Wednesday, 14 June 2017

The Secret of Wing Chun - Part III (Last One I Promise!)





Wing Chun has millions of followers worldwide, with huge support from the film industry it has achieved a cult like status. Wing Chun techniques translate beautifully to the big screen and after seeing Donnie Yen dispatch opponent after opponent its hard to not let the imagination run wild and think what if?!!!
Well complex choreography is not reality when it comes to violence and no one needs to look far to see how badly Wing Chun fighters have performed in no holds barred and mixed martial arts contests. The video above is just one example of many available. The usual excuses almost always follow any criticisms of Wing Chun, such and such a fighter wasn't a real Wing Chun expert, he wasn't able to use the dangerous advanced techniques, my master would have...... and Wing Chun is just for the street where there are no rules.

Well hats off to anyone who steps up to fight in MMA to test themselves, their ability and their practice instead of citing lineage, rank, anecdotes about the good old days when training was really hardcore and so on!

Fighters aside what does this say about the technical content of Wing Chun and most importantly the forms that are the core of the system?


Is this an effective way of preparing someone for the chaos of real violence? (note: the example is for demonstrating the first form practiced in Wing Chun and is not a comment on or critique of Yip Chun).

If the forms were not intended for unarmed combat could the original function have been for something more pragmatic? it was! Armed combat!


Nathan Johnson (demonstrating in video) has spent the last decade unraveling the original function of the mysterious Wing Chun forms (Note: Nathan has practiced and taught Wing Chun and Karate for over 40 years). Over the course of the next year Nathan will be gradually publishing his findings and will be available for seminars for those wanting to explore in depth the roots and origins of Wing Chun.

For more information please email kodoryutmaxwell@gmail.com






Thursday, 18 May 2017

Thursday, 1 December 2016

The Great Karate Myth Documentary





The Great Karate Myth presents 30 years of research into the Chinese forms brought to Okinawa by some of the early pioneers of Karate. These forms (kata) became the source material which Karate was originally developed from into the empty hand art practised globally today. The research led by Nathan Johnson and documented in several publications (Zen Shaolin Karate, Barefoot Zen and The great Karate Myth) has passed through several distinct phases, altering its course as various discoveries were made and new information was aquired.  In this documentary we will show that the forms and techniques sourced in the creation of specifically Goju-Ryu and Uechi Ryu (Naha-te) were originally concieved to be practised and applied with weapons (In this case Sai). The film will break down the function of the forms, context and environment for use, how and why kata were developed and the purpose they serve in cultivating skillful use of the Sai. It will also be clearly demonstrated why kata and forms practise serve as a poor vehicle for empty hand fighting and self defense. Our aim is to make this film available for free online and two types of DVD available with extra material. the standard DVD will contain the documentary plus the bonus film "Kusanku - A Work in Progress, and the Expanded edition will contain the bonus film plus interviews and an instructional presenting the complete breakdown and application of the kata Sanseriu with the Sai.

Tuesday, 12 April 2016

Dig a Little Deeper!


Following Senior Kodoryu instructor Matt Turner's excellent article on institutional discipline (https://martialsubjects.org/2016/04/08/institutional-discipline/) it is worth discussing briefly the passivity that develops in Karate students and how the lack of a critical approach particularly when it comes to kata study has lead to many assumptions and contradictions regarding the content of kata becoming the accepted norm.


Most of what is taught about kata is taken on face value, trust is placed in the instructor, lineage, grade and reputation etc. Combine this with a passive approach to learning which arises from the dojo discipline and the result is that many questions that should be asked never see the light of day.


Take one of the most common statements made about kata, that they are complete systems of self defense. How could this be true? How could a kata encompass the totality of self defense and violence and be rightly labeled complete? Most of the applications taught are based on the assumption that the confrontation is one on one and that no weapons are in play, this very dangerous assumption becomes embodied in the movements and techniques applied against the aggressor. How would the movement change and the technical repertoire differ if the possibility of being stabbed,cut or a third party jumping in and stamping on their head were considered? If kata is indeed as is commonly sold 'complete' then surely it should encompass surviving against more than one person or the possibility of a weapon(s) being used or presented amidst the chaos as well as a myriad of other important factors otherwise the statement would surely not be true??

Another popular assumption is that the original functions of kata are lost and we can never know what was intended for the antique forms when they were created. If this is true then how could it be known that a kata is complete system of self defense? and why should this assumption be accepted and repeated? "We don't know what the kata were originally for but they are complete systems of self defense", I'm sure the irony is not lost here.

Why do students not question and critically examine what is taught to them? why is evidence not demanded? part of the reason is the dojo culture of respect and discipline (or silent obedience) which is all to common in Karate. Should a Karate practitioner be happy to believe what they are told? or perhaps it is a time for a shift towards a more critical approach especially if the desired learning,skills and information might one day save their life.




Thursday, 11 February 2016

A Night at the Opera



The antique forms inherited from China and preserved in Okinawan Karate arrived from varying sources and have their roots in different functions and uses. Some encode military skills and the use of weapons while others were developed for policing, bodyguards and civil arrest/control. The popular assumption that these kata were all developed for empty handed self defense against a single unarmed opponent is a modern belief that just doesn't stand up against any real scrutiny and examination.

One source for Chinese forms and techniques generally overlooked and quickly dismissed as it would ruin the self defense beliefs of many is the culturally rich Chinese opera traditions. Stage combat and choreography is nothing new and as with all the arts in China it was cultivated to the highest standard. Within Operas and public performances of the arts complex choreography showcasing stories, myths and legends coupled with gymnastic excellence produced 'fight scenes' as convincing and as visually spectacular as what many enjoy today in the movies.

Techniques and postures which are physically demanding and at the same time immensely impractical within the context of a violent confrontation might historically belong on the stage. Movements inspired by practical martial skills presented in visually impressive postures and stances make for great choreography and may just be the 'Why' behind several antique forms.

Therefore it is important to not overlook this context and cultural tradition as one possible source for some of the kata inherited in Okinawa when researching the original functions.

Saturday, 14 November 2015

Naihanchi



A slightly older clip showcasing Nathan Johnson's (and Kodoryu members past and present) research into the kata Naihanchi and the form's original grappling function which catalogs joint locking techniques to be applied in a civil arrest context hence no striking or brutalizing of the person being restrained.