15 Popular Beliefs About Training at Shaolin Temple — Are They True or False?

During my annual visits to Henan, China, the head abbot of Shaolin Temple instructs one of the older monks to teach me what he thinks I need to know about the famed monastery and its style of kung fu. After 17 years of such treatment, I’ve been “enlightened” on a number of popular beliefs that Western martial artists hold. I offer the following to set the record straight.

Popular Belief No. 1: The Indian monk Bodhidharma (Tamo in Chinese) created Shaolin kung fu.

Not necessarily true. The senior monks don’t know whether he studied the animal movements and devised the fighting art himself or simply brought the skills with him from India.

building at Shaolin Temple

Entrance to one of the main buildings at Shaolin Temple, 1986

Popular Belief No. 2: When Bodhidharma came to China, his first stop was Shaolin.

Nope. He traveled first to the city of Nanjing because he was invited there by the emperor. The Indian monk also stayed at White Horse Temple but left because there was too much confusion and noise.

Popular Belief No. 3: Bodhidharma meditated for nine years at Shaolin.

Almost. He actually meditated in a cave on nearby Song Mountain. I’ve visited it myself; it’s a grueling hike up the mountain.

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Popular Belief No. 4: Bodhidharma was the Buddha.

No. He was actually a Buddhist monk, a 28th-generation disciple of Siddhartha Gautama, the historical Buddha.

Popular Belief No. 5: Monks have to be accepted into the temple, and they must start training at age 3 or 4.

Yes and no — maybe. In the past, that might have been true. These days, an adult can be accepted, even a married one, and being accepted doesn’t mean you’re a monk.

exhibit at Shaolin Temple

Part of a display that retells the history of Shaolin Temple, 1988

Popular Belief No. 6: Shaolin monks are concerned only with perfecting their fighting skills.

Not even close. Buddhism is a life of purity and atonement, and being able to improve the quality of other people’s lives. It’s basically a life of sacrifice. It’s no different from many other religions in that respect.

Popular Belief No. 7: The physical labor monks do in movies was never part of the real Shaolin lifestyle.

Not true. Before they’re allowed to practice kung fu, they have to build their physical strength and humility. They sweep, carry things and do other tasks. The temple is a national treasure, but its inhabitants still have to take care of everybody and everything there.

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Popular Belief No. 8: Young monks at Shaolin don’t receive a proper education.

Wrong. All children at the temple are educated in conventional subjects, as well as Chinese culture and Buddhism. They also do many chores to keep the temple in good working order.

Popular Belief No. 9: All monks get the same education.

They don’t. As a young monk progresses, he’ll usually get noticed by one of the senior monks or priests, who will take him on as a disciple. If that doesn’t happen, he won’t learn very much.

Popular Belief No. 10: A monk-in-training can have more than one mentor.

No. Each one has only one master, who accepts him as a son.

Popular Belief No. 11: All the monks live at the temple.

Most do. However, some are sent to other cities to help spread the Shaolin martial arts. The temple has a facility in which the monks live, and it’s pretty crude.

training at a commercial kung fu school near Shaolin

Chinese students training at a commercial kung fu school near Shaolin, 1988

Popular Belief No. 12: Once a monk starts training in kung fu, that’s all he does.

Not so. It’s a big part of his life — but not all. He also studies Shaolin culture, Buddhism, weapons, chi kung and Chinese medicine.

Popular Belief No. 13: Most visitors to Shaolin are kung fu students from America.

No way. More than 1 million tourists make the trek annually, and 90 percent of them are Chinese.

Popular Belief No. 14: Any tourist can come to Shaolin and train with the monks.

Unfortunately, no. I’ve seen the real training and the training tourists engage in, and they’re different. The real training is old-style Shaolin. The tourists stay in more modern facilities located near the temple and follow more modern training methods.

Shaolin monks at demostration in California

Shaolin monks demonstrating in California, 2003

Popular Belief No. 15: The monks are getting rich from their performances.

Nope. The individual monks have no income. They live at the temple, which provides food and clothing — a simple robe, pants and sandals. And they have their sleeping quarters. But real Shaolin monks have no money — nor any need for it.

(Photos by Robert W. Young)

Steve DeMasco is a Black Belt Hall of Fame member and a personal disciple of the abbot of Shaolin Temple. For a complete list of his books and DVDs — many of which are on sale now — click here.

Source: Black Belt Magazine

World Jiu-Jitsu Championship to Bring 1,000-Plus BJJ Competitors to Abu Dhabi

The Abu Dhabi World Professional Jiu-Jitsu Championship 2015 and World Jiu-Jitsu Children’s Cup will take place April 20-25 in this United Arab Emirates city of 2 million people. Celebrating its seventh year, the competition, organized by the UAE Jiu-Jitsu Federation, will be free for spectators to attend.

Spectators and athletes alike will enjoy an enhanced fan experience that includes an opening ceremony, sponsor-funded activities, family-oriented events, interactive booths and a raffle.

Abu Dhabi World Professional Jiu-Jitsu Championship

“Through six years of hard work, this competition has grown a phenomenal amount, positioning Abu Dhabi at the center of the sport as the global capital of jiu-jitsu,” said H.E. Abdulmunem Al Hashemi, chairman of the Abu Dhabi Jiu-Jitsu Federation. “The legacy of the event is already being felt locally and around the world, and we are immensely happy to be finalizing preparations for the 2015 installment.”

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One of the goals of the UAE Jiu-Jitsu Federation is to nurture the next generation of enthusiasts. To that end, the World Jiu-Jitsu Children’s Cup will run from April 20-22.

“This year is set to be an even bigger celebration of jiu-jitsu with a larger focus on the upcoming generation through the three-day World Jiu-Jitsu Children’s Cup,” Al Hashemi said. “These young fighters have the honor of opening the competition and warming up the mats ahead of the arrival of the biggest names in the sport for the three-day adult championship.”

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In the adult division, local fighters hailing from across the UAE will face challengers from Australia, Brazil, Portugal, Poland, United Kingdom, Japan, Canada, the United States and other countries. In 2014 an estimated 2,100 grapplers from 70 nations participated. In past years, UFC competitors such as B.J. Penn, Demian Maia and Urijah Faber have attended.

Abu Dhabi World Professional Jiu-Jitsu Championship

Since its introduction in the 1990s, Brazilian jiu-jitsu has become extremely popular in the UAE. It’s now taught to more than 40,000 schoolchildren in 100 government-run schools and is regarded as the national sport.

“Jiu-jitsu teaches all of the most positive aspects of sport requiring great mental strength [and] discipline while also encouraging respect,” Al Hashemi said. “These important core values are matched by the need for increased levels of fitness and health with the body and mind being worked in equal measures.”

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Abu Dhabi World Professional Jiu-Jitsu Championship

Among the sponsors and partners for the Abu Dhabi World Professional Jiu-Jitsu Championship 2015 and World Jiu-Jitsu Children’s Cup are the International Petroleum Investment Company, the UAE Armed Forces, Etihad Airways, Premier Motors and Land Rover, the Abu Dhabi Police, the Abu Dhabi National Oil Company, the Al Futtaim Group, Dolphin Energy Limited, Emirates Global Aluminum, Critical Infrastructure and Coastal Protection Authority, National Bank of Abu Dhabi, and the Abu Dhabi Tourism & Culture Authority.

(Photos courtesy of UAE Jiu-Jitsu Federation)

Source: Black Belt Magazine

Kingsman Features Fights That Would Make 007 Drool

In last week’s blog, I lauded the efforts of Hayley Atwell, the actress who delivers very convincing fight performances in Marvel’s Agent Carter TV series. This week’s topic is Kingsman: The Secret Service, a motion picture in which Colin Firth does that and more. In fact, his action scenes rank as perhaps the best combative achievement of a never-done-a-fight-on-film-before actor — at least, in the history of non-Asian martial arts movies.

Firth, of course, is renowned for his quintessential “British gentleman” roles — for example, in The King’s Speech (2010), both Bridget Jones’s Diary films (2004 and 2001) and Shakespeare in Love (1998). That’s why his Kingsman portrayal of Harry Hart is so amazing. He’s further out of his comfort zone than Jackie Chan would be if he did Shakespeare on stage in London.

poster for the movie Kingsman

The King’s Mission

I like to think of Kingsman as what you’d get if you crossed a James Bond movie with a 1970s Hong Kong kung fu flick in which a master takes a downtrodden street bumpkin under his wing and teaches him the physical and philosophical ways of kung fu.

Hart is a member of Kingsman, a clandestine agency that combats evil around the world. His training enables him to defend himself with the utmost confidence and competence. He walks through fights unfazed and emerges unscathed. Afterward, in typical gentlemanly fashion, he adjusts his tie and his cuff links, not even having broken a sweat or mussed his hair.

The movie Kingsman: The Secret Service

Eggsy, played by Taron Egerton, is a street-smart waif whose Kingsman father died because of a mistake Hart made. Raised by a single mom who’s somewhat of a floozy, Eggsy is now on the lam from thugs and lawmen. Obviously, his life is rapidly going nowhere. After Hart convinces him to apply to join Kingsman, Eggsy begins training, and all aspects of his existence start improving. That’s not surprising because the main philosophical tenet of the Kingsman organization is that one should strive to become superior to one’s previous self.

The King’s Nemesis

In Kingsman, many of the action sequences revolve around Eggsy and how he implements that self-improvement mandate while he transitions to manhood. Along the way, he’s forced to do battle with henchmen who work for an evil genius who threatens the world as we know it.

Kingsman: The Secret Service

That evildoer is Valentine, played by Samuel L. Jackson. Valentine has managed to hatch a plan for world domination despite his awkward idiosyncrasies and aversion to the sight of blood. Because of the latter, he delegates pugilistic duties to his sultry valet Gazelle, portrayed by Algerian model Sofia Boutella. A double amputee, Gazelle wages war with her “blade” prosthetics. They’re similar to the ones real-life athletes use, but hers are razor sharp. She’s like Goldfinger’s Oddjob but with much more slice and dice.

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The King’s Fight

“She’s called ‘Gazelle’ because she’s in total control of her legs,” said Boutella, who formerly worked as a dancer on Madonna’s concert tours.

“The stunt training for the film was intense,” Boutella continued. “They taught me Thai boxing, taekwondo and how to work with cables. Gazelle uses her legs to kill, so I had to learn different types of kicks. I’d never done anything like it before.”

Tune in next week — same Kingsman time, same Kingsman channel — to find out how Colin Firth became the “Bourne Bond” of the 2010s.

Photos by Jaap Buitendijk © Twentieth Century Fox/Poster © Twentieth Century Fox

Go here to order Dr. Craig D. Reid’s book The Ultimate Guide to Martial Arts Movies of the 1970s: 500+ Films Loaded With Action, Weapons and Warriors.

Source: Black Belt Magazine

How to Stay Motivated in Your Martial Arts and Fitness Training

“Real difficulties can be overcome; it is only the imaginary ones that are unconquerable.”

— Theodore N. Vail

Using half his speed, the coach threw a jab at the student’s face. Without flinching, the student parried the punch. “Good!” the coach said. “Let’s try again. I’m going to pick up the pace a little.”

The student smiled and nodded confidently. The coach threw a jab at three-quarters speed, but this time, the student wasn’t fast enough. The coach pulled the punch, his fist just barely touching the student’s face.

The coach frowned. “OK, let’s do it again,” he said. “Remember that I’m going to do it faster. Try to react quicker.” The student smiled, again with confidence, but the coach ended up having to pull his punch.

“I guess I can’t go any faster,” the student said apologetically.

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The coach proceeded to throw the punch at one-quarter speed, but the student barely managed to parry it. “One more,” the coach said. This time, the blow was even slower, and again the student barely managed to block it.

The student shrugged his shoulders. “I’m just not that fast, I guess,” he said sheepishly.

“Wait,” the coach said. The student wondered, Wait for what?

Without emotion, the coach walked to the gear locker and slipped on a pair of boxing gloves. He approached the student and threw several fast punches. The student’s smile faded.

“OK, we’ll do it again,” the coach said.

“But why are you — what are the gloves for?” the student asked.

“So you don’t get hurt too badly if a punch gets through,” the coach replied nonchalantly. “I’m not going to hold back. I’m going to hit you in the head.”

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The student’s eyes bulged, but before he could say another word, a punch flashed at him half speed. The student blocked the strike with ease. “Again!” the coach ordered as he threw several more strikes in rapid succession. The wide-eyed young man blocked each one.

“Again!” This time, the punches were almost full speed, but the student blocked each one even though his technique was a little sloppy. Nevertheless, his movements had developed a new vitality. There was energy and spirit in each parry.

The coach stopped, stepped back and grinned. “OK, that’s enough for now,” he said.

Somewhat bewildered, the student returned the grin and stared at his coach’s back while he walked away. He couldn’t see the smile forming on his coach’s face.

***

Morne Swanepoel

I’ve been training since 1976. The martial arts have been my profession and way of life since the early 1990s. During that time, I’ve often been asked how a person can stay motivated. How does a student get up every morning and jump into his or her training routine? How does a practitioner avoid becoming part of the majority, the people who give up before reaching their goal?

“Difficulties should act as a tonic. They should spur us to greater exertion.” — B.C. Forbes

If someone asks me what a martial artist ought to devote the most time to, I always say training. Train more than you sleep. I attribute my ability to keep on training, decade after decade, to Mister Mo.

Mister Mo is motivation. Mister Mo means no retreat, no surrender — no retreat from hard work, no surrender to laziness or sloppy form.

Mister Mo should be the most important person in your life, even more so than your teacher or your classmates. It’s good to have an end to journey toward, but it’s the journey that matters in the end.

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Mister Mo is the one who urges you to attend class when you’d rather stay home and watch television. He’s inside you when you do the extra kick, punch or takedown. He wipes the sweat from your eyes so you can crank out a dozen more reps of that technique that’s been so difficult. He keeps you training month after month, year after year. He drives you to face your physical and mental limitations. He forces you to confront laziness, failures and the fear of success. He makes you walk the endless path of the martial arts. He encourages you to push yourself to your limit and beyond. He helps you tune out the pain as you drive yourself to victory over yourself.

“A desire can overcome all objections and obstacles.” — Gunderson

Teachers can open the door, but you must enter by yourself. Avoiding pain might be the biggest motivational factor there is. Doing a proper technique to avoid a broken nose is an example of external motivation. Most people who train in the martial arts do so, at least initially, because they want to learn self-defense. They don’t want to get hurt if they’re attacked. For those who enjoy the sport aspects of the arts, external motivation may be the next tournament trophy. For some, it’s the next belt. A student will sometimes quit after reaching a particular rank. The belt was the goal. Once it’s earned, the student no longer has motivation. Mister Mo leaves the building.

Unlike external motivation, internal motivation is a more difficult concept to understand. Internal motivation is the desire to excel for the sake of pursuing excellence. Internal motivation means you’re competing against yourself, not others. It means you want to do as well as you can, regardless of how others do. Internally motivated students tend to persist in their training. While they’re satisfied with each promotion, they’re driven to succeed beyond rank or trophies. They train because they want to improve, not because they want to impress others. If you cannot find the truth right where you are, where else do you expect to find it?

***

How can you stay motivated day in and day out?

•          Search for that drive to succeed.

•          Become mentally motivated. Mister Mo is in all of us. You can call on him at any time when things get tough.

•          Don’t worry what others are doing. If you’re trying to surpass someone else, you’re limited to what that person has done. You must have no limits. Always strive for excellence.

•          Set more challenging goals and record them in a journal or diary. Pick a time to review your goals and evaluate your progress. Then set new goals.

•          Focus on your growth and development as a martial artist and as a person. Learn joyfully, then share joyfully. Daily improvement in every aspect of your life is the overall aim. Don’t just think positive; act positive.

•          Be yourself, but be the best of yourself. And when you feel discouraged, don’t be afraid to call on Mister Mo.

Morné Swanepoel is a South Africa-based martial arts teacher, MMA coach and fitness instructor. For more information, visit CombatCoaching.com.

Source: Black Belt Magazine

Wisdom of the Martial Arts: Advice for the Dojo, Advice for Life!

For cerebral students of self-defense, a favorite facet of the fighting arts is the accumulated wisdom that’s conveyed in class, in books, in magazines and on television.

These comments and observations tend to sum up much broader concepts, putting them in bite-size chunks anyone can digest. The following are a few faves from some martial artists you know, as well as some martial artists you probably haven’t heard of.

Mas Oyama

Karate is not my hobby. It is my life.”

— Mas Oyama, founder of kyokushin, from the Summer 1963 issue of Black Belt

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***

“As instructors, we’re teaching children and young adults to respect others and their elders. We focus on discipline and doing the right thing, not just how to injure someone.”

— G.K. Lee, chief master of the American Taekwondo Association

***

“Karate, as a method of combat, isn’t a bag of tricks or specific responses; it’s a series of principles, physically enacted, that allow for a freedom to implement a wide range of responses that are spontaneous.”

— Dave Lowry, Black Belt contributing editor

***

Bong Soo Han

“Without the philosophy and spirituality, martial arts become meaningless and just a dangerous sport.”

— Bong Soo Han, hapkido pioneer

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***

“Gain ground with every punch, kick and block. You don’t train to fight one way and then perform kata another. Your kata should support your fighting; all your movement should support the hit. You’re only as good as your ability to hit.”

Gary Alexander, isshin-ryu karate

***

“The development of physical attributes, psychological conditioning and legal knowledge for the purpose of personal protection. The goal is to escape physical harm and protect loved ones by using whatever means are necessary within the boundaries of the law.”

Kelly S. Worden, when asked to define self-defense

***

Ed Parker

“What is true for one person may not be true for another. The real truth for both lies in the moment of actual combat.”

— Ed Parker, American kenpo pioneer, as reported in Black Belt, 1979

***

“Each instructor is naturally biased toward his own style. Each will naturally say his style is superior. As has been said so many times before, however, an instructor is only as good as the students he turns out.”

Chuck Norris, writing for Black Belt

***

“Success boils down to having a reflexive response to an attack.”

William Cheung, wing chun kung fu master

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***

Jigoro Kano

“There are two types of judo. Small judo is concerned with only techniques and the building of the body. Large judo is mindful of the pursuit of the purpose of life: the soul and the body used in the most effective manner for a good result.”

— Jigoro Kano, Black Belt, February 1971

***

“Without balance, there’s no control.”

— Gary Alexander, isshin-ryu karate

***

“The ability to free-spar or fight well is the result of training and should not be the primary means of training.”

— Robin Rielly, sixth-degree black belt in shotokan

***

Mas Oyama

“The best reason for learning karate is to develop character — to make a good man first and a strong man second. This must be understood to advance.”

— Mas Oyama, Black Belt, Summer 1963 issue

***

“Force your opponent to make his body rigid and lose his balance, and then when he is helpless, you attack.”

— Jigoro Kano, Black Belt, February 1970

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***

“During free training, beginners will usually practice the last thing they were taught while advanced karateka will spend time working on what they learned first.”

Dave Lowry, Black Belt contributing editor

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***

“It is said that a man’s weapon was the sword and a woman’s was the fan, and the fan did more damage.”

Rick Steves in his self-titled travel documentary series, talking about England in the 1600s, a period when the fan was a tool for flirting.

Source: Black Belt Magazine

Agent Carter, Another Butt Kicker in the Marvel Cinematic Universe

In the 2014-15 network TV season, there’s been an increase in the number of heroines who are able to physically handle themselves against male opponents. They include Laura Diamond in The Mysteries of Laura on NBC, Meredith Brody in NCIS: New Orleans on CBS, Sameen Shaw in Person of Interest (also on CBS) and the most engaging one of all, Peggy Carter in Marvel’s Agent Carter on ABC.

What’s impressive about the actresses who portray these law-enforcing characters is that they have no background in action film or television and no experience in the martial arts — yet they all do decent fight scenes. Granted, stunt doubles are inserted to maintain the slick pugilistic intensity, but it’s done sparingly and doesn’t disrupt the energy or visual rhythm. Often, the key to making these film fights work is ending things on a high combative note: a knockout punch or kick, a dynamic throw into a piece of furniture, or a violent hurling through a door or window.

The Difference

That said, what’s so unique about Agent Carter? The actress who portrays the lead character and the setting in which she gets things done.

At least 105 films have been adapted into TV shows. Of the 52 live-action programs based on films, only one features in both the film and TV incarnations a main character who’s played by the same actor — in this case, Hayley Atwell.

As Carter, she’s the trusted friend of Howard Stark (father of Tony Stark, aka Iron Man) and the girlfriend of Steve Rogers (aka Captain America) in Captain America: The First Avenger (2011) and Captain America: The Winter Soldier (2014).

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That gives Agent Carter a strong sense of continuity and makes it easier for the audience to connect with the heroine. Thus, even though Captain America isn’t in the TV series, when Carter flashes back to her relationship with Rogers, it doesn’t feel forced.

The Setting

It’s 1946, and Carter, a former French resistance fighter and intelligence gatherer, works for the SSR, an American covert agency that monitors the Soviet Union. Disappointingly, she’s assigned only jobs that women are thought capable of: doing administrative work, fetching coffee, ordering lunch, filing papers and so on. It’s the embodiment of sexism.

In reality, however, Carter is on a secret mission to clear the name of Howard Stark, whom the SSR suspects is selling weapons of mass destruction to the Commies.

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Enter Russian spies and assassins. Carter is tasked with stopping their latest plot to destroy America: Project Leviathan. That mission puts her directly into the fray, where she gloriously whoops and wails in up-close-and-personal hand-to-hand combat. Built like a brick house, Carter can kick a man’s butt so badly that his colon becomes a semicolon.

The Star

“I’m very clumsy,” Atwell jokingly admits. “I’ve unfortunately kicked various stuntmen in sensitive areas, and I’m not that popular with men on set.

“I’ve hit a grip over the back with a lead pipe and kicked a chair into one of the assistant directors, all while I was rehearsing stunts.”

Yet on camera — with help from quick pans and close-up shots — Carter looks coordinated, confident and smooth. Credit goes to Atwell, as well as the fight choreographer.

(Photos courtesy of ABC)

Go here to order Dr. Craig D. Reid’s book The Ultimate Guide to Martial Arts Movies of the 1970s: 500+ Films Loaded With Action, Weapons and Warriors.

Source: Black Belt Magazine

The Life and Times of American Martial Arts Pioneer Donn F. Draeger, Part 2

Donn F. Draeger’s personal life remains a mystery, if not actually mysterious. It’s fairly well-established that he was once married, possibly to a fellow Marine, and that the couple had a son before the union ended, but to date nothing more is known of that part of his life. Lady friends came and went, but not one remained long after she realized that his ultimate devotion in life was to martial arts training and study. Focused like a laser, he was too self-directed for permanent or, apparently, even long-term relationships.

While that would make it appear that he was somewhat self-absorbed, anecdotal evidence indicates something very different. Practically all those who came in contact with Draeger recall his essentially gentle and easy manner — quick to advise, help or educate without thought of personal benefit. As one of the earliest postwar foreign budoka in Japan, he seems to have acted as a true anchor and one-man support system for the many foreign martial artists who came to study in the 1960s and ’70s, helping them adjust to life in an unfamiliar culture.

Donn Draeger(Photo courtesy of Paul Nurse)

During his own early years on the Japanese islands, Draeger began training in the classical martial arts and was permitted to join the Kobudo Shinko Kai, the Classical Martial Arts Preservation Society, a research organization in which he was the sole international component. Believing the society’s focus too narrow, however, he eventually broke away to form what became known as the International Hoplology Research Center, now the International Hoplology Society.

Well-read in a variety of disciplines, particularly history, anthropology, engineering, sociology, physical education and cultural studies, Draeger nevertheless found his attempts at establishing hoplology as an academic discipline to be an uphill struggle. He faced a generally hostile scholarly fraternity that was aghast at the idea of formally studying combative behavior in human activity, and as something of a “jock” personality — a typical Marine, he was fond of ribald puns and bawdy limericks — he was not taken seriously by the professional scholarly community, which viewed him as nonintellectual. (However, witnesses to the occasional debates Draeger had with professional academics maintain that he acquitted himself extremely well. In addition, his books are soberly written treatises on what even for many Asian specialists are esoteric subjects.)

Course Correction

In the meantime, Donn Draeger continued his career in the Marine Corps. Some time in the early 1950s, he was sent to South America on behalf of both the USMC and the State Department on some sort of intelligence duty before returning to regular service. As second in command at the Inter-American Defense Fund in Washington, D.C., he practiced judo regularly at the Pentagon dojo with such stalwarts as Robert W. Smith and Capt. John Denora. He also continued his weight training and pioneered the postwar establishment of judo associations in the Americas.

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A career as an officer would be a full enough plate for anyone, but Draeger’s involvement with his chosen arts hardly ended with training. In America, he co-founded the first national judo body, the Amateur Judo Association, and later played a role in establishing the Judo Black Belt Federation, which became the United States Judo Federation. He also co-founded the Pan-American Judo Federation and either founded or helped develop several Eastern U.S. judo clubs as well as the East Coast Black Belt Association. For many years, he acted as the liaison between Japan’s Kodokan Judo Institute and the United States Judo Federation. Later, he introduced the Japanese stick-fighting art of jodo to Malaysia and America, helping establish that system’s international federations.

Donn Draeger

(Photo courtesy of Paul Nurse)

A reduction in U.S. forces in the postwar period meant that Draeger wouldn’t enjoy a full career in the Marines. Possibly riffed out in 1955 or 1956 (rather than resigning his commission, as is generally assumed), he took his discharge after roughly 16 years of service to end with the peacetime rank of captain and the wartime rank of major.

Thereafter, he moved to Japan and commenced a career as a student, teacher and writer of the martial arts, penning a series of articles for Strength and Health and Muscular Development magazines and writing the first Western, nonpopular pieces on shindo muso-ryu jodo and Mas Oyama’s kyokushinkai karate-do. His first book Judo Training Methods: A Sourcebook, co-authored with Ishikawa Takahiko, was published in 1961 and has recently been reissued by Kodansha.

A yondan in judo by the time he arrived in Japan, Draeger spent his years in the Pacific Rim living a life that would later read like an entry in a who’s who of martial arts accomplishments. Delving more deeply into the Japanese combative ethos than any Westerner before or since, he became the first non-Japanese judo instructor at the Kodokan Judo Institute (Foreigners Section); the first non-Japanese to demonstrate kata at the All-Japan Judo Championships and the 1964 Tokyo Olympics; the first non-Japanese to compete in the All-Japan High-Dan-Holders Judo Tournament; and one of the first non-Japanese — and definitely the first Caucasian — allowed to enter the koryu. He also became the first foreigner permitted to compete in Japanese jukendo (mock bayonet) tournaments, eventually winning so many events that he was no longer allowed in.

But Draeger was more than a highly trained and skilled martial artist. As an author and researcher with several dozen books to his credit, he crafted works that are considered the most reliable and often the only texts on Asian combative systems in foreign languages. His most famous books are Comprehensive Asian Fighting Arts (co-authored with friend and colleague Robert W. Smith) and his celebrated three-volume Martial Arts and Ways of Japan (a series composed of Classical Bujutsu, Classical Budo, and Modern Bujutsu and Budo). At different times, Draeger also served as a contributing editor for Judo Illustrated, published several issues of a journal called Martial Arts International and established Hoplos, the official organ of the International Hoplology Research Center.

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Even his recreation tended to be combatively oriented. By the time of his death, he’d amassed a substantial collection of Japanese prints representing combat systems, particularly jujitsu and sumo. In 2004 a selection of those sumo prints, on loan from his deshi Phil Relnick, who inherited them, became the basis for a well-received exhibition at the Seattle Art Museum. It was titled Larger Than Life Heroes: Prints of Sumo Wrestlers from the Donn F. Draeger Collection.

Later Years

For some time during the early to mid-1960s, Donn Draeger lived with a number of housemates in a large Meiji-era dwelling in the Ichigaya district of Tokyo. The building became something of a waystation for transient martial arts students in the ’60s, among them judoka and karateka Jon Bluming of Holland, Jim Bregman of the United States and Doug Rogers of Canada, as well as the Welsh karateka and writer C.W. Nicol, whose Moving Zen evokes wonderfully this now-storied period.

While in Japan, Draeger made ends meet by living on his military pension, teaching English conversation, instructing at the Kodokan and occasionally serving as an extra, stuntman or stunt coordinator for Japanese and foreign films. While his most famous “role” was as Sean Connery’s stunt double in the James Bond opus You Only Live Twice (1967), he also took some falls for John Wayne during the comic jujitsu scene in John Huston’s Barbarian and the Geisha (1958).

Donn Draeger and Sean Connery

Donn Draeger rehearses while Sean Connery watches on the set of the James Bond movie You Only Live Twice. (Photo courtesy of United Artists)

Draeger’s personal habits were simple and natural. Disdaining tobacco and alcohol, he spent his final years in a small, two-room flat in Narita, Japan, that was neither heated nor air-conditioned. Later in life, he usually rose with the sun and went jogging, often with the local baseball team. Like many uber-physical people, as he grew older he was mortified to discover that he couldn’t keep up with players in their teens or early 20s.

While trying to establish hoplology as a recognized academic discipline, Draeger taught as a guest lecturer at the University of Maryland and the University of Hawaii. He also spent approximately four months a year on field trips in Asia teaching, visiting schools and studying combative methods, which he subsequently analyzed, recorded and sometimes published.

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During the last of those journeys in 1979, misfortune struck Draeger and his team on the island of Sumatra. While visiting the Atjeh tribe, it appears that the entire group was somehow poisoned — perhaps deliberately — and as a result developed severe amebic dysentery requiring hospitalization. Although he recovered from the illness, Draeger began losing weight and grew increasingly weak. His legs swelled, causing great pain, and he found it difficult to walk or stand for very long. Serious training became difficult, then impossible.

After repeated visits to Tripler Army Medical Center in Honolulu, it was discovered that Draeger had cancer of the liver. Returning to his home state to die, he stayed first with his half-brother before moving into a veteran’s hospital. It was there, on October 20, 1982, exactly 92 years after his hero Sir Richard F. Burton died, that Donn Draeger passed away from metastasized carcinoma. He was buried at Wood National Cemetery in Milwaukee, a 50-acre final home to more than 37,000 American veterans. Draeger’s grave lies in Section 4, Site 377.

Lasting Legacy

Donn Draeger may have passed on — or “changed,” as the Taoist saying goes — but his legacy continues more than a generation after his death. His books remain standard texts, his students continue teaching and researching, and as of this writing, a full-length biography is being prepared by his hoplological successors. The International Hoplology Research Center has become the International Hoplology Society, publishing Hoplos and a newsletter called Hop-lite. Its director Hunter B. Armstrong, a former deshi of Draeger’s who accompanied him on several research trips, has continued with the onerous task of developing hoplology as a scholarly discipline.

This is as it should be. As something of a gold standard for martial artists the world over — competent, calm, studious, educated and literary — Donn Draeger transformed Western combative activities from a pastime and technical study to a formal, expansive investigative examination.

A towering figure in the martial arts world, he effected an influence that could not readily end with his passing. It will continue to illuminate the study of international combative systems for the foreseeable future, providing impeccably wrought portals into the complex world of the fighting arts.

Read Part 1 of this article here.

About the author: Paul Nurse is a freelance writer based in Burlington, Ontario, Canada.

Source: Black Belt Magazine

The Life and Times of American Martial Arts Pioneer Donn F. Draeger, Part 1

On October 20, 1982, the martial arts world lost one of its most dynamic and charismatic figures. Donn F. Draeger, USMC (retired), budo kyoshi (full professor of Japanese martial arts and ways) and ranked martial artist in perhaps a dozen combative systems, passed away from cancer at age 60 in his home state of Wisconsin.

Draeger is remembered today chiefly as the author of more than 30 books and numerous articles about the Asian martial arts, as well as for being one of the best-qualified and most experienced Western exponents of the combative arts. The oft-repeated legend that he either had or possessed the equivalent of some 100 black-belt ranks is perhaps apocryphal, but he no doubt was among the most accomplished martial artists of his generation, possibly of all time. He held a sixth-degree black belt in judo; a seventh degree in jojutsu (Japanese stick fighting), kendo and iaido; and a menkyo license in the tenshin shoden katori shinto-ryu of bujutsu.

Donn Draeger

Yet Draeger was a private man, and little has been published about his background and how he came to be such a pioneering figure in Western martial arts history. More intent on studying and analyzing than on promoting himself, he made perhaps his greatest contribution to combative studies in the form of the reactivation of hoplology — the scholarly study of weaponry and human combative behavior, a field with which he became familiar by reading Sir Richard Francis Burton’s The Book of the Sword. This volume, first published in 1882 (and available today from Dover Publications), is a seminal hoplological text devoted to a cultural history of the sword from the earliest times to the Roman era, and it had a profound influence on Draeger’s thinking concerning weaponry, systems of combat and their place in global culture.

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But it’s as a pioneering figure in the worldwide investigation into martial culture that Draeger deserves attention, both for his acknowledged contributions and his extensive influence. What follows is a brief attempt at reconstructing Draeger’s personal history from various sources. Whenever possible, the facts have been checked and double-checked to produce an accurate sketch of one of the most remarkable Americans of his generation.

The Beginning

Donald Frederick Draeger was born on April 15,1922, probably in Milwaukee and most likely of German or Dutch descent. Little is known of his family — he may have been an only child — although it appears that after his biological father’s death, his mother remarried, for he had a half-brother named Gary. What is known is that as a boy, Draeger was fond of sports and the outdoors, spending his summers living with members of the Chippewa nation in the northern Wisconsin wilderness. There he learned various aspects of woodcraft and gained the respect of adult tribesmen via his ability to grapple and defeat boys older, larger and stronger than himself.

It was perhaps from this early association with the Chippewa that during the first half of his life, Draeger became an avid hunter. His first recorded fascination with weapons was with firearms. Buying a .22-caliber rifle with money earned from odd jobs, he was able to progress from stalking small game to hunting on most of the continents and accumulating more than 40 trophy heads, including those of the grizzly and Alaskan brown bear. Later, however, he came to detest killing animals except as a means to procure food or when required for self-defense. He renounced the sport and became quietly passionate in his respect for life.

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His early prowess with the rifle, however, was nearly unmatched. In time, Draeger became so efficient that while in the U.S. Marines, he qualified as a distinguished marksman, able to shoot from the hip with the same expertise as many who shot from the shoulder. Only a family death prevented him from accompanying the Marine marksmanship team to the national championships.

Martial Roots

From all accounts, Draeger was a natural athlete, one of the few who possess the right physical equipment for most endeavors. Standing in maturity 6 feet 2 inches tall and weighing between 195 and 215 pounds, he was fortunate in that he was big-boned, with large hands for gripping. Beginning the study of jujitsu at age 7 in Chicago, he soon switched to judo and progressed so rapidly through the kyu grades that he attained nikkyu at age 10.

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Early in his judo education, Draeger began looking into weightlifting as a form of supplementary training — at a time when using weights for any athletic purpose was deplored by most coaches. After his investigation, he pronounced it a sound system and started working out in earnest with barbells, eventually gaining a physique that was the envy of many bodybuilders. Robert W. Smith relates that while living in Washington, D.C., during the early 1950s, Draeger was approached by several weightlifting/bodybuilding officials who thought he’d be a shoo-in for that year’s Mr. America contest if he trained full time.

Devoted to judo, Draeger declined and continued lifting weights only for strength and greater efficiency in his chosen endeavors. An early advocate of proper weight-training methods for athletic contests, he influenced the Japanese with his support for pumping iron. Taking the late Inokuma Isao under his wing, Draeger became his personal trainer for the All-Japan Championships, the Olympics and the World Championships, increasing the athlete’s weight from 160 pounds to more than 190. The most tangible result of Draeger’s avid promotion of weight training for competitive judoka may be that today, all Japanese judo champions use weights.

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Draeger’s own physical prowess was unquestionable. Strong and extremely solid — even though over time, injuries caused him to focus more on studying the koryu (ancient martial traditions of Japan) — even in his 50s he was capable of defeating many Kodokan judoka half his age. At 55, he could still squat with 500 pounds on his shoulders.

Military Career

During the Great Depression, the 15-year-old Draeger joined the U.S. Marine Corps, continuing his education — and eventually earning a master’s degree in electrical engineering — so he could become a career officer. He saw combat in the Pacific and Korean Wars and served for a time in Manchuria. He was also in the Shanghai area of China, although his mission there is unclear. From a mention in C.W. Nicol’s classic 1975 memoir Moving Zen, it seems a virtual certainty that Draeger was on Iwo Jima during the celebrated February-March 1945 battle that saw almost 26,000 American casualties and more than 22,000 Japanese killed.

After the war, as a young Marine lieutenant and judo black belt, Draeger made his first visit to Japan as part of the occupation forces. Although most Japanese martial arts were proscribed in the immediate postwar period, he sought out highly regarded exponents such as the legendary judoka Kimura Masahiko, with whom he hoped to train. Years later, he studied directly under Mifune Kyuzo, Sato Shizuya and Ito Kazuo (becoming the uke in the illustrations for Ito’s famous English-language book This Is Judo).

Draeger’s judo background also led to his being on the official military board of the Supreme Command of Allied Powers in Japan, where he helped decide the status and political responsibility of the various Japanese martial systems. Most of the arts that were demonstrated were banned for having been associated with militarism, although karate-do, curiously, was exempted.

An anecdote tells that while a member of this board, Draeger watched as karateka under Gichin Funakoshi demonstrated their kata at a deliberately slow pace to make it seem like a form of exercise along the lines of Chinese tai chi chuan. As the only member of the board who understood karate-do’s true nature and intent, Draeger later claimed he allowed it to pass without the other board members’ knowledge.

(To be continued)

About the author: Paul Nurse is a freelance writer based in Burlington, Ontario, Canada.

Source: Black Belt Magazine

Keanu Reeves Learns Judo and Jujitsu for His New Movie John Wick

Keanu Reeves disappointed some film fans with his combative roles in 47 Ronin (2013) and Man of Tai Chi (2013), in part because he looked out of place and miscast. That’s especially ironic when you consider that Reeves directed — and cast himself in — Man of Tai Chi. But like an old Jaws 2 trailer, Reeves is back, and this time it’s personal. His latest neo-hero actioner is titled John Wick. In it, Reeves returns to the mentality that transformed him into a martial arts hero with his “Neo” performance in The Matrix (1999). In John Wick, however, everything is personal, and that’s what makes the film and the fights work.

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Keanu Reeves in the movie John Wick

The plot: Wick, the most ruthless assassin in the history of Russian organized crime, pulls off an impossible feat of killing belligerence, earning himself the right to leave the mob. Then a young egotistical idiot at a gas station unwittingly draws Wick out of retirement, and the burning candle wick from hell unleashes a hurricane of vengeful fire.

As I mentioned in my blog about Jupiter Ascending, John Wick reunites Reeves with his stunt double Chad Stahelski from The Matrix. This time, however, Stahelski, who got his big break in the biz by being Reeves’ stunt double in Point Break (1991), serves as director.

Keanu Reeves, star of John Wick

The martial arts: Many folks know that in order for the members of the Matrix cast to do their own fights, each actor had to endure three months of intensive martial arts training. The clock was turned back to that era as Stahelski and his producing partner, former stuntman David Leitch, took active roles in developing a hybrid style for Reeves’ character in John Wick.

“We had to be able to change things as we went along, so it was essential for Keanu to be proficient in a variety of techniques,” Stahelski said. “He spent four solid months getting in shape, learning judo and jujitsu. We wanted to use practical grappling martial arts and mix in guns, so we created a new style of close-quarters combat.”

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Although the resulting style is slightly akin to the “gun fu” that Christian Bale used in Equilibrium (2002), John Wick exhibits a creative simplicity that gives Reeves’ combat scenes a ferocious honesty. Each fight tells a story about the character’s past and present, the brutal choreography counterbalancing the effects of his grievous loss. The fights aren’t there for the filmmakers to say, “Look how cool we are!” but to reveal the emotional angst behind the character.

The production: Because Reeves could do most of his own fights and stunts, Stahelski didn’t have to worry about trying to hide the face of a double. That meant the battles could be filmed with longer takes and the crew wasn’t pressured to rely on fast cuts, long lens or the ubiquitous “earthquake cam.”

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“Chad created longer, mise-en-scène scenarios instead of using just quick cuts, which I was really excited about,” Reeves said. “The choreography became very complicated. It’s bang, bang, bang and then throw someone, stab them — all sorts of fun stuff.”

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(Photos by David Lee/Lionsgate)

Source: Black Belt Magazine

Mixed Martial Arts in China: Sanshou and San Da

When people talk about the mixed martial arts, countries like Brazil, Japan and the United States come to mind. China seems to be more closely associated with the traditional arts. The average enthusiast probably imagines remote villages, where old people do tai chi chuan in the morning and children learn their families’ esoteric styles of kung fu after nightfall.

Welcome to the 21st century. The mainland Chinese martial arts community, while still stubborn in its stylistic chauvinism, has followed a relatively new training format for decades. Called sanshou or san da, (“free hands” or “free strikes”), it’s not bounded by one martial art. Lacking only the ground-grappling portion of vale tudo, it allows for full expression of nonlethal techniques.

sanshou pioneer Jason Yee

(Photo by Sara Fogan)

Amateur sanshou fighters can generally kick or punch any part of their opponent’s body except the knees, spine, groin and throat. They can employ any throw or takedown that forces their opponent to land first or fall off the raised lei tai platform on which they compete. Historically, sharpened stakes surrounded the platforms, requiring fighters to develop their environmental awareness. In the modern era, however, cushions have replaced the spikes. Safety is further enhanced by the prohibition of knee and elbow strikes and the use of boxing-style gloves, headgear, and often foot and shin protection.

Professional fights, usually referred to as san da, allow participants to use more techniques, including knee and elbow strikes, and don’t require them to wear as much protective gear. Some spectators have described it as Thai boxing with the added bonus of throws and takedowns.

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With these new rules, martial arts authorities in mainland China sought to establish an open-minded venue for MMA-style competition. If the spinning kicks of northern Shaolin kung fu work well, use them. If the swirling punches of choy li fut can KO an opponent, keep them. If the high-amplitude throws and takedown counters of shuai chiao score big, study them. The breadth of allowed techniques makes it harder for the kickboxer to dominate. An experienced fighter with incredible ability in one area stands a better chance of winning — as does a proficient fighter with a well-rounded arsenal.

American sanshou pioneer Jason Yee offers some historical insight into his style’s development: “Going beyond kicking and punching sports was a big goal for sanshou’s developers in China, especially because the traditional Chinese martial arts encompassed many more techniques. Primary skills from traditional styles were broken down into combat tactics: punching, kicking, grappling, throwing, pushing, joint locking, scratching, poking, gouging, etc. The main goal was to create an internationally viable sport, so its developers had to distinguish between combat sport and raw survival.”

Some of the “old dragons” were less than thrilled when they noticed that traditional techniques were increasingly absent from the new form of competition. The majority of fights exhibited techniques that looked no different from Western boxing with Thai kicks, some taekwondo and a little judo. Instead of representing an amalgamation of each school’s best techniques, the rules appeared to be hastening the death of real combat kung fu.

Cung Le photo by Rick Hustead

Sanshou/san da stylist Cung Le, right, and Mark Cheng. (Photo by Rick Hustead)

“Many sifu complained that they or their schools weren’t represented because their lethal techniques couldn’t be used, such as hung gar’s eye-scratching tiger claws or chin-na’s joint locks,” Yee says. “China was looking for models among sports like boxing that enjoyed worldwide popularity. Developers didn’t want the rest of the world to brand the new combat sport as barbaric. As a result, compromises were made to foster a sport that allowed athletes to flourish without being permanently or mortally wounded.

“The first big complaint was about the boxing gloves. The gloves eliminated many hand techniques. This was a compromise for safety’s sake. A lot of effort went into figuring out the most suitable rules and equipment.”

What remained was a format that emphasized punching, kicking, throwing, kneeing and pushing. That left spectators with a source of entertainment that was safe without being boring, exciting without spreading mayhem.

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Beyond Kung Fu, bu Leo Fong

“In 1989, when I was introduced to sanshou, I’d only seen its components separately: boxing, kickboxing, judo, jujitsu and wrestling,” Yee says. “A sport that blended striking and throwing was a huge deal to most fighters at the time, including me. When I was chosen to represent the United States and fight in the first World Sanshou Championship in 1991, I had no idea what to expect. Americans and Europeans had boxing and kickboxing backgrounds. Russians brought sambo and Greco-Roman wrestling talent. Tough fighters from Brazil, Iran and many Eastern Bloc countries also entered.”

Sanshou proved to be a hit in the Chinese martial arts community because it finally had a combat sport in which internal skills — timing, intuition, determination and endurance — could be used. “This truly was one of the places where martial artists from all over the world came and mixed it up — an important step in the global development of mixed martial arts,” Yee says.

About the author: Dr. Mark Cheng is a traditional Chinese-medicine physician, kettlebell instructor and martial arts researcher based in West Los Angeles.

Source: Black Belt Magazine