T through Z

THUGGEE

The Thuggee style is a deadly variant of Kalaripayit, which uses the required knowledge of the vital points to hurt rather than heal. The Thuggee style is a secret of the Cult of Thuggee, and one must become a member to learn it.

Thuggee was an Indian cult worshipping Kali whose members were known as Thugs. It was allegedly a hereditary cult with both Muslim and Hindu members that practiced large-scale robbery and murder of travellers by strangulation. It was suppressed by the British rulers of India in the 1830s. A police organisation known as the Thuggee and Dacoity Department was established within the Government of India and remained in existence until 1904 when it was replaced by the Central Criminal Intelligence Department.

TI T'AND

Northern Chinese boxing system; techniques of fighting while falling or lying on the ground. Emphasis is on kicking and falling techniques. Balance is considered from three standpoints: keeping comfortable balance; using difficult movesments, yet maintaining balance; and breaking balance, falling, and yet maintaining composure. This training is seen as proactical in circumstances in which on cannot follow the usual methods of fighting, when injured or taken off guard, for example. Also known as Ti-Kung, and Bai-Ma-Sya-Shan

TJAKALELE

Tjakalele is practically just a war dance originated in the Mollucas. It uses spears and shields.

TJIKALONG

A form of Silat. This system is the "icing on the cake." It revolves around the knowledge of anatomy developed in ancient times which, in some cases, surpasses modern medicine. The emphasis is on nerve destruction.

TJIMANDE

A Silat style. A more defensive, more long-range system, tjimande is the "hard/soft" style of Indonesia. Tjimande people flow with opponents, similar to Filipino martial artists. In the beginning, students learn the hard kickboxing like moves, then, as training progresses, they are trained in soft, tai chi-like applications.

TJIMATCHAN

Javanese Tiger style, fights upright with long sweeping movements; skin attacks, long bone traps, precision striking, ferocity.

TJINGKRIK

Brother art, springing, evasion, siloh, monkey hands, started by woman observing monkeys fighting.

TJIOELER

Snake Style, nerve center attacks, muscle splitters, organ attacks, bone displacements, evasion.

TJIPADANG

A horse style emphasizing a multitude of kicks, stomps, rakes, toekicks, heeling, etc.

TJIWARINGEN

Brother art to Tjimande, emphasizes long-arm techniques and exquisite balancing as a martial technique.

TOIDE

Toide or 'taking hand' is the throwing & grappling aspect of Karate-jutsu. Yes, Karate-jutsu in its fullest and original form has a complete system that entails high-level aerial breakfalls (ukemi-waza), Samurai knee-walking (shinki-waza), joint and wrist locks (kansetsu-waza) and one of the most comprehensive methods of (nage-waza) body throwing techniques. Toide techniques are effectively executed from any type of attack including fist and kick combinations as well as weapons assaults. The art's devistating strikes that precede the throwing techniques are integral to Toide. This creates the essential off-balancing methods (kuzushi) that are necessary to complete the Toide throws efficiently.

TROPA - "THE PATH"

Ancient system with not only physical contact but the use of psychic energy as well

TSUI PA HSIEN KUNG FU

This is the style of the drunk man. It has been created from Li Po. The goal of this style is to have reactions that are totally unforeseeable. The expert falls to the ground, hesitates, rolls changes his rhythm, and so on. Some experts practise holding a glas full of water in the hands.

TUKONG MOOSUL

Tukong Moosul gets its name from the elite Tu Kong (Special Combat) commando unit of the South Korean Army. The originators of Tukong Moosul took the best of other martial arts and brought the techniques together into combat-oriented, effective training. Tukong incorporates techniques from other Korean martial arts like Tae Kwon Do and Hapkido, as well as Judo and Kung Fu.

General Chang K. Oe, commander of the Tu Kong unit, enlisted Won Ik Yi from army headquarters and several top fighters from within the Tu Kong unit to develop the training. Won Ik Yi was trained in Shaolin-style martial arts as a child and incorporated many Kung Fu techniques in the original Tukong Moosul curriculum. Others, including Tukong Moosul Association Grandmaster In Ki Kim, one of the Tu Kong unit masters, have added techniques in more recent years.

Tukong Moosul, like other military martial arts, is all about taking out the enemy. Some of the Tukong Moosul organizations specifically prohibit children from learning Tukong Moosul, instead recommending that they study the sport-oriented Tae Kwon Do.

TURKISH OIL WRESTLING

Almost annually since 1640 hordes of Turkey's finest grappling athletes have gathered in Erdine Turkey for the Kirkpinar, the championship of Turkish oil wrestling. The grapplers oil their bodies, which make them very difficult to grasp. Sometimes in order to secure leverage for a throw, a wrestler is permitted to thrust his hand into his opponent's leather trousers. There are no draws and the match continues until one grappler wins. Many forms of Asian wrestling use belts as a means to grip the opponent and lift and throw him (such as in sumo). There was usually no ground fighting, except in the far east. Competitions took place in a special yard, smoothed for wrestling. Names for most Middle-Asia kinds of wrestling originate from the Turkish word "kurash", such as Uzbek kurash, tatarian kuresh, kazakh kures, and azerbaidjan gurassu. Techniques and rules are very similar to each other. The fight is finished when opponent is thrown to the ground.

As for the wrestlers' costume, just only heavy leather trousers. It made of water buffalo leather with 58 meters of hand stitching. The weight becomes 13Kg for the advanced wrestler.

Olive oil is poured as much as to drip from the whole body. It isn't painted. It is poured.

UCHIDA RYU TANJOJUTSU (SUTTEKI JUTSU)

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

UECHIRYU KARATE

A traditional Okinawan, Zen based style founded by Uechi Kanbum. He combined elements of the Pangai Noon style with the techniques of the Phoenix Eye school. The style incorporates the characteristics of the Wushu animals. It uses circular motions and uses the Phoenix Eye single knuckle punch. Unlike most Karate styles, it uses grappling techniques.

UJUNGAN

Ujungan is occasionally incorporated into various Pencak Silat styles or other systems that are closely related to Indonesian culture like the Filippino martial arts. It is the application of stick and blade.

VALE TUDO (a.k.a. LUTA-LIVRE), NO HOLDS BARRED, FREESTYLE FIGHTING

Blends striking with various locking & choking submissions creating a very effective unarmed martial art as well as a very challenging sport. Initially the No Holds Barred type of fighting was dominated by traditional Brazilian Jiu-jitsu fighters, but over time it has evolved to the point where NHB Fighters will work Boxing for their hands, Muay Thai for their kicking and kneeing, Greco-Roman Wrestling for their take-downs, and Brazilian Jiu-jitsu for their ground control & submissions. Most fighters do a little bit of everything today in order to be "well rounded". The No Holds Barred fighters generally seem to blend aspects from the following arts: Brazilian Jiu-jitsu, Greco-Roman & Catch Wrestling, Muay Thai, Western Boxing, Judo, Jujutsu. There are various promoters and organizations for No Holds Barred type fighting with varying rules. Some of the more popular no holds barred organizations are: UFC, Pancrase, Shooto, and Pride to name a few of the big ones. Some organizations allow all striking (punching, elbows, headbutts, kicks, knees) standing and on the ground. Some events limit the striking to open handed (no fists), no elbows, headbutts... it generally depends on the boxing commissions of the area (at least in the US). Generally most Judo/Jiu-jitsu types submissions are allowed including: Armbars, Triangle Chokes (Leg Choke), Rear Chokes, Ankle Locks, Knee Bars, shoulder locks...and numerous other types of submissions. The only attacks that are prohibited across the board in sanctioned No Holds Barred competitions are: attacking the eyes, fishhooking, striking the groin, throat, spine or knee cap. No Holds Barred type fighting has had it's share of problems, most stemming from bad press and sensationalism in the media about this type of competition. Over the last few years there's been a continues to flourish today thanks to huge events such as UFC and Pride on Pay-Per-View Cable making it a much more main-stream type of sporting event.

VARMA CUTTIRAM

Indian style of martial art similar to Tai Chi and Dim Mak

VERUM KAYTHATRI

Bare handed combat is a post graduate course in Kalari. Here an unarmed combatant fights with an armed enemy and puts him down. Various maneuvers like ozhivukal (skipping), irrakkam (stepping back), kayattam (stepping forward), thada (blocking), pidutham (catching) and attacks to vital body points are the main features to this practice.

VIET VO DAO

Many martial arts were created during XVI-XVIII centuries, when Vietnam was separated in several states. It was a good situation for the developing of martial arts. Many martial arts surfaced during the Tay Son Rebellion (1771-1788), the first serious attempt for unifying the country. The rebel's base was in Binh Dinh Province which still is a place with many martial arts.

The country was finally united at the beginning of XIX century. But during the period of 1858-1884 Vietnam was conquerred by France and became its colony. During the colonisation martial arts had to be kept underground and were transferred in family schools only, from father to son. Studying was kept secret, students sweared to never use their martial art without serious reason and to not divulge its secrets.

The revival of the tradition in Vietnamese martial arts is connected with Nguyen Loc (1912-1960). He was born in Son Tay (Ha Tay Province, near Hanoi). In 1938, he founded the first club of Vo Thuat for all interested people (including foreigners!). He named his school Vovinam Viet Vo Dao (often referred to as "the best from Vietnamese martial arts").

In 1945, a first public demonstration of Vovinam Viet Vo Dao took place in Hanoi and subsequently Viet Vo Dao clubs arised in all regions of nothern and central Vietnam. After the death of Nguyen Loc, his successor - Le Sang - organized a big meeting of masters in Saigon for fostering the plan of spreading vietnamese martial arts worldwide. In 1972, the European Viet Vo Dao Federation was established and in 1980 the corresponding World Federation followed (president: Phan Hoang).

Now 90% clubs of World Viet Vo Dao Federation practice Vovinam. Others are Thanh Long (strong dragon), Han Bai (white crane), Tran Minh Long and Nguyen Trung Hoa (family schools).

In Vietnam the most popular schools are Vovinam, Kim Ke and Vo Binh Dinh. Also there exist about 30 schools, which are not so well known. In addition, there exist numerous so-called Sino-vietnamese styles.

Nguyen Loc created his school on the base of local schools of Shontei Province and other Vietnamese styles which he studied during extensive travelling as well as on the base of the "Linh Nam Vo Kinh" treatise. Vovinam is famous for its various kicks - sweeps, blocks, "scissors" on different levels, jumping kicks, attacks with final jumping on the opponent.

VIVODO

Vivodo is the eclectic martial arts, which draws on different styles to build a strong foundation. This comprehensive system hones competitive skills, like the use empty-hands and weapons styles into a fine art. Systemactic action and counteractinng movements of hands, arms, legs, feet, knees and elbows enables the student to gain maximum intellectual awareness, internal power, physical strengh with the least amount of effort. The simple benefit of practicing all of the above is greater vitality and longevity.

The Vivodo art of systematic action and counteraction is a series of acrobatic arm and foot movements from Vietnamese traditional arts which seeks to avoid dangerous in competition, simplify practice routines in open forms, which are easy to apply and effective for good health and self-defence.

Deep Breath exercises are undertaken to restore energy for internal and external body before training Vivodo arts. Forms were incorporated with hard and soft techniques to achieve flexibility and to concord lively body movements, all this makes ViVoDo a sporting Martial Art, directed towards both the physical and mental culture and oriented to health and self-defence.

VO BINH DINH

Vo Binh Dinh is a very old Vietnamese style that originated in Binh Dinh (today Ngia Binh) Province. It is based on the assumption that the opponent is non-vietnamese and therefore likely taller and heavier. Hence a Vo Binh Dinh fighter constantly moves, changes positions, changes the directions of movement, uses counter-strikes to attacking arm or leg.

WADO-RYU KARATE

Wado-ryu "school of the way of harmony" was founded by Otsuka Hidenori, one of Funakoshi Gichin's students. It combines Jujitsu with a strong focus on evasion through body shifting. style has higher stances and shorter punches than Shotokan. Training stresses spiritual discipline.

WAH KUEN PAI KUNG FU

This is probably one of the most spectacular styles of Kung Fu. It includes jumps, leg attacks to the head, projections and some kind of self-defence techniques like in Ju-Jitsu. Nothern Chinese style of boxing emphasizing high kicks and long-range hand techniques. Students learn to close the gap quickly. Besides kicking and striking, the system also adopts joint locks and throwing techniques. Forms are practiced alone or in two-man sets.

WALL FIGHTING

Wall fighters" very often used knife, flail or short club. Of course, it was infringement of fisticuffs ethics, but - usual infringement. Opponent had chance only if he had similar weapon. There was no possibility for barehand resisting. Even "insets" - hidden inside mitten or fist weight like copper coins, lead bullets or iron pivots - were enough for big advantage. Dal' in his "Explanatory dictionary" described examples of using flails in "wall vs wall" fights, and wrote that "it is impossible to resist such a man in fisticuffs".

Two conclusions are possible. At Dal's time (or not long time before) "wall vs wall" fights used not only fists. Flail is good weapon, but there exist many countermethods against flail - more than against knife. And if "it is impossible to resist" - hence there weren't methods of counter-weapon defence.

There exist sole fightings besides "wall formation", but they are more typical for wrestling, not for fist-fighting. Representatives of all estates participate in such fights, low estates usually don't give in more noble ones. Sole fights in fisticuffs are an addition to the "wall", more experienced fighters compare their force before common battle. Besides forefist, bottom of the fist and inner side of the fist also were used in strikes. Kicks to the legs and leg's hooks were used as in wrestling as infist-fighting. There are not many such methods, but this skill is considered as top-level skill, not accessible to usual fighter. High accuracy of a strike also is considered as high skill. As before, main factors are muscle force and endurance.

WING CHUN

One of the most popular forms of Kung Fu. Wing Chun was an obscure and little known art until the mid twentieth century. While multiple histories of the art do exist (some with only minor discrepancies), the generally accepted version is thus:

The style traces its roots back over 250 years ago to the Southern Shaolin Temple. At that time, the temple a was sanctuary to the Chinese revolution that was trying to overthrow the ruling Manchu. A classical martial arts system was taught in the temple which took 15-20 years to produce an efficient fighter.

Realizing they needed to produce efficent fighters at a faster pace, five of China's Grandmasters met to discuss the merits of each of the various forms of kung fu. They chose the most efficient techniques, theories and principles from the various styles and proceeded to develop a training program that produced an efficent fighter in 5-7 years.

Before the program was put into practice, the Southern temple was raided and destroyed. A lone nun, Ng Mui, was the only survivor who knew the full system. She wandered the countryside, finally taking in a young orphan girl and training her in the system. She named the girl Yimm Wing Chun (which has been translated to mean Beautiful

Springtime, or Hope for the Future), and the two women set out refining the system.

The system was passed down through the years, and eventually became known as Wing Chun, in honor of the founder. The veil of secrecy around the art was finally broken in the early 1950's when Grandmaster Yip Man began teaching publicly in Hong Kong, and his students began gaining noteriety for besting many systems and experienced opponents in streetfights and "friendly" competitions. The art enjoyed even more popularity when one of its students, Bruce Lee, began to enjoy world wide fame.

Most important is the concept of not using force against force, which allows a weak fighter to overcome stronger opponents. Generally, a Wing Chun practitioner will seek to use his opponent's own force against him. A great deal of training is put in to this area, and is done with the cultivation of a concept called Contact Reflexes.

Also of importance are the use of several targeting ideas in Wing Chun. The Mother Line is an imaginary pole running vertically through the center of your body. From the Mother Line emanates the Center Line, which is a vertical 3D grid that divides the body in to a right half and a left half. Most of the vital points of the body are along the Center Line, and it is this area that the Wing Chun student learns to protect as well as work off of in his own offensive techniques.

Also emanating from the Mother Line is the Central Line. The Central Line is seen as the shortest path between you and your opponent, which is generally where most of the exchange is going to take place. Because of this linear concept, most of the techniques seek to occupy one of the two lines and take on a linear nature.

This leads to the expression of another very important concept in Wing Chun: "Economy of Motion". The analogy of a mobile tank with a turret (that of course shoots straight out of the cannon) is often used to describe the linear concept.

Only two weapons are taught in the system, the Dragon Pole and the Butterfly swords. These are generally taught only once the student has a firm foundation in the system.

The way the art produces efficent and adaptble fighters in a relatively short time is by sticking to several core principles and constantly drilling them in to the student, as well as taking a very

generic approach to techniques. Instead of training a response to a specific technique, the student practices guarding various zones about the body and dealing genericly with whatever happens to be in that zone. This allows for a minimum of technique for a maximum of application, and for the use of automatic or "subconcious" responses.

Much training time is spent cultivating "Contact Reflexes". The idea is that at the moment you contact or "touch" your opponent, your body automaticaly reads the direction, force, and often intent of the part of the opponent's body you are contacting with and automatically (subconciously) deals with it accordingly. This again lends itself to the generic concept of zoning.

Contact Reflexes and the concept of not using force against force are taught and cultivated through unique two man sensitivity drills called Chi Sao.

The concepts of guarding and working off of these lines and zones are learned throught the practice of the three forms Wing Chun students learn, and which contain the techniques of the system: Shil Lum Tao, Chum Kil, and Bil Jee.

Another unique aspect of the system is the use of the Mook Jong, or wooden dummy, a wood log on a frame that has three "arms" and a "leg" to simulate various possible positions of an opponent's limbs. A wooden dummy form is taught to the student, that consists of 108 movements and is meant to introduce the student to various applications of the system. It also serves to help the student perfect his own skills.

Weapons training drills off the same generic ideas and concepts as the open hand system (including the use of Contact Reflexes). Many of the weapon movements are built off of or mimic the open hand moves (which is the reverse process of Kali/Escrima/Arnis, where weapon movements come first and open hand movements mimic these).

Currently, there exist several known substyles of Wing Chun. Separate from Yip Man are the various other lineages that descended from one of Yip Man's teachers, Chan Wah Shun. These stem from the 11 or so other disciples that Chan Wah Shun had before Yip Man.

Pan Nam Wing Chun (currently discussed here and in the martial arts magazines) is currently up for debate, with some saying a totally separate lineage, and others saying he's from Chan Wah Shun's lineage.

Red Boat Wing Chun is a form dating back from when the art resided on the infamous Red Boat Opera Troup boat. Little is known about the history of this art or its validity.

At the time of Yip Man's death in 1972, his lineage splintered in to many sub-styles and lineages. Politics played into this splintering a great deal, and provided much news in the martial arts community throughout the 70's and 80's. By the time the late 80's/early 90's rolled around, there were several main families in Yip Man's lineage. To differentiate each lineage's unique style of the art, various spellings or wordings of the art were copyrighted and trademarked (phonetically, Wing Chun can be spelled either as Wing Chun, Wing Tsun, Ving Tsun, or Ving Chun). These main families and spellings are:

Wing Tsun -- Copyrighted and Trademarked by Grandmaster Leung Ting. Used to describe the system he learned as Grandmaster Yip Man's last direct student before his death. Governing body is the International Wing Tsun Martial Arts Association, and the American Wing Tsun Organization in the U.S.

Traditional Wing Chun -- Copyrighted and Trademarked by Grandmaster William Cheung. Used to describe a very different version of Wing Chun he learned while living with Yip Man in the 1950's. Includes different history of lineage as well. Governing body is the World Wing Chun Kung Fu Association.

Ving Tsun - Used by other students of Yip Man, such as Moy Yat. This spelling was considered the main one used by Grandmaster Yip Man as well. It is also used by many of the other students, and was adopted for use in one of the main Wing Chun associations in Hong Kong - The Ving Tsun Athletic Organization.

Wing Chun - General spelling used by just about all practitioners of the art.

WOODLAND INDIAN WRESTLING

The Woodland Indians also used wrestling as a way of settling personal disputes, especially those involving women or goods. Woodland Indian wrestling had no recorded rules except prohibitions against hair-pulling, and it was left to Protestant missionaries to introduce prohibitions against choking and bone-breaking during the 1840s. Victory in Woodland Indian wrestling consisted of using upper body strength to throw the opponent to the ground

WRESTLING - FOLKSTYLE, FREESTYLE AND GRECO - ROMAN

As the name implies, American folkstyle - also referred to as "Scholastic" or "Collegiate" - is a style that is unique to the United States (although mud wrestling is also popular). Both Freestyle and Greco can be found in just about any country in the world. Those two styles are the only styles of wrestling found on the international level. For that reason, you often hear of them referred to as "the international styles." On a philosophical level, the primary difference between Folkstyle and the "International Styles" (I'll lump them together for the time being) is evident in the scoring systems. Folkstyle is primarily concerned with the issue of DOMINANCE. The International Styles are primarily concerned with the issue of RISK.

A scoring philosophy based on dominance is primarily concerned with who is controlling who, who is maintaining dominant position on who, etc. You score points by DOMINATING your opponent. The international concept of "risk" is defined as turning your opponent's back toward the mat ("exposing" his back to the mat, or simply referred to as "exposure") and by how you take him down. For example, you get more points in International styles for throwing your opponent than for simply getting a "normal" takedown.

In freestyle, for example, takedowns are scored like this:

1 point - taking opponent down from feet or knees to the ground

2 points - taking opponent from knees to his back or across his back (i.e. - "exposing" his back to the mat on the way down)

3 points - taking opponent from his feet to his back or across his back

5 points - "high amplitude throw" - throwing opponent so that his entire body comes higher than your hips and taking him to his back, with his feet or head - whichever end is up - making an arcing motion through the air (such as a back arch, or a nice throw from a back step).

As you can see, how you take your opponent down is very important in freestyle (and in greco as well). Let's contrast this with how takedowns are scored in folkstyle:

2 points - taking opponent down from feet or knees

2 points - taking opponent from feet to back

2 points - high amplitude throw

2 points - spinning opponent on your finger like a basketball, then taking him to his back.

So in folkstyle, a takedown is 2 points, PERIOD. In folkstyle, only the 'ends' are relevant; which 'means' you choose is your affair. Folkstyle tells you, "We don't care how you dominate him, just dominate him! Take him down and pummel him, control him, dominate him!" In the international styles, the 'means' is just as important as the 'ends.' The international styles tell you, "Take him down and dominate him, BUT if you can pull off some impressive, risky technique while you do it, we'll reward you for it!"

For the reasons above, Folkstyle tends to be much more "no-nonsense" - since you are not rewarded for trying "fancy" moves, guys tend to stick with more high-percentage, low-risk types of attacks (e.g. - singles, doubles, front head locks, etc). International styles reward you for trying moves that might be a little riskier (e.g. - upper body work, throws, trips, etc.) so people tend to wrestle less conservatively in international styles.

Perhaps the biggest difference between the two styles is the mat work (i.e. - ground work). Since folkstyle is primarily concerned with the issue of dominance (who is controlling who) the bottom guy keeps fighting and scrambling to get off the bottom. The top man is trying to turn him toward his back, of course, but he has the added effort of keeping him down before he can turn him. The bottom man has incentives to fight off the bottom and escape - he will be rewarded with 1 point for escape (because he broke his opponent's dominance over him).

Mat wrestling in the International styles is very different. If I get taken down in International style competition, I don't have much incentive to escape - I don't get any points for breaking his dominance on me. So I just flatten out to avoid getting turned toward my back.

If the top guy fails in turning me over after about 10 or 15 seconds, the ref blows the whistle and brings us back to our feet again. In folkstyle, the top man is free to beat on me until I get out.

Another thing that helps illustrate the "dominance" vs. "risk" philosophy is how back points are scored ("back points" are scored by exposing your opponent's back to the mat). In International Styles, all I need to do is expose his back to the mat for a split second. I don't even have to have a takedown yet to score the back points! His back must turn more than 90 degrees toward the mat, and only for a short period of time, and I've got 2 points. I have succeeded in putting him at risk.

In folkstyle, I must expose him to this risk, but I must control him while doing it. First of all, I need to have established control (gotten the takedown). Then, I need to bring his back down to a 45 degree angle (not just a 90 degree angle) toward the mat. Also, I can't score back points with a split second exposure. I must hold him there for at least 2 seconds to get 2 back points; if I hold him there for 5 seconds or more, I get 3 back points (because I demonstrated a greater degree of dominance over him).

This also makes me a little less concerned about where my own back is in folkstyle. Since he can't score back points on me nearly as easily, I will be a little more relaxed in a scramble situation about where my back is. This is one aspect where freestyle or Greco is a little more conservative than folkstyle. In the international styles, you must constantly be aware of where your back is!

In Greco, you can't use legs. That's basically it. Greco is scored identically to freestyle, however, leg attacks are barred. You can't shoot to his legs or do any trips or anything. Down on the mat, you can't try to turn him with something like a leg lace, or spur him into a

WU CHIEN PAI

Wu Chien Pai, meaning "spaceless style," is a system which promotes an awareness that there is no separateness. The Wu Chien Pai martial arts develop a sense of harmony with nature and the self. The guiding principle of our system is Chi Tao, the Ultimate Way. Chi Tao is built on six principles: peace, love, freedom, happiness, health, and progress. These principles, when present in one's inner state, will be manifested externally

WU KUNG

The 'strong warrior' art of Shaolin and others. It conditions the body to war and privation, the mind to stress and the spirit to the power that war requires of the participant.

XINYI LIUHE QUAN

Xinyi Liuhe Quan (literally - Fist of Mind, Intention and Six Harmonies) is a martial art that has developed in Henan Province among Chinese Hui (Moslem) nationality. It is considered one of the most powerful and fighting-oriented styles among other Chinese Martial Arts, and for a long time it has been known for its effectiveness in fighting, while very few actually knew the practice methods of the style. Xinyi Liuhe Quan, along with Cha Quan and Qi Shi Quan (Boxing of Seven Postures), have been considered "Jiao Men Quan" ("religious - e.g. Moslem - boxing") meant to protect followers of Islam in China.

For more than two centuries the style had been kept secret and transmitted only to very few Moslem practitioners. Only at the beginning of this century first native Chinese (Han nationality) learnt the style, but still up to now the most skilful experts of Xinyi Liuhe Quan can be found within Hui communities in China.

Since the arts of Xinyi and Xingyiquan are generally divided into Hebei, Shanxi and Henan branches, the style is also called Henan Xinyi/Xingyi. In the West the style is often referred to as Ten Animals Xingyi.

The early history of the style is not very clear.

The art of Xinyi Liuhe Quan was passed secretly among Chinese Moslems and has been known as "the most cruel style among Chinese martial arts"

According to "Preface to Six Harmonies Boxing" ("Liuhequan Xu") written in 1750, the style was created by Yue Fei who "as a child learnt from a master of deep knowledge and became very skilful at spear play; (on this basis) he created a boxing method to teach his officers and called it "Intention Boxing" (Yi Quan); (the martial art was) marvelous and ingenious, unlike any other before. After the King (e.g. Yue Fei) (passed away), during Jin, Yuan and Ming dynasties the art was rarely seen. Master Ji, called Ji Jike, also known as Ji Longfeng living at the end of Ming and beginning of Qing dynasties in Zhufeng of Pudong (today's Zun Village in Shanxi Province), went to Zhongnan Mountains to visit teachers with deep knowledge there and received the boxing manual of King Wumu (e.g. Yue Fei) (...)".

According to "Ji Clan Chronicles" (Ji Shi Jiapu) Ji Longfeng's spear skill was extraordinary and he was known as "Divine Spear" (Shen Qiang). He created a fist boxing using spear principles and taught in Henan.

YABUSAME

The art of horsemanship combined with archery is still practised nowadays in Japan, mostly during Shintô ceremonies. This art is called YABUSAME. This Martial Art has been seldom practised until the end of the eighties, period when Grandmaster Hiroo Mochizuki re-introduced the techniques of the ancient Martial Art and conceived a method of Bajutsu adapted to modern times. Grandmaster Hiroo Mochizuki is part of an ancient Samurai lineage and is holder of numerous Martial Arts certificates and degrees (8th DAN Ju-Jutsu, 8th DAN Aikido, 7th DAN Karate, 5th DAN Iaido, 3rd DAN Judo and more).

YARI JUTSU

Japanse art of the spear

YAWARA RYU

Yawara Ryu takes its name from the terms used to describe meekness (Yawara Gi), Pacifier (Yawara Ge), and the Japanese character Yawara which can mean gentle or pliable, or can be used as a noun to describe grappling with weapons or unarmed combat. The school teaches a complete system, with a coherent methodology applied to both its armed and unarmed techniques. The principles and techniques of the system are founded on those previously tried and tested on the battlefield during the armed conflicts throughout Japanese history. From these, Ryu gi (sects or systems) developed differing methods or schools, each placing different emphasis on one aspect or another of the fighting arts. All, however, had one aim borne out of the Jutsu tradition, to provide an effective and direct way of dispatching an antagonist whether by killing or subduing him. What better "Melting Pot" or testing ground than this could exist for a combat self defence system to develop.

Yawara Ryu can trace its line of development back to the traditional Ryu which taught a large number of Sciences or Jutsu, but tended to specialise in one or two areas of study; thus students studied both armed and unarmed techniques. Students would also, at senior levels, study specialist skills such as underwater grappling (ashi-garami) and Kassei ho revival arts etc.

YAW YAN BUNO

It sounds chinese, the movements slightly resemble that of Thai-Boxing and Korea's Tae-kwon-do but the origin is strictly Filipino. Yaw-Yan is billed as the Philippine's most lethal martial art. The acknowledged originator of Yaw-Yan is Grandmaster Napoleon A. Fernandez, a native of Quezon province, himself an undefeated All-asian and Far-East Kickboxing champion. The word Yaw-Yan was derived from the two last syllables of "Sayaw ng Kamatayan" meaning "Dance of Death".

Contrary to most popular belief, Yaw-Yan is not purely a full-contact no-holds barred sport martial arts. It is a complete martial training with body-mind coordination and test of enduring indomitable spirit. More than just physical training, it also involves the mental disciplines of focus, concentration, alertness, flexibility, stamina, speed and continuity. Students train for real confrontation and actual fights -- on or off the ring. Advanced Disciples have to go through a rigorous ritual of practice and discipline consisting of actual full-contact sparring, bag hitting, and flexibility exercises. The Elbows (siko), knees (tuhod), and shin (lulod) are utilized in much the same way as in Muay Thai. Yaw-Yan practitioners have to learn 40 basic kicks, advanced disciples have to be able to execute and apply complexed advanced kicks requiring great dexterity, flexibility, and mastery. Most of these advanced kicks are trick kicks which always caught unsuspecting opponents by surprise.

YOSEIKAN BAJUTSU

Based on the most ancient warriors techniques of the Japanese feudal time, it is in fact the practice of the fighting methods used by famous Samourais. If the purpose of this discipline is not anymore today to do war, it remains nevertheless a military art, as well as a separate equestrian discipline.

This discipline groups together a set of varied techniques such as : archery on horseback, sabre fighting, spear launching, manipulation of the lance, the dagger and the stick, falling techniques, horsemanship techniques, training, equestrian vaulting, work with foot soldiers, show jumping, work with bare-hands (foot soldiers and riders), study of katas (canevas comparable in a way to dressage)...etc.

This art of equitation associated to the archery still continues in the practice of Yabusame (bow shooting practice practised nowadays in Japan during the traditional Shinto ceremonies). Formerly in Japan, one rose on horseback by the right-hand side, by carrying the weight of the body towards the back, contrary to the current custom. Samourai on horseback fixed the reins on a ring of its armor to have the hands free to fight or fire , and steered then its horse only by legs and weight of its body. The saddle was wood covered with tissue or with leather, and had a dosseret. Stirrups were wide and deep, allowing a stability at all speeds. The Ba (horse) Jutsu (technique) included complete courses of equitation with and without armors, going from the training of horses to the mastery of the aids, and included show jumping, crossings of rivers, as well as the learning of the customs of the different weapons on could handle on horseback : big sabres, bow, yari, naginata, ...etc. Every family warrior had her own techniques of Bajutsu. One of Bajustu's most ancient traditional school was called "Otsubo-ryü", created in the XV century ; this school used the big bow (Yumi) and very long bent sabre (O-dachi)

This archery, considered in Europe as "feudal lord" and non-noble, was in Japan, the privilege of the aristocrats and of some cavalry special body. For the fights, horses were protected by a leather armor with patches of metal on the chamfer. Bajutsu remained in Japan until 1600 when it disappeared definitively further to the use of firearms in the fight.

Today, things have changed a little, and so at the end of the 80s, the Japanese Boss Hiroo Mochizuki (coming himself from a lineage of Samourais), founder of the School YOSEIKAN retied with the tradition and put back in the style of the day, the practice of Bajutsu. Due to his previous history and strong experience of Budos (8th DAN Jui-Jitsu, 8the Dan Aikido, 7th Dan karate, 5th dan Iaido, 3rd Dan Judo,...,etc), Hiroo MOCHIZUKI, rider since his youngest age, encountered no difficulty conceiving modern Bajutsu within the reach of all.

Named since two years World Engineering Manager, it is to me that returns today the heavy task to conceive the technical program for this discipline. Helped by my faithful assistants among whom Olivier MATTON and Patrice JAMINET (who both present now their 2nd Dan), as well as by Valerie (specific training of the horses), I notice with enjoyment that after 7 years of existence in our country, Belgium has been followed in worldwide. Indeed, one speaks and practices (sometimes still confidentially) Bajutsu in France of course, but also in Germany, the Netherlands, Luxembourg, Switzerland, Italy, Canada and in the United States.

The functional aspect of Bajutsu for any type of rider still stands out because of the fact that for three years, the Equestrian Section of the Police of Mons follows Bajutsu Special Police courses. The bow is naturally not used directly anymore but rather in an educational purpose, but techniques for arresting and defence on horseback were developed to allow the policemen face many situations. The techniques of training used also allow a good education of the police's horse. So it is not surprising to see on one of the parking lots of the "Ecuries du Grand Royal", vehicules and horse trailers of the Police ; Valerie and I welcome every month these horses and police riders in training.

YOSEIKAN BUDO

Yoseikan Budo ("the house in which is taught with courage and honesty the way of the warrior") was founded in the early 60's by Hiroo Mochizuki Sensei, son of Minoru Mochizuki, one of the great martial artists of the 20th century. Mochizuki Hiroo Sensei has high Dan rankings in several martial arts, among them Aikido, Jujutsu, Wado-Ryu Karate, and Iaido. Yoseikan Budo is today spread throughout Europe, Africa and the USA. The FYBDA (Federation Internacional de Yoseikan Budo et Disziplines Asimilees) is the worldwide umbrella organization, which is subdivided in national Academies and regional federations.

Mochizuki Hiroo Sensei realized that most basic techniques are based on a wavy movement beginning in the hip, which produces much more power than when movement is limited to only extremities. These basic elements are taught and applied to all YB techniques. YB consists of modified) techniques of Karate, Judo/Ju-Jutsu and Aikido. The use of classical weapons as Bokken, Tanto, Bo, Nunchaku etc is taught as well as traditional and new forms (kata). Beginners usually study basic techniques for a year or so, including mae-geri, mawashi-geri etc, nage-waza, falls, foot-work, kata, etc. From 3rd Kyu to 1st Kyu more aikido-techniques and the use of weapons are taught. Competitions are held and consist of Kata, Randori, Tanto-Tanto, etc.

There was a split of the umbrella organization in the early years, leading to a sub-style (found primarily in the UA) with the name YB that focuses primarily on Aikido-techniques.

YUDO

Archaeologists have shown that cultural and technical advancement came to Korea through China. In turn, these advancements were later taken to Japan from Korea. Such advancements included unarmed combat techniques.

It is no surprise then that Korea has a rich martial arts history that includes all types of fighting skills. Though many people are familiar with Korean-style kicking and punching, most are not aware of Korean strangling, joint lock, or throwing techniques. They may not even know that the Koreans have complete unarmed fighting systems. Yudo is one such system.

During Korea's Three Kingdom Period, the Silla Kingdom (57 B.C. to 937 A.D.), developed specific throwing techniques for their Hwa Rang Do Warriors. Throwing techniques were also found in Taik Kyon, which could be considered Tae Kwon Do's predecessor. A primary throwing system, Kagju, was practiced in the Koryo Kingdom (918 A.D. to 1392 A.D.).

Many of the specifics of these techniques (but not all) would end up being lost to martial art historians. Many of them would later surface, however, in the various styles of Jujutsu in Japan.

Ironically, a complete unarmed fighting art would be reintroduced to Korea from Japan, by Jigaro Kano, after the Japanese occupation of Korea, shortly before the First World War. Jigaro Kano called his art Kodokan Judo, and it was a martial art based upon the application of scientific principles. A system specifically designed for self-defense.

Professor Kano was a distinguished educator and the Father of Physical Education in Japan. His martial art was unique in that it contained a self-defense system that allowed people to practice safely, in a form that could be taught easily as part of the public school curriculum.

His intent was never to have Kodokan Judo practiced as or modified into a sport. It is said that later in his life, Professor Kano witnessed a sport judo tournament and was dismayed at the lack of his applied scientific principles. Sport judo had basically become a contest of strength and resembled wrestling, instead of his martial art. Professor Kano was quoted as saying: 'This [sport judo] is not the Kodokan Judo that I teach, this will be the end of Kodokan Judo." Little did he know then, that he was foretelling Judo's future. Judo today is almost universally practiced as a sport, not for the purpose of self-defense -- except within the Republic of Korea (ROK) Yudo Association.

Yudo is the Korean pronunciation for Judo and some Koreans, both in ROK and in this country, tend to use the two terms interchangeably. Sports judo has flourished within the Republic of Korea and Korean sports judo players have distinguished themselves on the international tournament scene and in the Olympics. As is increasingly the practice however, I shall herein refer to Judo as referring to sports judo, Kodokan Judo as the teachings of Jigoro Kano, and Yudo as that form of self-defense which encompasses all of Kodokan Judo and incorporates additional traditional Korean martial arts techniques.

Jigoro Kano's teachings are the basis for the practice of Yudo within the Republic of Korea Yudo Association (ROKYA). Those teachings were reinforced and developed for the Korean practitioners by the teachers sent to the Korean Peninsula, from the Kodokan, during the occupation. The ROKYA have remained loyal to what they were taught by Kano, even when, during the Occupation of Japan following its defeat in World War II, all martial arts training halls were ordered closed, and when the Kodokan itself was allowed to re-open, it did so as a sport training center.

After liberation in Korea, the martial arts flourished, as ancient manuscripts were dug up from the ground in which they had been buried, hidden from the Japanese. Sport judo became very popular among the young, while the ROKYA remained loyal to its core teachings and began to reintroduce traditional Korean techniques to enhance its self-defense applications.

Yudo has no attack. The size of the attacker has no bearing on the ability of the defender to receive the attack, execute a technique, and satisfactorily terminate the incident. Since the student learns that the response chosen, in a given instance, must correspond to the nature of the threat encountered, minimum required force becomes the fighting standard.

This approach to self-defense inherently conforms to the American legal doctrine as it applies to use of force, and confronts the growing public concern with the level of violence demonstrated in many contemporary martial arts.

In time, sports judo outgrew it roots. Various sports judo organization were created to govern in the schools, colleges, universities, among the military and general public, and among the international and Olympic competitors.

By the second-half of the 1990's, the greying of the ROKYA had reached the point of serious concern, that traditional Yudo might be lost to future generations. It was time to transplant traditional Yudo, if the art was to be guaranteed survival.

In 1997, two senior Dans in Yudo, both Americans, were created by promotion certificates personally signed by Kim Chul Ho, then President of the ROK Yudo Association. In February 1998, the United States Yudo Association (USYA) was incorporated and in April 1998, formal approval was given for the installation of the USYA as the National Governing Body in the United States for the martial art of Yudo by the Yudo Committee of the Korean Martial Arts Instructors Association (KMAIA), a committee chaired by the new President of ROKYA, Lee Hwe Yul.

At the same time, approval was given for the rank requirements and the Yudo curriculum which had been proposed to the ROKYA by the USYA.

At a ceremony held in Seoul, Republic of Korea on November 1st, 1998 Grandmaster Joseph F. Connolly, II, was promoted to 9th Dan in Yudo by Grandmaster Lee Hwe Yul, President of the ROK Yudo Association.

Grandmaster Connolly is President of the United States Yudo Association. By this ceremony, the baton was passed -- from the Old World to the New World -- for Yudo. Grandmaster Connolly is the National Director for Yudo of the United States Martial Arts Association.

It is the intention of the USYA that the memory and teachings of Jigoro Kano be kept alive and that Yudo, now a uniquely Korean martial art, become the martial art for the coming millennium in the United States.

YU-SOL

Yu-sol is a soft Korean style that emphasizes non-resistance. Practitioners wait for opponent to make the first move and then counter-attack. Although popular for many centuries, it is no longer practiced.

ZANJI SHINJINKEN RYU

Zanji Shinjinken-Ryu is an ancient school of swordsmanship. One important difference between Zanji and other martial arts is that the form is designed to kill. Not wound, not injuire, not knockout. A sword is an instrument of death and it is the main tool of the Zanji.

A master of the sword art will carefully evaluate any opponent. Standing motionless, he will wait until the exact moment when, without thought or direction, he can attack instantly. If attacked, the response will be to parry and counterattack, instantly.

ZIPOTA

Basque unarmed fight discipline, resembling French 'Savate', related to armed Makila