|
Martial
Arts History
& Development - (Last
updated
22/10/09
)
Early Developments
of Martial Arts
Shou' Shu' -"The
Lost Art" Shou Shu is an application
art. It uses the fighting styles of 7 different animals to
develop fighting skills. It's called an application art because
the art has eliminated all the wasted motion and teaches the
self-defence application part of the techiques (known
as San Sao's). The term Shou shu
translates in English as the fighting way of the beasts or
beast art. Throughout history the art of Shou
Shu has been held tightly guarded within elite
groups, and was originally practiced by the highest members
of society. In Egypt it was the Pharoahs, in India the ascetics.
When it was brought to China it was used by the Shaolin warrior
monks or later called triads to fend off the oppressive Manchurians.
During this time it was underground and most thought it no
longer existed. For this reason it is sometimes referred to
as "The Lost Art" or "The Secret
Art".It is a rare and somewhat obscure
art, usually unmentioned in the written histories. However,
it is an extremely powerful yet sophisticated system considered
a true privilege for those that trained in it. For this reason
it was closely guarded and still is. At many points in history
it was nearly lost but fortunately carried on by a few to
be taught to the next generation. However it has been carried
on and will continue to benefit the human race.
As far as we know, no one has ever put to paper the history
of the art. Histories of martial arts as a whole do not mention
it. The histories of most modern day martial arts do not intertwine
themselves with the history of The Lost Art.
Most martial arts, and especially Chinese Martial arts, of
the modern day evolve from the same place, the Shaolin
Temple. Therefore most histories of martial
arts will begin there. To most this is where it all started
and all histories will begin there. The Lost Art
history is much older and gently passes the Shaolin
Temple, but does not enter. For this reason,
you will not find mention of The Lost Art
in the commonly accepted histories of the various forms of
Kung Fu. However the facts of its
history can be verified in the histories and legends of many
great cultures. Even today archeologists are uncovering symbols
which we believe were training aids in the art. Buddhist,
Taoist, Hindu and Christian religions alike,
all contain bits of its history recorded within their manuscripts.
The first written histories are from about 4500
B.C. They tell of the existence of the art but
there is much we do not know. It is hard to say whether this
was the beginnings of the art or if it was an already highly
developed system of moving. Most historians believe that the
art was very basic and consisted mainly of grappling style
moves. Basic moves which would rely more on physical strength
than skill. However symbols found in ancient drawings are
the same symbols found today to depict certain training drills.
Small statues of warriors in training have been found which
are unmistakably very sophisticated stances which only someone
highly trained in the art would recognize.
Shou'
Shu' - Indian History-The
next place we find Shou' Shu' is
in the ancient cultures of India. In India it was practiced
again by a select group, the high priests and the warriors,
the two upper classes of that civilization. However at this
time it was not practiced only as a fighting discipline. The
art as a whole included the art of Yoga and that of massage.
The symbol we use today to signify a student of Shou'
Shu' actually has one of its meanings as massage.
The fighting discipline part of this art was called Kalari
Payut originating from India. It is still practiced
today by certain tribes in India. The motions of the war art
are also found in the ancient eighteen Yoga postures. Motions
of the cobra are very evident in these postures and some of
the same names are even used by today's Yoga practitioners.
So the discipline was not only a warriors discipline but also
a healer's discipline. Due to a lack of written history, little
is known of the history of the Indian arts.
There are many systems that teach only one or two of these
beasts yet go by another name. Shou Shu is based on seven
different fighting beasts:
1. Bear (Xiong)
2. Tiger (Hu)
3. Mongoose (You)
4. White Crane (Ba He)
5. Praying Mantis (Tang)
6. Cobra (Fu)
7. Imperial Dragon (Long
(The information above has been collated from many sources
with special thanks to Sheng Chi Kung Fu)
Shou' Shu' the Lost Art. (an
attempt to complete the art)
The system has three parts to it the fighting art and the
healing art, the healing art was broken up into two parts
the yoga part and the massage part. Hense Shou Shu was 1 part
fighting, 1 part yoga, 1 part massage.
The fighting system was called Kalari - Payut, the yoga system
was possibly either Hatha Yoga or Ashtanga yoga.
Below is from the Ashtanga yoga research society.
Ashtanga Yoga is a system of Yoga recorded
by the sage Vamana Rishi in the Yoga Korunta, an ancient manuscript
"said to contain lists of many different groupings of
asanas, as well as highly original teachings on vinyasa, drishti,
bandhas, mudras, and philosophy" (Jois 2002 xv). The
text of the Yoga Korunta "was imparted to Sri T. Krishnamacharya
in the early 1900's by his Guru Rama Mohan Brahmachari, and
was later passed down to Pattabhi Jois during the duration
of his studies with Krishnamacharya, beginning in 1927"
("Ashtanga Yoga"). Since 1948, Pattabhi Jois has
been teaching Ashtanga Yoga from his yoga shala, the Ashtanga
Yoga Research Institute (Jois 2002 xvi), according to the
sacred tradition of Guru Parampara [disciplic succession]
(Jois 2003 12).
The Sanskrit word ashtanga literally means eight limbs, which,
according to Patanjali’s Yoga Sutras, correspond to
eight distinct practices designed as a means to control the
mind and purify the internal being: According to Patanjali,
the path of internal purification for revealing the Universal
Self consists of the following eight spiritual practices:
1. Yama [moral codes]
2. Niyama [self-purification and study]
3. Asana [posture]
4. Pranayama [breath control]
5. Pratyahara [sense control]
6. Dharana [concentration]
7. Dhyana [meditation]
8. Samadhi [contemplation] (Scott 14-17)
The definition of Yoga is "the controlling of the mind"
[citta vrtti nirodhah] (Jois 2003 10). The first two steps
toward controlling the mind are the perfection of yama and
niyama (Jois 2003 10). However, it is "not possible to
practice the limbs and sub-limbs of yama and niyama when the
body and sense organs are weak and haunted by obstacles"
(Jois 2002 17). A person must first take up daily asana practice
to make the body strong and healthy (Jois 2003 10). With the
body and sense organs thus stabilized, the mind can be steady
and controlled (Jois 2002 16). With mind control, one is able
to pursue and grasp these first two limbs (Flynn).
The first four limbs—yama, niyama, asana, pranayama—are
considered external cleansing practices.
1. Yama [moral codes]
2. Niyama [self-purification and study]
3. Asana [posture]
4. Pranayama [breath control]
According to Pattabhi Jois, defects in the external practices
are correctable. However, defects in the internal cleansing
practices—pratyahara, dharana, dhyana—are not
correctable and can be dangerous to the mind unless the correct
Ashtanga Yoga method is followed (Stern and Summerbell 35).
For this reason, Pattabhi Jois emphasizes that the "Ashtanga
Yoga method is Patanjali Yoga" (Flynn).
The ten traditional moral codes
• Ahimsa: Nonviolence. Abstinence from injury, or
harm to any living creature in thought, word, or deed. This
is the "main" Yama. The other nine are there in
support of its accomplishment.
• Satya: Truthfulness in word and thought (in conformity
with the facts).
• Asteya: No stealing, no coveting, no entering into
debt.
• Brahmacharya: Divine conduct, continence, celibate
when single, faithful when married.
• Kshama: Patience, releasing time, functioning in
the now.
• Dhriti: Steadfastness, overcoming non-perseverance,
fear, and indecision; seeing each task through to completion.
• Daya: Compassion; conquering callous, cruel and
insensitive feelings toward all beings.
• Arjava: Honesty, straightforwardness, renouncing
deception and wrongdoing.
• Mitahara: Moderate appetite, neither eating too
much nor too little; nor consuming meat, fish, shellfish,
fowl or eggs.
• Shaucha: Purity, avoidance of impurity in body,
mind and speech.
To perform asana correctly in Ashtanga yoga, one must incorporate
the use of vinyasa and tristhana. "Vinyasa means breathing
and movement system. For each movement, there is one breath.
For example, in Surya Namskar there are nine vinyasas. The
first vinyasa is inhaling while raising your arms over your
head, and putting your hands together; the second is exhaling
while bending forward, placing your hands next to your feet,
etc. In this way all asanas are assigned a certain number
of vinyasas" ("Ashtanga Yoga").
"The purpose of vinyasa is for internal cleansing"
("Ashtanga Yoga"). Synchronizing
breathing and movement in the asanas heats the blood, cleaning
and thinning it so that it may circulate more freely. Improved
blood circulation relieves joint pain and removes toxins and
disease from the internal organs. The sweat generated from
the heat of vinyasa then carries the impurities out of the
body. Through the use of vinyasa, the body becomes healthy,
light and strong ("Ashtanga Yoga").
Tristhana refers to the union of "three
places of attention or action: posture, breathing system and
looking place. These three are very important for yoga practice,
and cover three levels of purification: the body, nervous
system and mind. They are always performed in conjunction
with each other" ("Ashtanga Yoga").
Posture: "The method for purifying and strengthening
the body is called asana" (Jois 2002 22). In Ashtanga
yoga, asana is grouped into six series. "The Primary
Series [Yoga Chikitsa] detoxifies and aligns the body. The
Intermediate Series [Nadi Shodhana] purifies the nervous system
by opening and clearing the energy channels. The Advanced
Series A, B, C, and D [Sthira Bhaga] integrate the strength
and grace of the practice, requiring higher levels of flexibility
and humility. Each level is to be fully developed before proceeding
to the next, and the sequential order of asanas is to be meticulously
followed. Each posture is a preparation for the next, developing
the strength and balance required to move further" (Pace).
Without an earnest effort and reverence towards the practice
of yama and niyama, however, the practice of asana is of little
benefit (Flynn).
Breathing: The breathing technique performed with vinyasa
is called ujjayi [victorious breath] (Scott 20), which consists
of puraka [inhalation] and rechaka [exhalation] ("Ashtanga
Yoga"). "Both the inhale and exhale should be steady
and even, the length of the inhale should be the same length
as the exhale" ("Ashtanga Yoga"). Over time,
the length and intensity of the inhalation and exhalation
should increase, such that the increased stretching of the
breath initiates the increased stretching of the body (Scott
21). Long, even breathing also increases the internal fire
and strengthens and purifies the nervous system ("Ashtanga
Yoga").
Bandhas are essential components of the ujjayi breathing technique.
Bandha means "lock" or "seal" (Scott 21).
The purpose of bandha is to unlock pranic energy and direct
it into the 72,000 nadi [energy channels] of the subtle body
(Scott 21). Mula bandha is the anal lock, and uddiyana bandha
is the lower abdominal lock ("Ashtanga Yoga"). Both
bandhas "seal in energy, give lightness, strength and
health to the body, and help to build a strong internal fire"
("Ashtanga Yoga"). Mula bandha operates at the root
of the body to seal in prana internally for uddiyana bandha
to direct the prana upwards through the nadis (Scott 21).
Jalandhara bandha is the "throat lock" (Jois 2002
23, n.27), which "occurs spontaneously in a subtle form
in many asanas due to the dristi ("gaze point"),
or head position" (Scott 23). "This lock prevents
pranic energy [from] escaping and stops any build-up of pressure
in the head when holding the breath" (Scott 23). Without
bandha control, "breathing will not be correct, and the
asanas will give no benefit" ("Ashtanga Yoga").
Looking Place: Dristhi is the gazing point on which one focuses
while performing the asana ("Ashtanga Yoga"). "There
are nine dristhis: the nose, between the eyebrows, navel,
thumb, hands, feet, up, right side and left side. Dristhi
purifies and stabilizes the functioning of the mind"
("Ashtanga Yoga"). In the practice of asana, when
the mind focuses purely on inhalation, exhalation, and the
drishti, the resulting deep state of concentration paves the
way for the practices of dharana and dhyana, the six and seventh
limbs of Ashtanga yoga (Scott 23).
Instruction in pranayama can begin after one has learned the
asanas well and can practice them with ease (Jois 2002 23).
"Pranayama means taking in the subtle power of the vital
wind through rechaka [exhalation], puraka [inhalation], and
kumbhaka [breath retention]. Only these kriyas, practiced
in conjunction with the three bandhas [muscle contractions,
or locks] and in accordance with the rules, can be called
pranayama" (Jois 2002 23). The three bandhas are "mula
bandha, uddiyana bandha, and jalandhara bandha, and they should
be performed while practicing asana and the like" (Jois
2002 23). "When mula bandha is perfect, mind control
is automatic" ("Ashtanga Yoga"). "In this
way did Patanjali start Yoga. By using mulabandha and by controlling
the mind, he gradually gained knowledge of Yoga" (Jois
2003 11).
Practicing asana for many years with correct vinyasa and
tristhana gives the student the clarity of mind, steadiness
of body, and purification of the nervous system to begin the
prescribed pranayama practice (Flynn). "Through the practice
of pranayama, the mind becomes arrested in a single direction
and follows the movement of the breath" (Jois 2002 23).
Pranayama forms the foundation for the internal cleansing
practices of Ashtanga yoga (Flynn).
The four internal cleansing practices—pratyahara, dharana,
dhyana, and samadhi—bring the mind under control (Stern
and Summerbell 35). When purification is complete and mind
control occurs, the Six Poisons surrounding the spiritual
heart ,
1. [kama (desire),
2. krodha (anger),
3. moha (delusion),
4. lobha (greed),
5. matsarya (sloth),
6. mada (envy)]
"will, one by one, go completely" (Stern and Summerbell
35), revealing the Universal Self. In this way, the correct,
diligent practice of Ashtanga Yoga under the direction of
a Guru "with a subdued mind unshackled from the external
and internal sense organs" (Jois 2002 22) eventually
leads one to the full realization of Patanjali's eight-limbed
yoga.
The Last four limbs Pratyahara (sense control), Dharana (concentration),
Dhyana
(meditation) and Samadhi (contemplation).—bring the
mind under control (Stern and Summerbell 35).
5. Pratyahara [sense control]
6. Dharana [concentration]
7. Dhyana [meditation]
8. Samadhi [contemplation] (Scott 14-17)
Both full and new moon days are observed as yoga holidays
in the Ashtanga Yoga tradition. What is the reasoning behind
this? Like all things of a watery nature (human beings are
about 70% water), we are affected by the phases of the moon.
The phases of the moon are determined by the moon’s
relative position to the sun. Full moons occur when they are
in opposition and new moons when they are in conjunction.
Both sun and moon exert a gravitational pull on the earth.
Their relative positions create different energetic experiences
that can be compared to the breath cycle. The full moon energy
corresponds to the end of inhalation when the force of prana
is greatest. This is an expansive, upward moving force that
makes us feel energetic and emotional, but not well grounded.
The Upanishads state that the main prana lives in the head.
During the full moon we tend to be more headstrong.
The new moon energy corresponds to the end of exhalation when
the force of apana is greatest. Apana is a contracting, downward
moving force that makes us feel calm and grounded, but dense
and disinclined towards physical exertion.
The Farmers Almanac recommends planting seeds at the new moon
when the rooting force is strongest and transplanting at the
full moon when the flowering force is strongest.
Practicing Ashtanga Yoga over time makes us more attuned to
natural cycles. Observing moon days is one way to recognize
and honor the rhythms of nature so we can live in greater
harmony with it.
The Alchemy Of Yoga
The word alchemy evokes an image of a medieval conjurer murmuring
incantations over a boiling cauldron, attempting to turn lead
into gold. In a broader sense, alchemy refers to the process
of transmuting one thing into another through the kindling
of a vital transformative energy, known as Mercurius in the
alchemical tradition. Turning lead into gold is a metaphor
for the liberation of spirit from matter, which is the primary
goal of both alchemy and yoga.
In the Ashtanga yoga system, asana practice begins with Suryanamaskara
(Sun Salutation), which generates enough heat to transform
the body into a more liquid state. The body softens and begins
to sweat. Perspiration strains out the bodys impurities. The
sequential movements of Suryanamaskara form the basic vinyasa,
or dancelike movements that link one posture to the next breath
and body moving together to liberate dormant energy and feed
the fire of tapas.
Amidst the activity of asana practice, which can be thought
of as a metaphor for the varied situations we encounter in
life, we must develop swadhyaya, or self-observation. This
is mental alchemy. Swadhyaya involves a process of acquiring
self-knowledge through the ability to witness ourselves clearly
and dispassionately in all situations. Swadhyaya is represented
by Natarajas face, calmly witnessing the whirling dance. In
the practice of Ashtanga yoga, there are three basic techniques
for developing this clear and dispassionate state of mind:
observation of breath, posture, and gaze. The focused attention
moves the mind from distraction to attention, so we see ourselves
more clearly. This practice develops our capacity for swadhyaya
in other situations as well.
Ishwara pranidhana, literally bowing to God, refers to spiritual
alchemy. When we transcend ego identification long enough
to discover that the divine creative power of the universe
is present within our own being, we are filled with joy and
reverence. Our natural impulse when this happens is to give
thanks. This expression of gratitude and humility becomes
the doorway for divine grace to enter our lives. In the figure
of Nataraja, ishwara pranidhana is indicated by the lower
left hand pointing to the uplifted left foot. The message
implied is that liberation can be gained by placing our devotion
at the feet of God.
Traditionally, the guru is the intermediary between the student
and the Divine. In Ashtanga yoga, the prayer chanted before
practice begins, Vande Gurunam Charanaravinde (I bow to the
lotus feet of my teacher). The expression of gratitude and
humility is a prerequisite for spiritual alchemy. By touching
the feet of the guru we touch the feet of God.
As Pattabhi Jois says, however, God is the only guru. Our
true purpose in yoga is to awaken the guru within. This is
what the alchemical tradition refers to as turning lead into
gold.
Martial Arts
in China - (Northern & Southern Styles)
Da Mo - Bodhidharma arrives
in China. Probably the most important figure
in the history of martial arts is Bodhidharma
(his Indian name) or
Da Mo (as he is called
in Chinese), or the Bodhisattva warrior,
(Bodhisattva is a Buddhist term for one who has achieved enlightenment),
was an Indian Buddhist prince who came to China not long after
500 A.D. The Indian Buddhist monk
Da Mo or as he is also known, Bodhitara, P'u-t'i
Ta-mo, Ta-mo, Bodai Daruma, and Daruma to mention
a few of his names... all refer to a central figure that spread
knowledge in several disciplines and chose to stay among the
common people to help them achieve enlightenment. This would
be in contrast to a bodhidarma who also has achieved enlightenment
but chooses to go on along the path of an ascetic alone.
Bodhidharma was born around 440
A.D. in Kanchi, the capital of the Southern Indian kingdom
of Pallava he is thought to have died around 534 A.D. . He
was a Brahman by birth, the third child of King Sugandha,
was a member of the Kshatriya or warrior caste, and had his
childhood in Conjeeveram (also Kanchipuram or Kancheepuram),
a Buddhist province south of Madras. He received his religious
training from the Dhyana Master Prajnatara, and was considered
very wise in the way of Dhyana or Zen practices. Da Mo is
said to also have been proficient in Kalaripayat
(an ancient karate-like art) that was influenced
itself by Vajramushti( an ancient,
grappling-based fighting art). Which while including some
weaponry included weaponless forms that were practiced in
conjunction with the controlled breathing techniques of Pranayama
(is loosely translated as prana or breath control. The ancient
yogis developed many breathing techniques to maximize the
benefits of Prana).
1.Ujjayi is often called the
"sounding" breath or "ocean sounding"
breath, and somewhat irreverently as the "Darth Vader"
breath.It involves constricting the back of the throat while
breathing to create an "ah" sound -- thus the
various "sounding" names.
2.Dirgha Pranayama Known as the
"complete" or "three-part" breath,
Dirgha Pranayamateaches how to fill the three
chambers of the lungs, beginning with the lower lungs, then
moving up through the thoracic region and into the clavicular
region. This is the breathing we incorporate into Sanchin
Kata in Goju.
3.Nadi Shodhana, or the sweet
breath, is simple form of alternate nostril breathing suitable
for beginning and advanced students. Nadi means channel
and refers to the energy pathways through which prana flows.
Shodhana means cleansing -- so Nadi Shodhana means channel
cleaning
Pranayama is part of the "Eightfold
Path of Discipline" in Astanga yoga. The
Eightfold Path, like the Ten Commandments, is a code to live
by; but unlike the Commandments, which are held to be equally
true and binding for all men at all times, the Path is a set
of rules to be followed in ascending order; until the first
step has been mastered, one cannot expect to succeed in later
steps.
- The first step in the Eightfold Path is Right Understanding.
Man must know what he is about if he is to win salvation;
he must know the Four Noble Truths.
- The second step is Right Purpose: he must aspire to reach
salvation.
- The third is Right Speech: he must not lie and must not
commit slander, for both arise out of the will to perpetuate
individuality, and thereby shut the aspirant off from salvation.
- The fourth is Right Behavior, toward which the Buddha
offers five precepts: Do not kill; do not steal; do not
lie; do not unchaste; do not drink intoxicants.
- The fifth is Right Means of Livelihood: one must be engaged
in an occupation conducive to salvation - preferably the
monastic life.
- The sixth is Right Effort: one must exercise will power
if he would succeed.
- The seventh is Right Awareness: one must constantly examine
one's behavior and, like a patient in psychoanalysis, trace
it to the cause, trying to understand and remove the cause
of misdeeds.
- The eight and final step on the Path is Right Meditation:
one must ponder often and deeply on ultimate truth if one
is to find salvation.
The Four Noble Truths
1. Life is suffering , being caught in our own illusion
about life.
2. There is a cause of suffering. Suffering is based on
our attachment to notions and things.
3. There is an end to suffering. We can see that all our
attachment and desireis, in essence, empty.
4. The Eight Fold Path (means to achieve the end of suffereing),
namely
As a Bodhisattva, Da Mo was given the job of
teaching Chan Buddhism or what is
known in Japan as Zen Buddhism.
Around 520 to 535 A.D he travelled across the Himalayas to
the kingdom of Wei to explain the teachings of Chan
Buddhism to the Emperor Wu of China during the
Liang Dynasty and to Shaolin temple.
Chan is known in the West mostly through its Japanese form
of Zen Buddhism. Chan
and Zen have the same roots but they developed
into different philosophies over the centuries. History tells
us that the emperor was not happy with the explanation and
expelled him from his court.
Chan is known in the West mostly
through its Japanese form of Zen Buddhism.
Chan and Zen have the same roots but they developed
into different philosophies over the centuries. During the
six generations of Da Mo's lineage, the teaching of Ch'an
Buddhism was done using a mind to mind, heart to heart philosophy,
avoiding unnecessary verbal instruction. Hui Neng changed
this philosophy by writing down the teachings of Ch'an.
These writings allowed Ch'an to
spread outside the Shaolin temple, but they also signalled
the end of Da Mo's lineage. One of those was very important
as a meditative exercise. At the time, none of the techniques
had names. We do not believe there were any actual ways of
referring to them. However, one of importance has become known
as "The Snake and Crane Form" or Chin Ye. The snake
and crane form, although a fighting form with many fighting
techniques associated with it, was mainly used as a Qi Gong
form. In other words, a slow meditative form used to strengthen
and heal the body and mind. This form used the motions of
both the cobra and the crane, two beasts naturally intertwined
with one another. what is now modern day Tai Chi.
Zen Buddhism is a
spiritual tradition which guides our journey deep within ourselves
to uncover our inherent wisdom and compassion. Never before
has the need to understand ourselves and the universe been
so important to the life of this great planet and to the well-being
of all of its inhabitants. Dating back some 2,500
years to the historical Buddha,
Zen allows us to discover who we
really are by engaging a simple yet profound form of meditation
called zazen. Each program taught by us centers around zazen
and demonstrates its potential to transform our experience
of ourselves and every aspect of our lives. One of the central
points of Zen is intuitive understanding
Da
Mo arrives at Northern Shaolin Temple -
Now most histories will say that at that time Da Mo travelled
to the Northern Shoalin temple and
eventually became the abbot of the temple. Upon his arrival
at the temple at age 76, he found the monks in poor physical
condition. In order to strengthen them so that they would
be able to carry out their meditations and perform the physical
labors necessary to maintain the monastery, and if attacked
by bandits, could not even defend the Shaolin Temple, he began
teaching the monks the Eighteen Lohan Qi Gong
exercises to improve the health of the monks.
Da Mo's teachings instructed the Shaolin
priests how to gain health and change their physical bodies
from weak to strong (muscle/tendon changing),
and taught the priests how to use Chi to strengthening the
blood and immune system, and to energize the brain and attain
enlightenment (marrow washing).
He also taught the 18 Lohan movements and the 5 animal forms.
This is where the histories of martial arts as told by most
scholars will begin. The first two exercises are what Sanchin
kata is based directly on exercises taught by Daruma.
The four sets of exercises are,
- Yi Jin Jing or Ekkin Kiko (Chi Kung):
muscle and tendon transforming ki exercise or form, focuses
on first circulating ki through the primary meridians then
through the whole body. As this is done, the muscles and
tendons are strengthened and stretched.
- Xi Xue Jing or Senzui Kiko (Chi Kung):
bone marrow washing form or ki exercise stresses leading
the ki into the bones and up the cerebrospinal system.
- 18 Lohan Shi Ba (Kung Fu): Also knowns
as Shou or Shihpa Lohan Shou, or Eighteen Hands of the Lohan
Buddha. 18 Lohan movements from which
develop the 18 Lohan forms. Later the 54 Lohan forms and
then the 108 Lohan forms develop from the original 18 movements.
The physical drills of which were incorporated into the
Shaolin Chi Kung and martial arts (what became
known as Kung Fu - which is pronounced gung-fu,
or, Shaolin ch'uan fa in Mandarin and which in
Japanese is Shorinji kempo training of the times.
At the present time, Lohan is used to designate
all famous disciples of the historic Buddha, but
more generally the term refers to those five hundred arhats
(Sanskrit term for those who have achieved nirvana) who
are supposed to reappear on earth as Buddha.
- Wu Xing Shou (Five Animal Kung Fu Forms): Dragon,
Tiger, Leopard, Crane and Snake.
During this time, Da Mo travelled the Wu Tang Mountains (Not
to be confused with Wu Dang, the root of Wu Shu). He chose
five disciples worthy of learning the full art of Law
Hong Gung, or the monk's martial
way. He taught the seven animal
systems known for their balanced motion and
fighting ability. Each of these animals comprised a complete
fighting system and combined they formed the most powerful
fighting system ever known to man. These animals are: The
Bear, the Tiger, the Mongoose, the Crane, the Mantis, the
Cobra, and the Dragon.
These five disciples were given the responsibility of carrying
on these arts for the protection of their country. While each
of these disciples went their separate ways and taught their
arts, two are very important in our history, Elder Cheng and
Elder Chin.
It is believed that Elder Chin took it upon himself to specialize
in this form and teach it to the common people to aid them
in the preservation of their health. Over time it lost definition
in its weapons. This could be due to the fact that communism
outlawed martial arts and all of the masters were either exiled
or executed. Or possibly it happened prior to this. This form
eventually evolved through different schools into what is
now modern day Tai Chi. The Tai Chi
forms taught today have evolved into forms very different
from that original snake and crane form but if you look very
closely and you know what you are looking for you can still
see remnants of the old form within them.
Northern
and Southern Styles of Shaolin - The name
Shaolin comes from the Shao She Mountain and from the forest
that surrounds it. The Chinese word for forest is "Lin"
and for temple it is "Su". Shao Lin Su = Shaolin
Temple. The Shaolin Monastery is built in Henan
Province in 495 A.D is the location
of Northern Shaolin Temple. The
first abbot is "Ba Tuo". Ba Tuo received the land
at the foot of the Shao She mountain from the Chinese emperor
to build the monastery. Ba Tuo's lineage was short because
he taught Xiao Xing Buddhism. This narrow, restrictive form
of Buddhism had so many rules (250 for men, 500 for women)
that it was impractical for most people. As a result, Ba Tuo
had few disciples. However, the two former generals Qui Wong
& Sheng Tsu become his students and bring martial arts
to the temple. His lineage ended when Da Mo became abbot of
the Shaolin temple.
Many think of the Shaolin temple
as the beginning, and for most it was. The Shaolin Temple
is generally accepted as having the greatest influence on
all existing martial arts today, it was a melting pot for
various strands of the original arts. It was a place of refuge,
especially for those who had fought as soldiers. These "unshaved
monks" as they were called, were allowed to live and
train in the temple to avoid persecution. They blended their
military arts with the bits and pieces of Law
Hong Gung that were practiced in the temple.
It is important to remember that the training of these soldiers
was very different than that of the training of Law
Hong Gung. They were trained in a military atmosphere
and very quickly. Where a person can study Kung
Fu over a lifetime, soldiers had to learn a
fighting art in months to be readied for battle. Therefore
a soldiers training was a simplified fighting system which
trained for the circumstances that soldier would most likely
encounter and trained in a way that could most quickly prepare
for that circumstance. Not necessarily trained in a complete
and thorough manner. A soldier trains to fight for his leader
and is expendable. A martial artist fights for his own preservation
and does not normally consider himself expendable. Therefore
the arts are very different.
Northern Shaolin Styles ;In the
colder Northern regions of China the ground was hard, allowing
more stability when kicking and stepping. Therefore, Northern
Shaolin styles emphasize kicking, long-range, acrobatic, and
ground-fighting techniques. Many of the fancier kicks are
acrobatic and graceful as well as powerful, but the basic
kicks can be effectively applied by any well-trained student.
Upon becoming abbot of the Shaolin temple,
Da Mo made a sort of prophecy. He tied six knots in the belt
of his robe and stated that his lineage would end upon the
fifth abbot following him. After Da Mo, his disciple Hui Ke
was named abbot of the Shaolin temple.
After Hui Ke; Sheng San, Gao Xing,
Hung Jen and Hui Neng were each appointed abbot in turn.
Each received the robe of Da Mo upon becoming abbot. During
the six generations of Da Mo's lineage, the teaching of Ch'an
Buddhism was done using a mind to mind, heart
to heart philosophy, avoiding unnecessary verbal instruction.
Hui Neng changed this philosophy by writing down the teachings
of Ch'an. These writings allowed
Ch'an to spread outside the Shaolin
temple, but they also signalled the end of Da
Mo's lineage.
Southern Shaolin
Temple - The Southern Shaolin
Temple in the Southern Province of Fujian, Chinawas
ultimately the result of Northern Temple monk warriors responding
to a request for martial assistance from a young Tang Dynasty.
Tang Emperor, Lee Shimin (600-649 AD), approved the proposed
site and the construction of a Southern Shaolin
Temple. He was particularly appreciative, as
the warrior monks had earlier saved his life in a conflict
with a rogue General who challenged his ascendancy to the
throne. Lee Shimin (Imperial title - Tai-Tsung) reigned from
626-649 AD. He brought Taoism and Buddhism together with Confucian
policy to rule the country. The Chan tradition of the Southern
Shaolin was also created at this time, together with that
temple's practice of martial arts.
Southern Shaolin Styles; In the warmer Southern
regions of China, the ground was softer and often muddy, making
kicking and stepping more difficult. As a result, Southern
Shaolin emphasizes higher stances and hand techniques.
The practitioner of Southern Shaolin will
patiently wait for an attack, then quickly block and counter
as the opponent strikes, catching the opponent off guard.
Destruction of
Southern Shaolin Temple - Centuries later,
events during the Ming / Qing transition produced a political
climate that precipitated an increased need for martial arts
development in the south. During that time, Ming supporters
and Southern Shaolin warriors formed
a secret society called the Hung Fa Wui.
Additional society members included high-level ex-Ming military
officers and members of the Ming Royal Family.
The creation of the Hung Fa Ting and
the Hung Fa Wui to 1646 A.D. - two
years following the collapse of the Ming Dynasty
in Northern China. The martial experts of the Hung
Fa Wui pooled their knowledge to create a combat
system that would be quick to learn and effective against
all styles via the mapping of spatial, temporal, and energetics
characteristics of the battlefield to human physiological
structure. The highly scientific paradigm shift of this fighting
system occurred in the Southern Shaolin Temple
through the combined efforts of Shaolin monks
and the Hung Fa Wui secret society
- specifically in a place called the "Weng
Chun Tong".
The fighting effectiveness and revolutionary activities of
the Southern Shaolin systems astounded
the Qing Emperor at that time. In
response, the Qing ordered the destruction of the Southern
Shaolin Temple through the use of overwhelming
odds. Surviving members scattered throughout the Southern
Provinces. Supported by other secret societies, these revolutionaries
continued to spread their activities and fighting style.
Re-Construction
of Southern Shaolin Temple - In June, 1991,
the Northern Shaolin Temple sent
their Martial Monks to teach martial arts at Putian. Hand
in hand with the Putian Southern Shaolin Research
Association, they started to rebuild the "Southern
Boxing and Northern Kicking" magnificent
martial arts era. The Putian Southern Shaolin
Research Institute was further invited to make a horizontal
inscribed board with the words on it saying "World's
No. 1 Temple" on August 21st, 1991. The board has been
hung at the top of the gate of Tian Wang Dian of Song San
Shaolin Temple signifying the unity
of the two temples as one Shaolin identity. The reconstructed
Southern Shaolin Temple has been
a very effective driving force for propagating and developing
Chinese traditional martial arts, while simultaneously strengthening
relations with the Chan Grandmaster of the Northern
Shaolin Temple. By Dec. 8, 1998, the Temple
re-opened to the public.
What evolved in the Shaolin system
was a combination of the soldier's way, the exercises taught
by Da Mo (which were intended as
exercises, not fighting arts) and bits and pieces of Law
Hong Gung. This came to be known as Chuan
Fa or Kung Fu. This eventually spread to the
commoners in mainland china and was called Kung fu. They needed
an empty handed fighting system. This part of the history
is common and can be found in almost all texts on the fighting
arts. From China it spread into Okinawa and practiced there,
in Okinawa it was called Kenpo. Kenpo
meaning ("The Law of the Fist"
is used by Okinawans to denote any fighting system that has
Chinese influences).
Modern Age
of Okinawan Martial Arts
Okinawan martial arts have been
influenced by many changes in Okinawan history. In 1669, the
ban on weapons was joined by a further edict banning the practice
of martial arts. Okinawa-te was forced to become an "underground"
activity and began to be practised in great secrecy. Over
the next two centuries the techniques of the both the empty-handed
art and the weapons art of Kobujutsu were refined and systematized.
In Okinawa, the chinese influence in the development of the
Okinawan martial arts led to their martial arts, originally
only known as "Te" (Hands),
to be referred to as To-De, "Chinese
Hands".
Te becomes Tode; In 1761, the first recorded
demonstration of Chinese martial arts or Tode
took place on Okinawa when a expatriate Chinese
by the name of Ku Shanku (who spent six years in Okinawa)
performed his boxing and grappling skills in front of a delighted
audience. This served to elevate Chinese arts above Okinawa-te
in the eyes of many Okinawans so that those known to have
the "Chinese hand(s)"
attained legendary status overnight (much in the same way
as those who claimed to know "Kung-fu"
would become legends in the Western world over 100 years later!).
By the mid-nineteen century, the distinction between the various
Te taught in particular areas became blurred and Okinawan
martial arts became known by the style of the teacher(s),
rather than the location in which they taught. Chinese
boxing was now well and truly integrated into
the native arts and the term Te
had fallen into disuse, being replaced by Tode.
Tode had been introduced and was now being taught
by either Chinese expatriates like Ku Shanku or Okinawans
who had studied Chinese boxing in
China (mostly from the Fukien province).
Okinawan -Te The development of Karate began
in Okinawa, an island south of Japan. Okinawans travelled
to China, where they learnt the Chinese martial arts. On their
return to Okinawa they set about blending their own martial
arts, okinawan te or (initially simply called Te,
"Hands") with what they had learnt in China and
called it To-De, Chinese Hands.
Three main villages became known for the teaching of Te and
this gave rise to three styles; Naha-te, Shuri-te
and Tomari-te, each
named after the village in which they were taught. These systems
were:
- Shuri-te Hard techniques (Go)
influenced by Kenpo, seen more as an offensive system.
Shuri-Te is the name of the particular type of
Okinawan martial art that developed in the Shuri, the ancient
capital of Okinawa. One of the early Okinawan masters, To-De
Sakugawa (1733-1815) is credited as being one of the initial
importers of Chinese martial arts to Okinawa, in particular
to Shuri, where he started the development of the Shuri-Te
style of Okinawan martial arts. Sakugawa had a student named
Sokon Matsumura, who in turn taught Ankoh Itosu, who was
destined to become a great martial artist and teacher in
the 19th century, who introduced the practice of To-De,
as the Okinawan martial arts were called, to the Okinawan
school system. Ankoh Itosu's contribution to To-De
was the emphasis of Kata and its practical application,
called Bunkai. Many students of Ankoh Itosu became significant
figures in the early development of Karate. Amongst Itosu's
students are Gichin Funakoshi (1867-1957), who later moved
to Japan and founded Shotokan Karate, and Kenwa Mabuni (1890-1954),
combined aspects of Naha-Te and
Shuri-Te, also moved to Japan,
and founded Shito-Ryu Karate.
- Naha-te Softer techniques {Ju)
of Kenpo, plus strong breath control and is regarded as
more of a defensive system, with grappling, throws, and
locks. Naha-Te is the name of the particular
type of Okinawan martial art that developed in the port
town of Naha, the modern-day capital of Okinawa. The martial
art that indigenously developedin Okinawa was called Te
("Hands"), and the continuous chinese influences
that incorporated Chinese Boxing (Chuan Fa,
nowadays known as Kung Fu) were
eventually reflected by naming the Okinawan martial arts
To-De, "Chinese Hands".
Credited for the early development of Naha-Te
is Kanryo Higaonna (1853-1915). Kanryo Higaonna's
students include Chojun Miyagi (1888-1953), the founder
of Goju-Ryu Karate and Kenwa Mabuni
(1889-1952), the founder of Shito-Ryu Karate.
- Tomari-te The hard and soft
techniques of Kenpo.
Tode becomes Karate; In 1879, with Japan
united under the new Meiji government and the power of the
Satsuma clan broken, Okinawa was made a province of Japan
and became subject to the system of law governing all of Japan
(this fortunately meant that the practice of martial arts
was no longer illegal). However, the authorities set about
"Japanizing" the Okinawan culture and way of life
and although this met with some resistance, it also inevitably
led to many changes. With the education system now conforming
to the Japanese system, Chinese and Okinawan words began to
be replaced with Japanese pronunciations. SinceTode was pronounced
Karate in Japanese, from this point on, there was an increasing
trend to use the Japanese pronunciation. Not withstanding
this, the term Tode continued to
be used until just before World War II and was still used
by some styles well into the 1960's.
Modern Day Karate
From these three original systems four main styles of Karate
developed - Goju Ryu, Shorin Ryu, Uechi Ryu and
Shorei Ryu. Naha-te,
has become Goju-Ryu and Tomari
and Shuri-te became
Shorin-Ryu and again split into
a few different styles. Funakoshi introduced Shotokan
to Japan in the early 20th century. Other Okinawan masters
soon followed him - Chojun Miyagi with Goju Ryu
and Kenwa Mabuni with Shito Ryu.
From these masters many new styles were soon developed. For
example Kyokushinkai
by Mas Oyamais an amalgamation of Goju-Ryu
and Shotokan Karate, Goju
Kai by Gogen Yamaguchi, Wado Ryu
by Hinonori Ohtsuka. However, the modern-day karate has evolved
into something completely different and bears little to no
resemblance to the original system, it has been taught outside
of Japan now for over 40 years. There are now hundreds of
different styles of karate across the world, but all can be
traced back to the original four styles from Okinawa.
Karate ("Chinese hand") becomes Karate
- Do ("the Way of the Empty hand") In 1935,
a group of Okinawan masters decided to change the kanji (Chinese
characters) for the first part of the name karate. This was
suggested by the famous karate master Gichin Funakoshi who
believed that in order for the art to be fully accepted into
Japanese culture it first needed to be seen as an indigenous
art. At a time when Japan was swept up by nationalist fervour
and in particular, about to go to war against China, he felt
that it was time to change the Kanji (Chinese character) for
kara from one referring to China (or more correctly - the
Tang dynasty) to another with the same pronunciation but meaning
"Empty" . At the same time it was decided to adopt
the suffix -do (hence Karate-do),
which not only allowed the art to become registered as a Japanese
cultural icon but for the first time formally acknowledged
Karate as an art of self-perfection rather than simply as
a means of self-defence. In Gichin Funakoshi's own words:
"Karate-do strives internally
to train the mind to develop a clear conscience enabling one
to face the world truthfully...mind and technique are to become
one in true Karate".
Goju Ryu Karate Do to Goju Kai; There were three
epochs mentioned with three masters respectively in their
evolution in the history of Goju-Ryu
school. First was the time when the school was known only
as Naha Te by Kanryo Higaonna during
1870s of which time the islanders were forced to surrender
their nationality under Japanese rule. Second was when the
school was named Goju-Ryu by the
group headed by Chojun Miyagi during 1930s of which time Japan
engaged in the World War II. The third and final time period
was when the national structure of Goju-Ryu
organization was established in mainland Japan by Gogen Yamaguchi
in 1950 during the post war period. The organization has been
called Goju-Kai Karate-Do since
that time.
Goju Ryu,"go" meaning hard a "Ju" meaning
soft and "ryu" meaning stream, to the Goju Kai system
today "kai" meaning organisation named by Gogen
Yamaguchi in the 1950's after the old Masters Miyagi
Chojun death.
Karate is currently popularised by:
- Masatoshi Nakayama, Keinosuke Enoeda: Shotokan
Karate
- Morio Higaonna: Goju Ryu Karate
- Gogen and Gosei Yamaguchi: Goju Kai Karate
- Mas Oyama: Kyokushinkai Karate
- Fumio Demura, Shito Ryu Karate
- Richard Kim: Shorin Ryu Karate
Our Zen Do Kai Lineage
Aragaki Seisho (1840-1920) – Aragaki
the Cat a Naha te Master. The curriculum
of Aragaki includes at least Seisan, Chishaukin, Sochin, Unshu
and Niseishi, Sanchin, Sanseriru, and Superinpei. He was also
said to of been proficient at Ryukyu Kobudo, and was responsible
for passing on the following Kobudo Kata: Urasoe Bo, Sesoko
no Sai, Shokyu no Kon, Aragaki no Sai and Tsuken Hantagwa
no Sai. It is said that when Aragaki left for China on official
business as interpreter for the Ryukyu Royal government, that
he left his young protege Higaonna Kanryo in the capable hands
of his friend and senior Kogusuko Taitei.
Xie Zhong Xiang or Ryu Ryuko Sensei as he was called
(July 1852-February1930) was a Chinese Master who
taught Chinese Kenpo (Kenpo meaning
"The Law of the Fist" is used by Okinawans to denote
any fighting system that has Chinese influences), and he learnt
the martial arts from master called Kwan Pang
Yuiba at Shaolin Temple.
Xie Zhong Xiang, sometimes referred to as "Rusi"
by locals of his village was born in Chang-le, Fujian. In
his early years, he followed in the footsteps of "Pan
Yuba" to study Ming He Quan. In 1883, he set up a martial
arts center and started to receive students and pass on his
style of Wushu. His Chinese boxing style Quan Fa had its own
special and unique characteristics. He was a first generation
master (Shi) of Whooping Crane Boxing. In 1866, RyuKo formally
started teaching his form of Te. Many believe that Xie was
the teacher of Higashionna Kanryo and other turn-of-the-century
Okinawan.
He was also called RyuKo. Weather this was truly his real
name and picture or his actual birth and death date. Whooping
Crane which strikingly resembles Goju Ryu definitely plays
a generous role in many Okinawan as well as Goju Ryu Kata.
Defined particularly in Suparunpai, Kururunfa, Saifa, etc;
those Kata brought back to Okinawa from China each demonstrate
specific movements from White Crane. This would explain as
back up evidence to the current line of history, which is
still somewhat fuzzy due to the destruction of material during
the Second World War. RyuKo is given credit for being the
teacher of Kanryo Higaonna.
 Higaonna,
Kanryo “ (10 March 1853-23 December
1917) may be the earliest master who can be traced
back in the history and who founded a background of Okinawan
Goju-Ryu Karate system. The system was called
Shorei-ryu
but known locally as Naha-Te. Unlike
Shuri-te, Naha-te represents newly
imported Chinese forms from Fukien Province of China. These
forms reflect the Southern Shaolin
Styles method, which are shorter and more compact, taking
up less space than required to perform a Northern
Style form. Prior to Higaonna, there was another
master named Aragaki Seisho, (1840-1920) of Kume recognized
as a Naha-Te master who was said
to of been Higaonna Kanryo's first teacher. Higaonna Sensei
had studied and trained in China from 1869 under Ryu Ryuko
Senseiin Fukien Province China, returning to Okinawa in 1881.
Kanryo was known as the master who introduced kata Seisan.
Almost all of the Goju kata were
handed down from Higaonna Kanryo Sensei. The following kata
were handed down by Higaonna Sensei from Ryu Ryuko Sensei:
Sanchin, Saifa, Seiyunchin, Shisochin, Sanseru, Sepai, Kururunfa,
Sesan, and Suparinpei. The original creators of these kata
are unknown. Most notable students of Higaonna Sensei was
Miyagi, Chojun the founder of Goju-Ryu,
and Mabuni Kenwa of Shito Ryu.
 Miyagi
Chojun (15 April 1888-08 October 1953) Miyagi was
advised to travel to China by his Sensei to study the martial
arts. His search led him to the hard school of Shaolin
Chuan; the soft school of Pakua
Chan; and from these two he developed his own
style of Goju. The system of Goju-Ryu
was founded Ryu meaning stream. He advocated that both the
hard and soft complimented each other and he created his version
to Sanchin kata with closed fists and Tensho kata ("rokkisho")
from white crane system with open
hands, a formal exercise which combined both these elements.
Miyagi Chojun also created the katas Gegisai Dai Ichi and
Gegisai Dai Ni, it is also said he introduced a kata called
Saifu and developed a set of warm up exercises called Junbi
Undo. The KAISHU kata passed on by Master Miyagi are: Saifa,
Seienchin, Sanseiru, Seipai, Shisochin, Seisan, Kururunfa
and Supairenpei. With the exception of some Bo techniques
however, Higaonna did not pass on his knowledge of weaponry,
believing weapons to be unnecessary in peaceful Okinawa. One
of Miyagi’s students was Master Shimabuku and it’s
through this lineage that Seiuchin Kata arrived in Isshinryu.
On his death bed, the old master Miyagi called for all the
Senior Members and announced to them his choice of a successor.
It was then that Gogen Yamaguchi became 10th Dan and the Grand
Master of Goju Karate – the
Kaicho-(President of an Organization)!!
Gogen
Yamaguchi (20 January 1909-20 May 1989) also known
as the cat renamed the system and founded Goju
Kai (Kai – meaning Organisation) in the
1950's after the old Masters death.. He was a student of the
Carpenter Murata who was a senior student of Miyagi Chojun.
Gogen established the All Japan Karate Federation 1964. Yamaguchi
travelled to Hawaii on the invitation of Instructor Masaichi
Oshiro. (Kyoshi Tino Ceberano’s Instructor.) It was
here at the Hawaiian Goju Karate School back in 1966 that
Kyoshi Tino first met and studied under Grand Master Yamaguchi.
 Tino
Ceberano after receiving his 3rd Dan by the Grand
Master, and at the request of Kaicho Yamaguchi, the young
instructor Tino Ceberano left his native country of Hawaii
in 1966 to start life in Melbourne with the purpose of establishing
the style of Goju Karate in Australia.
In May 1989 Kaicho Gogen Yamaguchi died aged 81. In 1990 Goshi
Yamaguchi (3rd Son of the Master) a long time friend of Kyoshi
Ceberano took over the reins of the Goju Kai and promoted
himself to the rank of 10th Dan. Kyoshi Ceberano decided his
future lay separate of the Organisation and formed the International
Goju Karate School maintaining the ideals of
the truly traditional Style of Goju Karate.
 Kyoshi
Bob Jones was a student of Tino Ceberano,. In 1965
Bob trained under Jack Rezinsky for 12 months, and then in
1966 trained under Tino Ceberano receiving his Shodan rank
from Tino 4 years later in 1970. Bob later left Tino to develop
his own sytem called Zen Do Kai
in the 1970's. The kata's passed down were Tensho, Sanchin
with closed fist, Saifa, Seiyunchin, Shisochin, Sanseru, Sepai,
Kururunfa, Sesan, Suparinpei. He also created 2 versions of
Nihunchin. Some of the most famous of Bobs students are Richard
Norton, Grant Kenny, Jimmy Barnes, Stevie Nicks, Mick Jagger,
Dave Berry, Billy Manne, Steve Nedelkos, Ralph Lanciana.
 Kyoshi
Raffaelle Lanciana, one of Soke Bob Jones’s
most senior students of Zen Do Kai, began his training in
1970, 6 months after the ZDK was formed at the “Honbu”
in Melbourne. His Id no was 256. Soke Bob Jones, Dave Berry
& Richard Norton were the instructors who guided Kyoshi
Raffaelle towards his Shodan-Ho in 1975. His current rank
and teaching title are Kyoshi & Sixth Degree respectively.
Kyoshi Raff is one of 6 Lanciana brothers, who each are Black
Belts with various Dan levels in Zen Do Kai not to mention
a swag of kickboxing titles as well, and are well known for
putting kickboxing on the map in Australia in its formative
years. As well as being an integral part in promoting kickboxing
in the early 80’s, Kyoshi Raff was also the “family
head” of the “Wildcat Division”, which at
one stage had approx 27 clubs throughout Victoria and New
South Wales. It was one of the largest “families”
in Australia at the time. As well as him being No 3 in the
hierarchy system of Zen Do Kai.
In Kyoshi Raff’s 36 year association with martial arts
and Zen Do Kai in particular, he has experienced many highs
such as being named in Soke Bob Jones’s Senjo circle,
Kendo training with Jeff Elise, training with Soke Bob and
Richard Norton in the early years, attending his first karate
camp at Monbulk, working and organizing security for Soke
Bob at concerts such as The Rolling Stones and Talking Heads,
seeing Frank Lanciana’s 2nd Dan grading and dropping
in one night on Dave Berry at his house and having a deep
philosophical chat about martial arts and life.
Over the time, whilst training Kyoshi Raff has come across
individuals who he regards as “special” and greatly
respects for different reasons, such as Richard Norton, John
Buttigieg, Lydia Lanciana(Maric), Roman Neubacher and Mick
Fragiacomo, not to mention individuals who have transferred
the underlying principles and ethics of the martial arts and
put them into practice into their daily lives such as Maurice
Garnier, Rod Catterall and Mitch Bayliss.
In a physical sense he regards Michael Hanify and Paul Fyfield
as the fittest karateka’s he has seen and George Zachariah
(Lumpy 2) as the best natural fighter.
Kyoshi Raff’s thoughts on what martial arts mean to
him are simple.
Martial Arts offers people the ability to move from one level
to another. From physical to mental and in special cases spiritual.
The flow on affects are; Health, Confidence, Self esteem.
Teaching others Communication skills, Physical – Body
control Self awareness – moving into self control.
.jpg) Kyoshi
Rod Catterall - one of Raff's students began his
training in October 1979 under George Zakaria, one of Raffs
senior instructors. Later Rod attended one of Raff’s
training camps and met Raff for the first time. Raff asked
Rod what he wanted to be in life, and Rod answered to be in
the movies. From that point onwards Shihan Raff has been Rod's
trainer, mentor and advisor assisting Rod in achieving those
goals. Rod had been successful in appearing in a movie with
Jackie Chan, Anthony Hopkins, Guy Pearce, Sam Neil and auditioned
for Street Fighter with Van Dam. Rod received his Shodan rank
under Raff in December 1985. Sensei Rod later started his
own school teaching the old Zen Do Kai
kata's as passed down by Kyoshi Bob Jones and Raff Lanciana
calling his schools All Stars Self Defence Centres
in 1991 preserving the old ways and ideals of Zen
Do Kai and Goju Kai Karate do,
in order to understand the new.
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