stav are 16 stances. These are the embodiment of the runes of the Younger Futhork on which the system is based. The Runes Notebook outlines the 16 runes and gives somes clues for their interpretation and meaning. This beginners guide explains how to perform a rune casting (divination) and details the associations of the runes in Stav"
Fighting style: Stav (St-arv)
Stáv is a Nordic style of martial arts based upon runic postures, using the 16 runes of the Younger Futhark Each of the runes can be found within the Stáv symbol above.
"Stáv (pronounced st-arv) is a traditional European system which is designed to improve the mind body and spirit. It has been maintained and developed for over 44 generations by the Norwegian Hafskjold family.
"Although based on an ancient philosophy, Stáv is a dynamic and evolving system that can be adapted to meet the requirements of the individual in today's world. The principles have now been made available to a wider audience in order to preserve and enhance the system for future generations". by Mark Alex Pidd Stáv - Tradtional European Philosophy
"[A] recent discussion on the origins of the term Stáv has been interesting and no doubt for some people confusing, so here goes with an attempt to explain things - I trust Ivar will correct any errors I may make here. Ivar's family, the Hafskjolds / Hosling, have practiced a martial art for as long as anyone can remember. This martial art centers around the use of the staff - in Norwegian, the "Stáv". The weapon is used to teach combat principals in general (thus methods for both the use of all / any weapons and for unarmed combat are drawn from staff-work).
"This martial art has, for want of a better term, always been referred to as simply "Stáv" within the family. However, as most of you will be aware, there is rather more to the Hafskjold's martial art than just weapons play. The basis of the martial art is the use of five principals which are related to the five "classes" (Trel, Karl, Herse, Jarl and Könge) and five elements (Earth, Water, Fire, Ice and Wind) but in addition to this the use of sixteen postures and associated breathing techniques and "incantations" (called "galdor"). The sixteen postures are used to make the body form the shape of the 16 runes of the futhark (in the variation used by the Hosling). When a rune is formed, be it carved in wood, written on paper, or formed with the body, it is both the rune itself (the "mystery") and a symbolic depiction of the rune - a rune-stáve.
"Simply, a "Stáv" is thus another way of saying "rune" and to practice Stáv is also to use the runes. This is at once a simple pun allowing one for example to infer the practice of either staff-fighting (which was publicly acceptable in Christian Norway) but also the use of runes (which was not). To those unfamiliar with the Stáv martial art it may seem like suggesting that staff-fighting and the use of runes is an awkward combination, however, the martial aspect of Stáv and the runic philosophy which informs the art are inseparable - no doubt having influenced each other to a great extent within the Hafskjold family.
"However, the Hafskjold tradition is somewhat wider than just a martial art, or for that matter the use of runes. The Hafskjolds also engaged in other activities such as herbalism and the practice of seid - it is my understanding that while these are traditional within the family such arts were not originally referred to as "Stáv" (for example, in the Hafskjold tradition seid has just about nothing to do with the runes and is a very different phenomenon).
"When Ivar first began to teach outside his family he referred to the tradition he was teaching as "Stáv". Initially he basically taught weapons work, concentrating at first on the staff, as well as the use of the runic postures. To those of us that expressed our interests in such things he also passed on his knowledge of seid and various other activities. Lacking any specific traditional name for the practices in general employed by his family, it became standard for us to refer to everything in the Hafskjold tradition generically as "Stáv". In this sense Ivar (and his students) are indeed responsible for coining the term "Stáv" as a way of describing the WHOLE of the tradition, but we in no way invented the term itself, which is indeed traditional (albeit a bit more specific).
"Things have become even more complicated in that having used the term Stáv to refer to diverse practices within the Hafskjold tradition, the term Stáv has also been used (and here I am as guilty as anyone) as a generic term to refer to what others might choose to call "Northern Tradition" or "Asatru" or "Nordic Pagan Philosophy" etc. I'm quite happy for anyone to state that this is a misnomer, and at one level it is (if we define Stáv as either a staff-fighting system based on the runes or as the Hafskjold tradition as a whole then anything beyond that is not Stáv) however, it is as valid a term as describing Native American traditions as "Shamanism" or all Chinese martial arts as "Kung Fu" - a definition that is at a precise level inaccurate but describes things in a way so that people generally get the gist.
"Of course this has in turn meant that in order to describe specifically the Stáv martial art some of us tend to now call it "The Stáv Martial Art" rather than just Stáv so as to avoid confusing a feature of the martial art with Stáv (the whole tradition) as a whole. And in turn, if one uses the term Stáv generically to mean something like "Norse Pagan Culture" one then finds oneself almost obliged to refer to the Hafskjold tradition as "Hafskjold Stáv" to distinguish it from, say, Icelandic runic traditions. I hope this goes some way to clearing things up a little but please post any queries.
In a sense, it is accurate to say that Stáv is both the term always used by the Hafskjold family and also that it is a modern invention - the point being that what has altered is the meaning behind the term not the term itself. Certainly the term Stáv was in use by the Hafskjold family before Ivar started to teach outside the family and it is referred to in the Hafskjold family's traditional poem which describes the activities that should be undertaken by. "Heimdall's Sons" (for which you can read either the Hosling, who via the Möre line, claim descent from Heimdallr; or the whole of mankind as Heimdallr / Rígr is said to have fathered all the classes of humans)." by Shaun Brassfield-Thorpe
January 24, 2000, Stáv-web e-Group, a subscription mailing list.
Stáv is a 1500 year old (living) runic tradition that has been preserved in Norway by the Hafskjold family. Stáv contains many aspects, including healings arts. Stáv Healing contains the use of postures, breath techniques, herbalism, joint manipulation, massage, counseling (via the runes) and many other aspects.
The Stáv Seid Circle is devoted to practicing Seid and is a part of the Stáv Association. Stáv, a 1500 year old (living) runic tradition has been preserved in Norway by the Hafskjold family. Seid is basically a form of Witchcraft or Shamanism, as practiced by the Nordic peoples.
Stáv Index - A site dedicated to Stáv, especially the martial arts, runic and craft aspects. "Stáv is a Northern European mind, body and sprit system. The basis of Stáv is Runes, specifically the Danish or Younger Futhork. There are several aspects to Stáv, which can be equated to other better-known systems. The first aspect is the stances, these are at the core of Stáv; they are the embodiment of the runes on which they are based. The stances bring many benefits including low impact exercises, promoting healthy natural breathing, improved posture and relaxation. In addition to the physical benefits the stances promote the flow of megin (life force). In this aspect Stáv is a lot like Tai Chi. As well as the stances Stáv also includes a martial art aspect and a healing aspect but also many other aspects. Stáv is not only all of these but it is also a way of life and outlook.
"The stances have many benefits, many of which are only revealed once the stances have been performed regularly over a period of time. Two direct and almost immediate benefits can be obtained from the stances.
The first is that they exercise the body gently and without pressure. They are very low impact exercises which can be performed no matter what your age or ability. The stances can be modified to compensate for injury and disability in order to gain the maximum benefit from them.
The second is that they promote complete breathing using the whole of the lungs. This has shown to be beneficial to asthma and other respiratory ailment sufferers.
"Regular practice of the stances brings other benefits including improved body posture, firmer stomach muscles and increased flexibility. Indeed those suffering from injury, stiffness in the joints and other restrictions to their movement can gain increased mobility and suppleness from performing the stances on a regular basis. The stances can also be a form of moving meditation which is useful for relaxation and in relieving stress and tension." By Phillip Brough.
Stav International - Heimbu - Beverly, East Yorkshire, England. "This site is the official official site for Ivar Hafskjold, 44th generation heir of the Hafskjold family tradition of Stav. Instructors of Stav as recognized by Ivar are listed here, as are links to all recognized Stav websites. "
Stav - Einherjar Vé, Hull, England. "This site is all about the traditional European philosophy of Stav, it's practice, teaching and development. Stav has been described as European TaiChi and Viking KungFu. While these descriptions are intended to be tongue in cheek they perhaps give a taste of what can be gained. The core of Stav is 16 stances or body postures. These are combined with breathing exercises to give gentle, non-impact exercise to tone and relax. This is where the TaiChi reference comes in. However, these stances, with the breathing techniques, can also be combined in a martial arts aspect. This can be likened to KungFu (the aggressive version of TaiChi). The Stav martial aspect is very effective and again does not put excessive stress and strain on the body.""
Stav Academy - Orkney Islands. The Stav Academy is affiliated to Valgarth Hov and is endorsed by Heimbu and Stav International.
Oxford Stav Hov - Oxford, England. The Oxford Stav Hov is a non profit making organisation devoted to the practice and promotion of the North European Mind-Body-Spirit system of Stav. It is run by Master Graham Butcher, a personal student of Ivar Hafskjold, and is affiliated to Heimbu.
Stav Heimdalla Vé - Dallas Fort Worth area, Texas, USA. The Heimdalla Ve is attached to the Valgarth Stav Hov located in Orkney Islands, under Hov Master Shaun D. L. Brassfield-Thorpe.
Stáv Australia - "Next to the U.K. (where Ivar Hafskjold first started teaching Stav outside of his family), Australia is one of few places that Stav has reached and taken hold so far. Our little community is growing slowly but surely. We are quite widespread across the country at the moment which makes us seem a little thin on the ground. "
Berlin Stav - Berlin, Germany. In August 2001 the first Stav course was held in Berlin. Melinda Kumbalek made contact with the Oxford Stav Hov and organised for Graham Butcher to visit Berlin and teach a two day seminar on the 11 and 12 of August. Eleven people attended, some local to Berlin and others from Hamburg.
Stav Marketing and Publishing - an authorised supplier of Stav literature, videos, and training in Stav.
Stav Stances, a Beginners Guide - a downloadable booklet in pdf (Adobe Acrobat) format for all platforms, by M.A. Pidd. "The foundation of Stáv is a set of 16 stances. These are based on runes and the system includes health, healing, relaxation, meditation, counseling, Norse gods, myths, crafts and martial aspects in a complete and working system."
Stav Runes Notebook, a Beginners Guide - a downloadable booklet in pdf (Adobe Acrobat) format for all platforms, by M.A. Pidd. "At the core of Stav are 16 stances. These are the embodiment of the runes of the Younger Futhork on which the system is based. The Runes Notebook outlines the 16 runes and gives somes clues for their interpretation and meaning. This beginners guide explains how to perform a rune casting (divination) and details the associations of the runes in Stav"
About Me
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Hmmmm...Sub-Zero I wish I could tell you more about Ghost Hands and Devil Hands but I don't know really anything about it.And about Mi Tzu,it is very much like any martial art but it concentrates a lot on reaching your limits.When you kick,you go as far as you possibly can with that kick.If you puch,then you go as far as possible.The main idea is to keep your opponent at a distance that you can hit them but they can't hit you.It is a very interesting martial art and I really like it.Now,for the four branches of Snake.They don't have a history.None of it was ever recoreded so I don't know about their history but I can tell you their technique.Viper is designed to attack major blood vessels so that they cause extreme bleeding and psychological pain but not death.It concentrates on the major blood vessels such as the wrist,carotid,and the inside of the thigh.It uses the Snake Tounge to strike.It NEVER uses anything else for striking.The Snake Tounge is created by stiffening your first two fingers and curling the other three under.You have to have very strong fingers to do this but usually you strike soft,squishy areas.Cobra,on the other hand,is built for killing.It concentrates on the large nerve areas such as the temple and the solar plexus.It uses the Cobra Head strike which is made by stiffening your first four fingers and sticking them together and bracing the bottom with the thumb for even more striking power.The easiest way to remeber this is to tie your fingers together.Then,you have Python wich uses Shime-Waza(Jujutsu Choke Techniques) and Kansetsu-Waza(Jujutsu Joint Locking Techniques).It uses mainly grappling but if it does strike,it uses the leopard's paw,which is made by curling and stiffening your fingers into your palm so that you strike with your knuckles.It ims for harder spots such as the nose,lips,and groin.Lastly is Sea Snake.The Sea Snake is extremely effective in the way that it utilizes Dim Mak at all times when it strikes.It uses an inverted hand to strike.The Sea Snake Coming Up To The Surface strike is made by curling your knuckles upwards so that your hand curves upwards like a snake swimming to the surface.It can strike ANYWHERE.The bottom of the nose,the inside of the groin,and in all those nooks and crannies of the body.Then Shen She Ch'uen(Divine Snake Fist) is also a form of Snake.It is more independent than the other sub-branches but it is still a form of Snake.It very unique in the way that it uses the Cobra Head to break bones.So practiconers of Viper aim for the blood vessels,Cobras head for the nerves,Pythons go for the choke,Sea Snakes uses pressure points,and Shen She Ch'uen tries to break bones.In all forms of Snake,they rarely use kicks.If they do,they are usually low,quick,and aimed at the groin or shins.There is one high technique and that's the High Snapkick but Snake practicioners rarely use it.I hope that was enough info.And Chrome,no I am not a riot control officer.I work for a contract agency.Oh damn,I might as well say it.You don't know who I am anyway.I work as an assassin for a contact agency.There I said it.
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An assassin?? 
Eh.....ok...well, thanks for the info deadlycobra. It's very interesting.
About Me
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Yes,I am.I even have a I.D card that proves I've completed my 7 years of training.I love it.It pays a LOT of money. Geez,I don't even know you and you know.Not even my mom knows about it.She thinks I'm a missionary.I am a missionary in a way.Well,anyway,I hope that information helped.
Come on, don't you think thats the last post you would ever send while you're a contract killer? Now we got a trace to you...
OK, gimme some time and I'll be back with a huge amount of martial arts, okay? I'm working on it, but it is very hard becouse of home circumstances.
OK, gimme some time and I'll be back with a huge amount of martial arts, okay? I'm working on it, but it is very hard becouse of home circumstances.
About Me
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Oh please,I'm sending these from a laptop, so there is no way to trace it so HA!Anyway,I'm going to have to leave for a while.I have a job to complete.:-p
Fighting style: Pak Mei White Eyebrow -rewiev-
used by: yet noone in the MK saga
Used when: yet not used
Bak Mei, lived during the Ch'ing Dynasty (Emperor Ch'ian Lung era). Although very little historical information exist ̈C only rumours and speculations. In some martial arts schools, Bak Mei is considered to be one of the five elder monks of Shaolin Temple, Songshan, Province of Henan while others suggest that he was a Taoist from the Ermei Mountains in Sichuan Province. He is the acknowledged founder of a Southern martial arts styles Nan quan. In some stories, Pak Mei was considered to have allied with the Ch'ing Empire and fought against the Shaolin Temple. Those stories are often represented in many Hong Kong kung fu movies and stories but are not based on any verifiable facts.
Bak Mei was followed by his student, the Monk Kwong Wei (Gong Wai) of Sichuan province. Kwong Wai's students include: Zhu ? Taoist , Ling Sang and Monk Jok Fah Wan (Chuk Fat Wan, Zhu Fuyun
The Taoist Zhu Yuan had one student, Chi ShangGuo. Chi's student, Liu Shaoliang together with another Bak Mei practitioner, Qiu Taisheng promoted the style in FuShan, Guandong Province. They eventually established Fushan Bak Mei Quan.
Monk Jok Fah Wan eventually moved to Kwong How Temple, Guangzhou, Southern China. In this region, the Monk started to accept lay students including Chang Lai Chuen (Cheung Lai Chun).
Chang Lai Chuen (Cheung Lai Chun)
Chang Lai Cheun ( Cheung Lai Cun, Zhang Lich'uan, Truong Le Tuyen ) was born in 1889, in in Weiyang District, Dong Jiang, Guangdong Province. He studied martial arts since he was thirteen years old. Through his life, Cheng acknowledges four teachers. His first two teacher's were Sek Lam (Wanderers Style) and Lee Sze-yee (Lee Gar). His maternal uncle then introduced him to Lam Ah-hop, a student of Monk Yu-seng of the Wah Sou Buddish Monastery, Law Fau Shan, Guangdong Province. Both Lam Ah Hop and Monk Yu Sheng were acknowledge masters of the Dragon style. Chang first learned from Lam Ah-hop's son, Lam Ah-yuen, but later became friends with Lam Ah-yuen's son, Lam Yiu-Kwei.
Chang, at nineteen, moved to Canton, the capital of Kwong-tung province in Southern China. In the provincial capital, he meet and challenge the Monk Lin Sang. He was defeated by the Monk which prompted him to ask Lin Sang to be his teacher. Lin Sang declined and instead refer Chang to his own teacher. This is how Chang meet his fourth and final teach, the Monk Jok Fah Wan and learned the complete art of Bak Mei Kung Fu. He studied with the two monks for the next two years.
Chang opened his first Lai Chun Martial Art School in Wai On Lane in Guangzhou. The local newspapers reported on his exploits and the martial arts community gave Chang the nickname The Tiger of the East River The press also labeled him as the martial champion in seven provinces. He continued to teach during the war agaisnt the Japanese and the Chinese Civil War. Because of his close ties to the Nationalist government, Chang and some of his students moved to Macau after the victory of the communist government. He continued to teach in Macao and established a strong Bak Mei Community in the former Portuguese Colony. He later moved to Hong Kong and continue to teach with his three sons, Cheung Beng Sum ( Hong Kong), Cheung Beng Lam (Hong Kong) and Cheng Beng Fat (Cheung Beng Fat; Hong Kong). In 1964, Chang passed away at an age of eighty-six. His students have continued to spread the art throughtout the world.
Philosophy and Practice
The essence of this style can be summarised in the following poem:
The Internal Style of Bak Mei,
Practice using power from short distances
Both eyes glows brighter and brighter
The body as light as the flying swallows.
The fundamentals of this style is summarized by the following ideas:
Three body shapes, concerns the various angles of the body, namely: round, flat and straight
Four Dynamics: the four dynamics deals with internal strengths and concerns the concepts of: inhale, exhale, float and sink
Six Points of Power: Six strengths is obtained from the cordination of the parts of the body: teeth, neck, waist, back, hands and legs
Eight Techniques: Eight techniques describes the skills used, namely: whip, inward cut, outward clear, body ram, spring out, hand pull, double-hand outward clear and body charge
Five Features - powerful, fast, accurate, stable and merciless
The characteristics of Bak Mei fighting includes chain movements of heavy strikes, the hollowing of the back to generate power and the use of the phoenix ̈Ceye punch to attack the opponent's vital points.
used by: yet noone in the MK saga
Used when: yet not used
Bak Mei, lived during the Ch'ing Dynasty (Emperor Ch'ian Lung era). Although very little historical information exist ̈C only rumours and speculations. In some martial arts schools, Bak Mei is considered to be one of the five elder monks of Shaolin Temple, Songshan, Province of Henan while others suggest that he was a Taoist from the Ermei Mountains in Sichuan Province. He is the acknowledged founder of a Southern martial arts styles Nan quan. In some stories, Pak Mei was considered to have allied with the Ch'ing Empire and fought against the Shaolin Temple. Those stories are often represented in many Hong Kong kung fu movies and stories but are not based on any verifiable facts.
Bak Mei was followed by his student, the Monk Kwong Wei (Gong Wai) of Sichuan province. Kwong Wai's students include: Zhu ? Taoist , Ling Sang and Monk Jok Fah Wan (Chuk Fat Wan, Zhu Fuyun
The Taoist Zhu Yuan had one student, Chi ShangGuo. Chi's student, Liu Shaoliang together with another Bak Mei practitioner, Qiu Taisheng promoted the style in FuShan, Guandong Province. They eventually established Fushan Bak Mei Quan.
Monk Jok Fah Wan eventually moved to Kwong How Temple, Guangzhou, Southern China. In this region, the Monk started to accept lay students including Chang Lai Chuen (Cheung Lai Chun).
Chang Lai Chuen (Cheung Lai Chun)
Chang Lai Cheun ( Cheung Lai Cun, Zhang Lich'uan, Truong Le Tuyen ) was born in 1889, in in Weiyang District, Dong Jiang, Guangdong Province. He studied martial arts since he was thirteen years old. Through his life, Cheng acknowledges four teachers. His first two teacher's were Sek Lam (Wanderers Style) and Lee Sze-yee (Lee Gar). His maternal uncle then introduced him to Lam Ah-hop, a student of Monk Yu-seng of the Wah Sou Buddish Monastery, Law Fau Shan, Guangdong Province. Both Lam Ah Hop and Monk Yu Sheng were acknowledge masters of the Dragon style. Chang first learned from Lam Ah-hop's son, Lam Ah-yuen, but later became friends with Lam Ah-yuen's son, Lam Yiu-Kwei.
Chang, at nineteen, moved to Canton, the capital of Kwong-tung province in Southern China. In the provincial capital, he meet and challenge the Monk Lin Sang. He was defeated by the Monk which prompted him to ask Lin Sang to be his teacher. Lin Sang declined and instead refer Chang to his own teacher. This is how Chang meet his fourth and final teach, the Monk Jok Fah Wan and learned the complete art of Bak Mei Kung Fu. He studied with the two monks for the next two years.
Chang opened his first Lai Chun Martial Art School in Wai On Lane in Guangzhou. The local newspapers reported on his exploits and the martial arts community gave Chang the nickname The Tiger of the East River The press also labeled him as the martial champion in seven provinces. He continued to teach during the war agaisnt the Japanese and the Chinese Civil War. Because of his close ties to the Nationalist government, Chang and some of his students moved to Macau after the victory of the communist government. He continued to teach in Macao and established a strong Bak Mei Community in the former Portuguese Colony. He later moved to Hong Kong and continue to teach with his three sons, Cheung Beng Sum ( Hong Kong), Cheung Beng Lam (Hong Kong) and Cheng Beng Fat (Cheung Beng Fat; Hong Kong). In 1964, Chang passed away at an age of eighty-six. His students have continued to spread the art throughtout the world.
Philosophy and Practice
The essence of this style can be summarised in the following poem:
The Internal Style of Bak Mei,
Practice using power from short distances
Both eyes glows brighter and brighter
The body as light as the flying swallows.
The fundamentals of this style is summarized by the following ideas:
Three body shapes, concerns the various angles of the body, namely: round, flat and straight
Four Dynamics: the four dynamics deals with internal strengths and concerns the concepts of: inhale, exhale, float and sink
Six Points of Power: Six strengths is obtained from the cordination of the parts of the body: teeth, neck, waist, back, hands and legs
Eight Techniques: Eight techniques describes the skills used, namely: whip, inward cut, outward clear, body ram, spring out, hand pull, double-hand outward clear and body charge
Five Features - powerful, fast, accurate, stable and merciless
The characteristics of Bak Mei fighting includes chain movements of heavy strikes, the hollowing of the back to generate power and the use of the phoenix ̈Ceye punch to attack the opponent's vital points.
Fighting style: Eagle claw or Ying Jiao
Used by: Kitana
Used when: MK Deadly Alliance
HISTORY AND IMPORTANT PERSONS:
Shaolin "Fan Tsi Eagle Claw" is a set of traditional Chinese kung fu fighting techniques. This type of Northern Kung Fu was developed and widely used in China. The traditional style of kung fu was used by the famous military General, Ngok Fei, to train his soldiers. This set of fighting techniques is mostly composed of the following: "Jau" (grab), "Da" (strike) , "Kum" (catch), "Na" (hold), "Fan Gun" (separate the tendons), "Cho Gwat" (dislocating the joints), "Dim Yuet" (strike precisely the pressure points), "Baai Hei" (stop the breathing) , "Sim Gin" (fast changing stances), and "Tun Noh" (Jump and take away). Traditional Eagle Claw is based on three (3) fundamental forms: Hahng Kuen Sahp Lo (walking fist 10 sections), Lin Kuen Ng Sahp Lo(combination fist 50 sections), and 108 Chin Na (joint locking techniques). All the techniques are very practical.
Eagle claw kung fu was invented during the "Sung" Dynasty. Its popularity however, did not come until the" Ming" Dynasty. The historical development of Eagle Claw Kung Fu is as follows: a monk named Lai Chun, who was a famous practitioner of the Fan Tsi style developed an interest in the Eagle Claw techniques. He invested a great deal of time training and improving the techniques which he incorporated into a new set of Fan Tsi Eagle Claw Kung Fu fighting techniques. These techniques were then passed down to a monk named Tao Chaig who passed them on to a monk named Fat Sing. Up until this time, this set of techniques was only taught to Buddhist "monks" and so, these techniques were not known by many people. At the end of the "Ching" Dynasty, a man named Lau Si Chun, from Huibei inherited these fighting techniques from Fat Sing. Lau Si Chun spent thirty years practicing diligently. He became famous in Beijing because of his knowledge and ability in the "Shaolin Fan Tsi Eagle Claw" traditional fighting techniques. Lau Si Chun also specialized in fighting techniques using a "dai gong gee" (long staff). He became known as "Da Gong Gee Lau", because of his outstanding performances in the "old days" fighting competitions. In his later years, he passed all of his techniques to his nephew Lau Sing Yau; Lau Sing Yau then passed this knowledge to his third son Lau Kai Man and his nephew Chan Tsi Cheng. Lau Kai Man passed the Eagle Claw Kung Fu to his nephew LAU FAT MANG (The 7th Generation Eagle Claw Late Grandmaster).
Chan Tsi Cheng succeeded in learning all of the techniques. Because he admired the Chin Woo Association, started by Huo Yuen Ja, Chan Tsi Cheng went to Shanghai with Lau Fat Mang to join the Chin Woo Association, and spread the knowledge of Eagle Claw Kung Fu there. Lau Fat Mang was Lau Kai Man's blood nephew, so he learned from his uncle at a very early age. When Lau arrived in Shanghai, the first thing he did was to go to the head office of the "Chin Woo Association" to teach. In this Association, everyone was required to know the ten (10) basic forms of Chin Woo. The ten basic forms are: Tam Teui, Gung Lik Kuen, Da Gin Kqen, Sahp Gee Gin Kqen, Tuet Jien, Ng Fu Chon, Quan Yeung Quan, Toa Kuen (2 man form), Bat Kua Do, Jeet Kune. After that, they could learn one (1) of the five (5) Kung Fu Styles taught at that Association. In time, Lau become Chan's Assistant Eagle Claw Instructor. In 1924, the Chin Woo Association was started in Hong Kong. The Association wanted to send a teacher from the headquarters in Shanghai to go to Hong Kong to teach, and Chan Tsi Cheng was selected. Hence, Lau Fat Mang remained in Shanghai and became the head teacher in the Chin Woo Association where he trained many successful students. Two (2) years passed and the Chin Woo Association opened a school in Fut Shan, which is located in the south. Lau Fat Mang was sent to this school.
In 1929, Chan Tsi Cheng left Hong Kong and returned to Northern China. The Chin Woo Association in Hong Kong was left without an Eagle Claw teacher, this situation allowed Lau Fat Mang to go to Hong Kong and take over the teaching position. Lau Fat Mang arrived in Hong Kong and attracted many students. Among them were Ng Wai Nung (Master Shum Leung's Sifu), Lee Zhau Mang and Lee Waig Hong. Lau Fat Mang was serious about his job and patiently worked individually with his students. At this time, three (3) famous teachers from the north who teached in Hong Kong were: Kan Tak Hoi (Tai Shing Pek Kwar Moon, Monkey King), Yip Yue Ting (Mai Jung Law Hong) and Lau Fat Mang (Eagle Claw Fan Tsi Moon). Because these three masters were from the same village of Huibei and were very skilled in their Kung Fu, the Wushu community named these Masters the "Huibei Three Heroes". They were very good friends, and were always together. In 1931, Lau Fat Mang was invited to head the Jung Nam Martial Arts Association (), where Lau taught for a few more years.
In 1933, Lau Fat Mang received an invitation to be chief instructor for the Guang Dung Army. He accepted the invitation. Not long after, Lau Fat Mang quit teaching for the military and returned to Hong Kong. He opened the Lau Fat Mang Eagle Claw School. Soon after Lau Fat Mang opened his school, the Japanese invaded China. Although Lau Fat Mang had many students, and he being a faithful citizen, he decided to close his school and fight for his country.
He fought at the front line and was the creator of the 19th Regiment Army "Dai Do (Big Sword)" . Lau Fat Mang continued to fight on the front line until Japan surrendered. After the war, Lau Fat Mang moved to Guang Chou.
In 1949, Lau Fat Mang moved his family to Hong Kong. He continued to teach and spread Eagle Claw Kung Fu. At this time the Hong Kong Kowloong Restaurant Union invited him to represent the Northern Style Kung Fu.
In 1954, Lau Fat Mang, Lee Jen Chen, and Dong Ying Kit, were invited to judge the first Lei Tai match in Hong Kong, Macau. A White Crane Sifu, Chan Hut Fu, challenged Ng Tai Chi Master, Ng Goong Yee. This was a very exciting event. Many famous movie stars, and rich people, went to watch. During this event, Lau Fat Mang and Dong Ying Kit were asked to do a sparring demonstration. This was more exciting than the Lei Tai match, because these were two (2) very famous Masters. The money from this event was donated to charity.
When Lau Fat Mang returned, he became ill with pneumonia. He went to Chen Chao, an island off of Hong Kong. For more than 2 months he remained in bed until he recovered. His doctor recommended that he avoid heavy work and stress, so he decided to stay at home and teach his children the Eagle Claw Techniques. Also during this time he wrote the book Shaolin Eagle Claw Fan Tsi Kung Fu and 108 Chin Na Techniques. Lau Fat Mang finished half of the 108 Chin Na Techniques. His eldest daughter Lily Lau and her brother Francis finished the book by showing the techniques in the pictures. The young woman that is shown in the book is Grandmaster Lily Lau.
When Lau Fat Mang felt he was totally recovered after resting for a few years, he finally returned to Hong Kong. Lau Fat Mang still was determined to spread the knowledge of Eagle Claw Kung Fu. So he reestablished his Eagle Claw School in Kowloon Mong Kok, and was joined by more students.
On March 17, 1964, Master Lau, passed away at the age of 62. He begun his journey from Shanghai and traveled to the south when he was 22. He spread the techniques of "Eagle Claw" for almost his entire life. Although Lau Fat Mang was the kung fu nephew of Chan Tsi Cheng, because of the time and effort he put into the development and teaching of Eagle Claw Kung Fu, he had the greatest impact. There is no doubt that he was the Grandmaster of the South, for he spread the Eagle Claw Kung Fu System throughout the area. No one ever mastered his favorite form "Joit Lok Tong" (Eagle Claw Drunken Form), as well as he did.
After the death of Grandmaster Lau, his eldest daughter, Lily, rose to his position and became the 8th generation Eagle Claw Kung Fu Grandmaster. Therefore, determined to continue her father's dream, she has continued teaching throughout the years for thirty-seven years, spreading Eagle Claw Kung Fu. Grandmaster Lily Lau currently has schools worldwide; United States, Puerto Rico, Brazil, England, Hong Kong, Egypt, Greece, and China. Master Lau travels frequently to these schools where she presents seminars and workshops yearly.
Grandmaster Lau's personality is such that she never complains. She gives her all and is never concerned about what she will receive in return for her efforts. Master Lau is diligent in her work and is focused on her ultimate goal; to spread as much kung fu in the world as she can. She would like to one day see all Martial Arts united.
Currently Grandmaster Lau is opening the Latin America Headquarter in Puerto Rico. She wants to continue spreading the real Eagle Claw throughout all Latin America.
Northern Eagle Claw Kung Fu ( Ying Jiao ) has a long and proud history. It is said to have been created in the Sung Dynasty around the year 1150 by the famous patriot and general Yue Fei (1103 - 41) (Ngok Fat in Cantonese). He was born in Yunhe Village, Tangyin county, Xianghou and became not only an expert in martial arts but an exceptional scholar. He is said to have created "108 Locking Hands" techniques of joint control and throws developed a high degree. As the history states he probably combined this new breakthrough with the then popular Yue Shih San Shou (Yue Family Style Fighting Hands; also Yue Jia and Yue Men).
Yue Fei was truly a hero of China. Almost single-handedly repulsing Mongol invasions that threatened the Southern Sung (the Han people had already ceeded the captial to the North to them), he was regarded with jealousy at court from his victories. As history records he was poisoned and his army dispersed. But historical records come to the rescue again as another famous general Chi Ji Guang mentions Eagle Claw and another style Ba Shan Fan (same as Fan Tzi) in one of the surviving martial records. At this time Fan Tzi is considered one of the best Kung Fu styles.
To fill out the regimen Li Chuan, a martial arts expert at the end of the Ming Dynasty took his specialty ,Fan Tzi style, a form of Northern Long Fist much like Shaolin but with even more emphasis on acrobat motions such as tumbling and combined with with the then-famous style, Yue Shih San Shou (Yue Style Free Hands) which was one name of Eagle Claw at the time. This triple combination: Yuan Fei's 108 Locking techniques, the Yue Style Kung Fu and Fan Tzi became collectively known as Ying Jiao Fan Tzi (Eagle Claw Tumbling Boxing).
Of course it not only incorporated fist sets but weapons work such as spear, sword, saber, staff, hook blades, daggers and Da Dao (Big Knife generally known as the Kuan Knife) and in some branches the Yue Hammers.
There is some confusion about the title Grandmaster at present in thesystem. It seems to work out like this: Lily Lau, who certainly had less training under her illustrious father than other teachers such asLeung Fu and Leung Shum is nonetheless considered the senior member of the Lau family branch out of Hong Kong where Lau Fat Man finally passed away. Leung Fu is considered at present the Grandmaster out of Malaysia, another branch of the lineage. Many people believe and have even written that the only real Eagle Claw is outside China and in the U.S. at present but there are indications that Yue Style Branch is still extent in the mainland.
ATTRIBUTES OF EAGLE CLAW
Eagle Claw is a very complete system of Kung Fu. Highly refined it is practical in the fighting sense as well as an integrated method of health promotion. The many forms of Eagle Claw are graceful often utilizing very agile movements requiring gymnastic skills, great flexibility and a high level of coordination. The style's famous signature is the bent finger position with thumb and digits tucked to resemble the shape of its namesake. Joint locks, pressure points, twisting movements and throws are cleverly combined with the more common movements of strikes and kicks typical of Long Fist Kung Fu. Eagle Claw stylists are often quite familiar with at least the externally available acu-pressure points of the human body. Strike are performed in a loose, snapping style but grabbing and joint attacking movements are often done with force and authority.
Over all Eagle Claw is a beautiful and fascinating style
FORMS
Eagle Claw is said to contain at least 25 fist forms, over 25 weapon forms, over 25 partner forms, 108 locking techniques.
Some of the more important hand forms include:
Lien Chuan (Connected Fist- the primary form)
Fu Hu Chuan (Control the Tiger)
Hong Chuan
Shi Lu Xing Quan (10 Road Moving Fist)
Wu Shi Lu Lian Quan (50 Road Continuous Fist)
Eight Step Thrusting
Eight Face Five Section Fist
Swallow Fist
Five Flower
Canon fist
Soft Fist
Arhat Fist (LuoHan)
Sae Lhok Kune, Eagle Claw 46 Fist (created by Lau Fat Man)
Chiu Lao Tang (Eagle Claw Drunken Set specialty of Lau Fat Man)
WEAPONS
Staff
Saber
Sword
Spear
Double Sabers
Hammers
Three-Part Sick
Double Swords
Big Knife
Double Daggers
Steel Whip
Twin Headed Spear
Cane
Partner Weapons include
Single Saber vs. Spear
Double Saber vs. Spear
Short Staff vs. Long Staff
Empty Hands vs. Double Daggers
Kwan Dao vs. Spear
Saber and Crutch vs. Spear
Used by: Kitana
Used when: MK Deadly Alliance
HISTORY AND IMPORTANT PERSONS:
Shaolin "Fan Tsi Eagle Claw" is a set of traditional Chinese kung fu fighting techniques. This type of Northern Kung Fu was developed and widely used in China. The traditional style of kung fu was used by the famous military General, Ngok Fei, to train his soldiers. This set of fighting techniques is mostly composed of the following: "Jau" (grab), "Da" (strike) , "Kum" (catch), "Na" (hold), "Fan Gun" (separate the tendons), "Cho Gwat" (dislocating the joints), "Dim Yuet" (strike precisely the pressure points), "Baai Hei" (stop the breathing) , "Sim Gin" (fast changing stances), and "Tun Noh" (Jump and take away). Traditional Eagle Claw is based on three (3) fundamental forms: Hahng Kuen Sahp Lo (walking fist 10 sections), Lin Kuen Ng Sahp Lo(combination fist 50 sections), and 108 Chin Na (joint locking techniques). All the techniques are very practical.
Eagle claw kung fu was invented during the "Sung" Dynasty. Its popularity however, did not come until the" Ming" Dynasty. The historical development of Eagle Claw Kung Fu is as follows: a monk named Lai Chun, who was a famous practitioner of the Fan Tsi style developed an interest in the Eagle Claw techniques. He invested a great deal of time training and improving the techniques which he incorporated into a new set of Fan Tsi Eagle Claw Kung Fu fighting techniques. These techniques were then passed down to a monk named Tao Chaig who passed them on to a monk named Fat Sing. Up until this time, this set of techniques was only taught to Buddhist "monks" and so, these techniques were not known by many people. At the end of the "Ching" Dynasty, a man named Lau Si Chun, from Huibei inherited these fighting techniques from Fat Sing. Lau Si Chun spent thirty years practicing diligently. He became famous in Beijing because of his knowledge and ability in the "Shaolin Fan Tsi Eagle Claw" traditional fighting techniques. Lau Si Chun also specialized in fighting techniques using a "dai gong gee" (long staff). He became known as "Da Gong Gee Lau", because of his outstanding performances in the "old days" fighting competitions. In his later years, he passed all of his techniques to his nephew Lau Sing Yau; Lau Sing Yau then passed this knowledge to his third son Lau Kai Man and his nephew Chan Tsi Cheng. Lau Kai Man passed the Eagle Claw Kung Fu to his nephew LAU FAT MANG (The 7th Generation Eagle Claw Late Grandmaster).
Chan Tsi Cheng succeeded in learning all of the techniques. Because he admired the Chin Woo Association, started by Huo Yuen Ja, Chan Tsi Cheng went to Shanghai with Lau Fat Mang to join the Chin Woo Association, and spread the knowledge of Eagle Claw Kung Fu there. Lau Fat Mang was Lau Kai Man's blood nephew, so he learned from his uncle at a very early age. When Lau arrived in Shanghai, the first thing he did was to go to the head office of the "Chin Woo Association" to teach. In this Association, everyone was required to know the ten (10) basic forms of Chin Woo. The ten basic forms are: Tam Teui, Gung Lik Kuen, Da Gin Kqen, Sahp Gee Gin Kqen, Tuet Jien, Ng Fu Chon, Quan Yeung Quan, Toa Kuen (2 man form), Bat Kua Do, Jeet Kune. After that, they could learn one (1) of the five (5) Kung Fu Styles taught at that Association. In time, Lau become Chan's Assistant Eagle Claw Instructor. In 1924, the Chin Woo Association was started in Hong Kong. The Association wanted to send a teacher from the headquarters in Shanghai to go to Hong Kong to teach, and Chan Tsi Cheng was selected. Hence, Lau Fat Mang remained in Shanghai and became the head teacher in the Chin Woo Association where he trained many successful students. Two (2) years passed and the Chin Woo Association opened a school in Fut Shan, which is located in the south. Lau Fat Mang was sent to this school.
In 1929, Chan Tsi Cheng left Hong Kong and returned to Northern China. The Chin Woo Association in Hong Kong was left without an Eagle Claw teacher, this situation allowed Lau Fat Mang to go to Hong Kong and take over the teaching position. Lau Fat Mang arrived in Hong Kong and attracted many students. Among them were Ng Wai Nung (Master Shum Leung's Sifu), Lee Zhau Mang and Lee Waig Hong. Lau Fat Mang was serious about his job and patiently worked individually with his students. At this time, three (3) famous teachers from the north who teached in Hong Kong were: Kan Tak Hoi (Tai Shing Pek Kwar Moon, Monkey King), Yip Yue Ting (Mai Jung Law Hong) and Lau Fat Mang (Eagle Claw Fan Tsi Moon). Because these three masters were from the same village of Huibei and were very skilled in their Kung Fu, the Wushu community named these Masters the "Huibei Three Heroes". They were very good friends, and were always together. In 1931, Lau Fat Mang was invited to head the Jung Nam Martial Arts Association (), where Lau taught for a few more years.
In 1933, Lau Fat Mang received an invitation to be chief instructor for the Guang Dung Army. He accepted the invitation. Not long after, Lau Fat Mang quit teaching for the military and returned to Hong Kong. He opened the Lau Fat Mang Eagle Claw School. Soon after Lau Fat Mang opened his school, the Japanese invaded China. Although Lau Fat Mang had many students, and he being a faithful citizen, he decided to close his school and fight for his country.
He fought at the front line and was the creator of the 19th Regiment Army "Dai Do (Big Sword)" . Lau Fat Mang continued to fight on the front line until Japan surrendered. After the war, Lau Fat Mang moved to Guang Chou.
In 1949, Lau Fat Mang moved his family to Hong Kong. He continued to teach and spread Eagle Claw Kung Fu. At this time the Hong Kong Kowloong Restaurant Union invited him to represent the Northern Style Kung Fu.
In 1954, Lau Fat Mang, Lee Jen Chen, and Dong Ying Kit, were invited to judge the first Lei Tai match in Hong Kong, Macau. A White Crane Sifu, Chan Hut Fu, challenged Ng Tai Chi Master, Ng Goong Yee. This was a very exciting event. Many famous movie stars, and rich people, went to watch. During this event, Lau Fat Mang and Dong Ying Kit were asked to do a sparring demonstration. This was more exciting than the Lei Tai match, because these were two (2) very famous Masters. The money from this event was donated to charity.
When Lau Fat Mang returned, he became ill with pneumonia. He went to Chen Chao, an island off of Hong Kong. For more than 2 months he remained in bed until he recovered. His doctor recommended that he avoid heavy work and stress, so he decided to stay at home and teach his children the Eagle Claw Techniques. Also during this time he wrote the book Shaolin Eagle Claw Fan Tsi Kung Fu and 108 Chin Na Techniques. Lau Fat Mang finished half of the 108 Chin Na Techniques. His eldest daughter Lily Lau and her brother Francis finished the book by showing the techniques in the pictures. The young woman that is shown in the book is Grandmaster Lily Lau.
When Lau Fat Mang felt he was totally recovered after resting for a few years, he finally returned to Hong Kong. Lau Fat Mang still was determined to spread the knowledge of Eagle Claw Kung Fu. So he reestablished his Eagle Claw School in Kowloon Mong Kok, and was joined by more students.
On March 17, 1964, Master Lau, passed away at the age of 62. He begun his journey from Shanghai and traveled to the south when he was 22. He spread the techniques of "Eagle Claw" for almost his entire life. Although Lau Fat Mang was the kung fu nephew of Chan Tsi Cheng, because of the time and effort he put into the development and teaching of Eagle Claw Kung Fu, he had the greatest impact. There is no doubt that he was the Grandmaster of the South, for he spread the Eagle Claw Kung Fu System throughout the area. No one ever mastered his favorite form "Joit Lok Tong" (Eagle Claw Drunken Form), as well as he did.
After the death of Grandmaster Lau, his eldest daughter, Lily, rose to his position and became the 8th generation Eagle Claw Kung Fu Grandmaster. Therefore, determined to continue her father's dream, she has continued teaching throughout the years for thirty-seven years, spreading Eagle Claw Kung Fu. Grandmaster Lily Lau currently has schools worldwide; United States, Puerto Rico, Brazil, England, Hong Kong, Egypt, Greece, and China. Master Lau travels frequently to these schools where she presents seminars and workshops yearly.
Grandmaster Lau's personality is such that she never complains. She gives her all and is never concerned about what she will receive in return for her efforts. Master Lau is diligent in her work and is focused on her ultimate goal; to spread as much kung fu in the world as she can. She would like to one day see all Martial Arts united.
Currently Grandmaster Lau is opening the Latin America Headquarter in Puerto Rico. She wants to continue spreading the real Eagle Claw throughout all Latin America.
Northern Eagle Claw Kung Fu ( Ying Jiao ) has a long and proud history. It is said to have been created in the Sung Dynasty around the year 1150 by the famous patriot and general Yue Fei (1103 - 41) (Ngok Fat in Cantonese). He was born in Yunhe Village, Tangyin county, Xianghou and became not only an expert in martial arts but an exceptional scholar. He is said to have created "108 Locking Hands" techniques of joint control and throws developed a high degree. As the history states he probably combined this new breakthrough with the then popular Yue Shih San Shou (Yue Family Style Fighting Hands; also Yue Jia and Yue Men).
Yue Fei was truly a hero of China. Almost single-handedly repulsing Mongol invasions that threatened the Southern Sung (the Han people had already ceeded the captial to the North to them), he was regarded with jealousy at court from his victories. As history records he was poisoned and his army dispersed. But historical records come to the rescue again as another famous general Chi Ji Guang mentions Eagle Claw and another style Ba Shan Fan (same as Fan Tzi) in one of the surviving martial records. At this time Fan Tzi is considered one of the best Kung Fu styles.
To fill out the regimen Li Chuan, a martial arts expert at the end of the Ming Dynasty took his specialty ,Fan Tzi style, a form of Northern Long Fist much like Shaolin but with even more emphasis on acrobat motions such as tumbling and combined with with the then-famous style, Yue Shih San Shou (Yue Style Free Hands) which was one name of Eagle Claw at the time. This triple combination: Yuan Fei's 108 Locking techniques, the Yue Style Kung Fu and Fan Tzi became collectively known as Ying Jiao Fan Tzi (Eagle Claw Tumbling Boxing).
Of course it not only incorporated fist sets but weapons work such as spear, sword, saber, staff, hook blades, daggers and Da Dao (Big Knife generally known as the Kuan Knife) and in some branches the Yue Hammers.
There is some confusion about the title Grandmaster at present in thesystem. It seems to work out like this: Lily Lau, who certainly had less training under her illustrious father than other teachers such asLeung Fu and Leung Shum is nonetheless considered the senior member of the Lau family branch out of Hong Kong where Lau Fat Man finally passed away. Leung Fu is considered at present the Grandmaster out of Malaysia, another branch of the lineage. Many people believe and have even written that the only real Eagle Claw is outside China and in the U.S. at present but there are indications that Yue Style Branch is still extent in the mainland.
ATTRIBUTES OF EAGLE CLAW
Eagle Claw is a very complete system of Kung Fu. Highly refined it is practical in the fighting sense as well as an integrated method of health promotion. The many forms of Eagle Claw are graceful often utilizing very agile movements requiring gymnastic skills, great flexibility and a high level of coordination. The style's famous signature is the bent finger position with thumb and digits tucked to resemble the shape of its namesake. Joint locks, pressure points, twisting movements and throws are cleverly combined with the more common movements of strikes and kicks typical of Long Fist Kung Fu. Eagle Claw stylists are often quite familiar with at least the externally available acu-pressure points of the human body. Strike are performed in a loose, snapping style but grabbing and joint attacking movements are often done with force and authority.
Over all Eagle Claw is a beautiful and fascinating style
FORMS
Eagle Claw is said to contain at least 25 fist forms, over 25 weapon forms, over 25 partner forms, 108 locking techniques.
Some of the more important hand forms include:
Lien Chuan (Connected Fist- the primary form)
Fu Hu Chuan (Control the Tiger)
Hong Chuan
Shi Lu Xing Quan (10 Road Moving Fist)
Wu Shi Lu Lian Quan (50 Road Continuous Fist)
Eight Step Thrusting
Eight Face Five Section Fist
Swallow Fist
Five Flower
Canon fist
Soft Fist
Arhat Fist (LuoHan)
Sae Lhok Kune, Eagle Claw 46 Fist (created by Lau Fat Man)
Chiu Lao Tang (Eagle Claw Drunken Set specialty of Lau Fat Man)
WEAPONS
Staff
Saber
Sword
Spear
Double Sabers
Hammers
Three-Part Sick
Double Swords
Big Knife
Double Daggers
Steel Whip
Twin Headed Spear
Cane
Partner Weapons include
Single Saber vs. Spear
Double Saber vs. Spear
Short Staff vs. Long Staff
Empty Hands vs. Double Daggers
Kwan Dao vs. Spear
Saber and Crutch vs. Spear
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