Qingshu ( Spearplay )

Qingshu ( Spearplay )

Spear 2014 Wushu Competition Brian Wang - #spear #wushu #wushucompetition #wushuchampionship #wushutournament #wushustyle #wushuweapon #weapons #martialarts

Karate Karate (???) (English /k??r??ti?/; Japanese pronunciation: [ka?ate] ( listen); Okinawan pronunciation: IPA: [ka?ati]) is a martial art developed on the Ryukyu Islands in what is now Okinawa, Japan. It developed from the indigenous martial arts of Ryukyu Islands (called te (??), literally "hand"; tii in Okinawan) under the influence of Chinese martial arts, particularly Fujian White Crane. Karate is now predominantly a striking art using punching, kicking, knee strikes, elbow strikes and open hand techniques such as knife-hands, spear-hands, and palm-heel strikes. Historically, and in some modern styles, grappling, throws, joint locks, restraints, and vital point strikes are also taught. A karate practitioner is called a karateka (????). Karate developed in the Ryukyu Kingdom. It was brought to the Japanese mainland in the early 20th century during a time of cultural exchanges between the Japanese and the Chinese. It was systematically taught in Japan after the Taisho era. In 1922 the Japanese Ministry of Education invited Gichin Funakoshi to Tokyo to give a karate demonstration. In 1924 Keio University established the first university karate club in mainland Japan and by 1932, major Japanese universities had karate clubs. In this era of escalating Japanese militarism, the name was changed from ?? ("Chinese hand" or "Tang hand") to ?? ("empty hand") – both of which are pronounced karate – to indicate that the Japanese wished to develop the combat form in Japanese style. After World War II, Okinawa became an important United States military site and karate became popular among servicemen stationed there. The martial arts movies of the 1960s and 1970s served to greatly increase the popularity of martial arts around the world, and in English the word karate began to be used in a generic way to refer to all striking-based Oriental martial arts. Karate schools began appearing across the world, catering to those with casual interest as well as those seeking a deeper study of the art. Shigeru Egami, Chief Instructor of Shotokan Dojo, opined that "the majority of followers of karate in overseas countries pursue karate only for its fighting techniques ... Movies and television ... depict karate as a mysterious way of fighting capable of causing death or injury with a single blow ... the mass media present a pseudo art far from the real thing." Shoshin Nagamine said, "Karate may be considered as the conflict within oneself or as a life-long marathon which can be won only through self-discipline, hard training and one's own creative efforts." In 2009, in the 121st International Olympic Committee voting, karate did not receive the necessary two-thirds majority vote to become an Olympic sport. Karate was being considered for the 2020 Olympics, however at a meeting of the IOC's executive board, held in Russia on May 29, 2013, it was decided that karate (along with wushu and several non-martial arts) would not be considered for inclusion in 2020 at the IOC's 125th session in Buenos Aires, Argentina, in September 2013. Web Japan (sponsored by the Japanese Ministry of Foreign Affairs) claims there are 50 million karate practitioners worldwide, while the World Karate Federation claims there are 100 million practitioners around the world.

Donnie Yen Career Yen's first step into the film industry was 1984 when he landed his first starring acting role in the 1984 film Drunken Tai Chi. After filming Drunken Tai Chi and Tiger Cage (1988), Yen made his breakthrough role as General Nap-lan in Once Upon a Time in China II (1992), which included a fight scene between his character and Wong Fei-hung (played by Jet Li). Yen had a starring role in the film Iron Monkey in 1993. Yen and Li appeared together again in the 2002 film Hero, where Yen played a spear (or qiang) fighter who fought with Li's character, an unnamed swordsman. The film was nominated for the Best Foreign Language Film Oscar at the 2003 Academy Awards. In 1995, Yen starred as Chen Zhen (Cantonese: Chan Zan) in the television series Fist of Fury produced by ATV, which is adapted from the 1972 film of the same title that starred Bruce Lee as Chen Zhen. Yen reprised his role as Chen Zhen in the 2010 film Legend of the Fist: The Return of Chen Zhen. In 1997, Yen started the production company Bullet Films, and made his directorial debut in Legend of the Wolf (1997) and Ballistic Kiss (1998), in which he played the lead character. At age 34, Yen almost became bankrupt. Films produced by his own production company and directed by him were critically appraised but did not do well at the box office. Yen had to borrow from loan sharks and had to borrow money from the production crew for his meals. Yen later went back to the United States, where he was invited to choreograph fight scenes in Hollywood films, such as Highlander: Endgame (2000) and Blade II (2002). His choreography and skills impressed the directors and they invited him for cameos in both movies. In 2002, Jet Li was filming the movie Hero and insisted to the director that he wanted Yen to play the role of Sky, his adversary, due to Yen's martial arts ability. Li personally invited Yen back from Hollywood to star in the movie. In 2003, Yen played the antagonist against Jackie Chan in Shanghai Knights. Yen choreographed most of the fight animation in the 2004 video game Onimusha 3, which featured actors Takeshi Kaneshiro and Jean Reno. Yen continued to be active in Hong Kong cinema in the 2000s, starring as Chu Zhaonan in Tsui Hark's wuxia epic film Seven Swords, and as Ma Kwun in Wilson Yip's brutal crime drama film SPL: Sha Po Lang in 2005. Both films were featured at the 2005 Toronto International Film Festival. Later that year, Yen co-starred with Nicholas Tse and Shawn Yue in Wilson Yip's Dragon Tiger Gate, an adaptation of Wong Yuk-long's manhua series Oriental Heroes. Yen also worked as action choreographer in Stormbreaker, starring Alex Pettyfer. Yen continued to work with Wilson Yip in Flash Point (2007), in which he starred as the lead character and served as producer and action choreographer for the film. He won the award for Best Action Choreography at the Golden Horse Film Awards and the Hong Kong Film Awards for his performance in Flash Point. In 2008, Yen starred in Ip Man, a semi-biographical account of Yip Man, the Wing Chun master of Bruce Lee. Ip Man marked Yen's fourth collaboration with director Wilson Yip, reuniting him with his co-stars in SPL: Sha Po Lang, Sammo Hung and Simon Yam. Ip Man became the biggest box office hit to date featuring Yen in the leading role, grossing HK$25 million in Hong Kong and 100 million yuan in China. In August 2011, while Yen was on a vacation with his family in the United States, he reportedly received an invitation by producer Avi Lerner to star in The Expendables 2. It was stated that Yen was considering the offer, had many films at hand, and would wait until deciding whether the script appealed to him. Later on, Yen revealed to the Hong Kong media that he had rejected the role. In 2011, Yen revealed that he was venturing into other genres of movies, and had taken up two comedy roles in a row, All's Well, Ends Well 2011 and All's Well, Ends Well 2012 and would be working with Carina Lau in the former and Sandra Ng in the latter. Both films obtained huge critical and box-office successes and proved that Yen is a versatile actor. Yen took a six-month break in the second half of 2011 after the filming of Monkey King 3D, explaining that he wanted to spend more time with his family and be with his children more often during their growth. In 2012, Yen returned to the movie industry and commenced the filming of Special Identity, in which he played the main lead, an undercover cop, and also took on the role of action choreographer. In 2013, it was reported that Donnie Yen would be playing the lead role for The Iceman Cometh 3D, a sci-fi action film dealing with time travel and which is filmed in 3D. Yen confirmed that MMA would be used in both of the above films. In February 2013, the Weinstein Company confirmed that it had purchased the rights to Crouching Tiger, Hidden Dragon sequel and contacted Yen to play the male lead. In March 2013, Hong Kong magazines surfaced photos of Harvey and Bob Weinstein travelling to Hong Kong to meet with Yen and persuade him to accept the offer. It was reported that Yen was considering the role and quoted as saying "The first is that my schedule this year is very packed. The second is that the first film is already such a classic. I am afraid of the pressure, that the original cannot be surpassed." In May 2013, during the annual Cannes Film Festival, the Weinstein Company announced that Yen would play the lead role of Silent Wolf in the Crouching Tiger sequel, titled Crouching Tiger, Hidden Dragon: Sword of Destiny, with leading female action star Michelle Yeoh reprising her role as Yu Shu Lien, and directed by Yen's mentor, Yuen Woo-ping. It was revealed that the movie will be filmed in both English and Mandarin to appeal to the international market. It was also revealed during the Crouching Tiger, Hidden Dragon II press conference that the Weinstein Company had obtained rights to Akira Kurosawa's Seven Samurai, is planning a re-make and hence is negotiating with Yen, George Clooney and Zhang Ziyi to star in the upcoming film. Donnie Yen has since declined the offer, due to scheduling conflicts for the filming of Ip Man 3. In late March 2015, Ip Man 3 was announced. Yen will be reprising his role as the titular character, Bruce Lee's martial arts master, Ip Man. Retired boxer and former heavyweight champion Mike Tyson has been confirmed to join the cast. Donnie Yen has since mentioned that he is a big fan of Mike Tyson, has watched many of his professional boxing bouts, and is excited to work with him. Mike Tyson stated during a press conference that he is a huge fan of Donnie Yen, and has watched the first two Ip Man movies more than three times each and is honored to be invited for the final installment of the trilogy. Principal photography for Ip Man 3 began on 25 March 2015, with a tentative release date of Lunar New Year 2016, in 3D. During Ip Man 3's announcement press conference, Yen appeared visibly thinner and has personally stated that at age 51, this might be his last kung fu film. In August 2015, Yen was confirmed on the cast list of Rogue One: A Star Wars Story. On February 12, 2016, it was confirmed that Yen will replace Jet Li in the role of the lead villain in the upcoming action film xXx: The Return of Xander Cage .

Aikido Training In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques. Because a substantial portion of any aikido curriculum consists of throws, beginners learn how to safely fall or roll. The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons. Fitness Physical training goals pursued in conjunction with aikido include controlled relaxation, correct movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner. In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dojos begin each class with warm-up exercises (???? junbi tais??), which may include stretching and ukemi (break falls). Roles of uke and tori Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique—the ?? tori, or shite ?? (depending on aikido style), also referred to as ?? nage (when applying a throwing technique), who neutralises this attack with an aikido technique. Both halves of the technique, that of uke and that of tori, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. Tori learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which tori places them. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while tori uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (??? kaeshi-waza?) to regain balance and pin or throw tori. Ukemi (???) refers to the act of receiving a technique. Good ukemi involves attention to the technique, the partner and the immediate environment—it is an active rather than a passive receiving of aikido. The fall itself is part of aikido, and is a way for the practitioner to receive, safely, what would otherwise be a devastating strike or throw. Initial attacks Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, sincere attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique. Many of the strikes (?? uchi?) of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat. Other techniques, which explicitly appear to be punches (tsuki), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include: 1. Front-of-the-head strike (???? sh?men'uchi?) a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus. 2. Side-of-the-head strike (???? yokomen'uchi?) a diagonal knifehand strike to the side of the head or neck. 3. Chest thrust (??? mune-tsuki?) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as "middle-level thrust" (???? ch?dan-tsuki?), and "direct thrust" (??? choku-tsuki?). 4. Face thrust (???? ganmen-tsuki?) a punch to the face. Same as "upper-level thrust" (???? j?dan-tsuki?). Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the attacker who is grabbing the defender. The following are examples of some basic grabs: 1. Single-hand grab (???? katate-dori?) one hand grabs one wrist. 2. Both-hands grab (???? morote-dori?) both hands grab one wrist. Same as "single hand double-handed grab" (?????? katatery?te-dori?) 3. Both-hands grab (???? ry?te-dori?) both hands grab both wrists. Same as "double single-handed grab" (????? ry?katate-dori?). 4. Shoulder grab (??? kata-dori?) a shoulder grab. "Both-shoulders-grab" is ry?kata-dori (?????). It is sometimes combined with an overhead strike as Shoulder grab face strike (?????? kata-dori men-uchi?). 5. Chest grab (??? mune-dori or muna-dori?) grabbing the (clothing of the) chest. Same as "collar grab" (??? eri-dori?). Basic techniques The following are a sample of the basic or widely practiced throws and pins. Many of these techniques derive from Dait?-ry? Aiki-j?jutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order. 1. First technique (?? (?) ikky??) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground. This grip applies pressure into the ulnar nerve at the wrist. 2. Second technique (?? niky??) a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in ura version.) 3. Third technique (?? sanky??) a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder. 4. Fourth technique (?? yonky??) a shoulder control similar to ikky?, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone. 5. Fifth technique (?? goky??) visually similar to ikky?, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways. 6. Four-direction throw (???? shih?nage?) The hand is folded back past the shoulder, locking the shoulder joint. 7. Forearm return (???? kotegaeshi?) a supinating wristlock-throw that stretches the extensor digitorum. 8. Breath throw (???? koky?nage?) a loosely used term for various types of mechanically unrelated techniques, although they generally do not use joint locks like other techniques. 9. Entering throw (???? iriminage?) throws in which tori moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique. 10.Heaven-and-earth throw (???? tenchinage?) beginning with ry?te-dori; moving forward, tori sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over. 11.Hip throw (??? koshinage?) aikido's version of the hip throw. Tori drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum. 12. Figure-ten throw (???? j?jinage?) or figure-ten entanglement (???? j?jigarami?) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: ?). 13. Rotary throw (???? kaitennage?) Tori sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw. Implementations Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (irimi) technique consists of movements inward towards uke, while a "turning" (?? tenkan?) technique uses a pivoting motion. Additionally, an "inside" (? uchi?) technique takes place in front of uke, whereas an "outside" (? soto?) technique takes place to his side; a "front" (? omote?) technique is applied with motion to the front of uke, and a "rear" (? ura?) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and tori are standing are called tachi-waza, techniques where both start off in seiza are called suwari-waza, and techniques performed with uke standing and tori sitting are called hanmi handachi (????). Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikky? can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikky? refers to any ikky? technique executed when uke is holding one wrist. This could be further specified as katate-dori ikky? omote, referring to any forward-moving ikky? technique from that grab. Atemi (???) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, G?z? Shioda described using atemi in a brawl to quickly down a gang's leader. Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw. Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique. Weapons Weapons training in aikido traditionally includes the short staff (j?), wooden sword (bokken), and knife (tant?). Some schools incorporate firearm-disarming techniques. Both weapon-taking and weapon-retention are taught. Some schools, such as the Iwama style of Morihiro Saito, usually spend substantial time with bokken and j?, practised under the names aiki-ken, and aiki-j?, respectively. The founder developed many of the empty-handed techniques from traditional sword and spear movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one's training partner(s). Multiple attackers and randori One feature of aikido is training to defend against multiple attackers, often called taninzudori, or taninzugake. Freestyle practice with multiple attackers, called randori (??) or jiy?waza (???), is a key part of most curricula and is required for the higher level ranks. Randori exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind. In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori. Injuries In applying a technique during training, it is the responsibility of tori to prevent injury to uke by employing a speed and force of application that is commensurate with their partner's proficiency in ukemi. Injuries (especially those to the joints), when they do occur in aikido, are often the result of tori misjudging the ability of uke to receive the throw or pin. A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other. Soft tissue injuries are one of the most common types of injuries found within aikido, as well as joint strain and stubbed fingers and toes. Several deaths from head-and-neck injuries, caused by aggressive shih?nage in a senpai/k?hai hazing context, have been reported. Mental training Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. This is necessary to enable the practitioner to perform the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness. Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation. As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.

Aikido History Aikido was created by Morihei Ueshiba (?? ?? Ueshiba Morihei, 14 December 1883 – 26 April 1969), referred to by some aikido practitioners as ?sensei ("Great Teacher"). The term 'aikido' was coined in the twentieth century. Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the Aiki that Ueshiba studied into a variety of expressions by martial artists throughout the world. Initial development Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied. The core martial art from which aikido derives is Dait?-ry? aiki-j?jutsu, which Ueshiba studied directly with Takeda S?kaku, the reviver of that art. Additionally, Ueshiba is known to have studied Tenjin Shin'y?-ry? with Tozawa Tokusabur? in Tokyo in 1901, Got?ha Yagy? Shingan-ry? under Nakai Masakatsu in Sakai from 1903 to 1908, and judo with Kiyoichi Takagi (?? ??? Takagi Kiyoichi, 1894–1972) in Tanabe in 1911. The art of Dait?-ry? is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (j?), and perhaps the bayonet (?? j?ken?). However, aikido derives much of its technical structure from the art of swordsmanship (kenjutsu). Ueshiba moved to Hokkaid? in 1912, and began studying under Takeda Sokaku in 1915. His official association with Dait?-ry? continued until 1937. However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the Dait?-ry?. At that time Ueshiba was referring to his martial art as "Aiki Bud?". It is unclear exactly when Ueshiba began using the name "aikido", but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts. Religious influences After Ueshiba left Hokkaid? in 1919, he met and was profoundly influenced by Onisaburo Deguchi, the spiritual leader of the ?moto-ky? religion (a neo-Shinto movement) in Ayabe. One of the primary features of ?moto-ky? is its emphasis on the attainment of utopia during one's life. This was a great influence on Ueshiba's martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker. In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of this exposure, he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido. International dissemination Aikido was first brought to the rest of the world in 1951 by Minoru Mochizuki with a visit to France where he introduced aikido techniques to judo students. He was followed by Tadashi Abe in 1952, who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki toured with a delegation of various martial arts through 15 continental states of the United States in 1953. Later that year, Koichi Tohei was sent by Aikikai Hombu to Hawaii for a full year, where he set up several dojo. This trip was followed by several further visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964 by Hiroshi Tada; and Germany in 1965 by Katsuaki Asai. Designated "Official Delegate for Europe and Africa" by Morihei Ueshiba, Masamichi Noro arrived in France in September 1961. Seiichi Sugano was appointed to introduce aikido to Australia in 1965. Today there are aikido dojo throughout the world. Proliferation of independent organizations The largest aikido organization is the Aikikai Foundation, which remains under the control of the Ueshiba family. However, aikido has many styles, mostly formed by Morihei Ueshiba's major students. The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in 1931, Yoshinkan Aikido, founded by Gozo Shioda in 1955, and Shodokan Aikido, founded by Kenji Tomiki in 1967. The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido. After Ueshiba's death in 1969, two more major styles emerged. Significant controversy arose with the departure of the Aikikai Hombu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba, who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization that governs it, the Ki Society (Ki no Kenky?kai). A final major style evolved from Ueshiba's retirement in Iwama, Ibaraki and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama style", and at one point a number of its followers formed a loose network of schools they called Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito's death in 2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and the other formed the independent Shinshin Aikishuren Kai in 2004 around Saito's son Hitohiro Saito. Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters (???? honbu d?j??) in Japan, and have an international breadth.

Bruce Lee Martial arts career Jun Fan Gung Fu Lee began teaching martial arts in the United States in 1959. He called what he taught Jun Fan Gung Fu (literally Bruce Lee's Kung Fu). It was basically his approach to Wing Chun. Lee taught friends he met in Seattle, starting with Judo practitioner Jesse Glover, who continued to teach some of Lee's early techniques. Taky Kimura became Lee's first Assistant Instructor and continued to teach his art and philosophy after Lee's death. Lee opened his first martial arts school, named the Lee Jun Fan Gung Fu Institute, in Seattle. Lee dropped out of college in the spring of 1964 and moved to Oakland to live with James Yimm Lee (嚴鏡海). James Lee was twenty years senior to Bruce Lee and a well known Chinese martial artist in the area. Together, they founded the second Jun Fan martial art studio in Oakland. James Lee was also responsible for introducing Bruce Lee to Ed Parker, American martial artist, and organizer of the Long Beach International Karate Championships at which Bruce Lee was later "discovered" by Hollywood. Long Beach International Karate Championships At the invitation of Ed Parker, Lee appeared in the 1964 Long Beach International Karate Championships and performed repetitions of two-finger push-ups (using the thumb and the index finger of one hand) with feet at approximately a shoulder-width apart. In the same Long Beach event he also performed the "One inch punch." Lee stood upright, his right foot forward with knees bent slightly, in front of a standing, stationary partner. Lee's right arm was partly extended and his right fist approximately one inch (2.5 cm) away from the partner's chest. Without retracting his right arm, Lee then forcibly delivered the punch to his partner while largely maintaining his posture, sending the partner backwards and falling into a chair said to be placed behind the partner to prevent injury, though his partner's momentum soon caused him to fall to the floor. His volunteer was Bob Baker of Stockton, California. "I told Bruce not to do this type of demonstration again", Baker recalled. "When he punched me that last time, I had to stay home from work because the pain in my chest was unbearable". It was at the 1964 championships where Lee first met Taekwondo master Jhoon Goo Rhee. The two developed a friendship – a relationship from which they benefited as martial artists. Rhee taught Lee the side kick in detail, and Lee taught Rhee the "non-telegraphic" punch. Lee appeared at the 1967 Long Beach International Karate Championships and performed various demonstrations, including the famous "unstoppable punch" against USKA world Karate champion Vic Moore. Lee allegedly told Moore that he was going to throw a straight punch to the face, and all he had to do was to try to block it. Lee took several steps back and asked if Moore was ready. When Moore nodded in affirmation, Lee glided towards him until he was within striking range. He then threw a straight punch directly at Moore's face, and stopped before impact. In eight attempts, Moore failed to block any of the punches. Fight with Wong Jack Man In Oakland, California in 1964 at Chinatown, Lee had a controversial private match with Wong Jack Man, a direct student of Ma Kin Fung known for his mastery of Xingyiquan, Northern Shaolin, and T'ai chi ch'uan. According to Lee, the Chinese community issued an ultimatum to him to stop teaching non-Chinese. When he refused to comply, he was challenged to a combat match with Wong. The arrangement was that if Lee lost, he would have to shut down his school; while if he won, then Lee would be free to teach Caucasians or anyone else. Wong denied this, stating that he requested to fight Lee after Lee boasted during one of his demonstrations at a Chinatown theatre that he could beat anyone in San Francisco, and that Wong himself did not discriminate against Caucasians or other non-Chinese. Lee commented, "That paper had all the names of the sifu from Chinatown, but they don't scare me". Individuals known to have witnessed the match include Cadwell, James Lee (Bruce Lee's associate, no relation), and William Chen, a teacher of T'ai chi ch'uan. Wong and William Chen stated that the fight lasted an unusually long 20–25 minutes. Wong claims that he had originally expected a serious but polite bout; however Lee had attacked him very aggressively with intent to kill, straight from the beginning of the bout when he had replied to Wong's traditional handshake offer by pretending to accept the handshake, but instead turning that hand into a spear aimed at Wong's eyes. Forced to defend his life, he had nonetheless refrained from striking Lee with killing force when the opportunity presented itself because it could earn him a prison sentence. The fight ended due to Lee's "unusually winded" condition, as opposed to a decisive blow by either fighter. According to Bruce Lee, Linda Lee Cadwell, and James Yimm Lee however, the fight lasted a mere 3 minutes with a decisive victory for Lee. In Cadwell's account, "The fight ensued, it was a no-holds-barred fight, it took three minutes. Bruce got this guy down to the ground and said 'Do you give up?' and the man said he gave up". A couple of weeks after the bout, Lee gave an interview claiming that he had defeated an unnamed challenger, which Wong says was an obvious reference to him. In response, Wong published his own account of the fight in the Chinese Pacific Weekly, a Chinese-language newspaper in San Francisco, with an invitation to a public rematch if Lee was not satisfied with the account. Lee did not respond to the invitation despite his reputation for violently responding to every provocation, and there were no further public announcements by either, though Lee continued to teach Caucasians. Jeet Kune Do The Jeet Kune Do emblem is a registered trademark held by the Bruce Lee Estate. The Chinese characters around the Taijitu symbol read: "Using no way as way" and "Having no limitation as limitation" The arrows represent the endless interaction between yang and yin. Jeet Kune Do originated in 1967. After filming one season of The Green Hornet, Lee found himself out of work and opened The Jun Fan Institute of Gung Fu. The controversial match with Wong Jack Man influenced Lee's philosophy about martial arts. Lee concluded that the fight had lasted too long and that he had failed to live up to his potential using his Wing Chun techniques. He took the view that traditional martial arts techniques were too rigid and formalistic to be practical in scenarios of chaotic street fighting. Lee decided to develop a system with an emphasis on "practicality, flexibility, speed, and efficiency". He started to use different methods of training such as weight training for strength, running for endurance, stretching for flexibility, and many others which he constantly adapted, including fencing and basic boxing techniques. Lee emphasised what he called "the style of no style". This consisted of getting rid of the formalised approach which Lee claimed was indicative of traditional styles. Lee felt the system he now called Jun Fan Gung Fu was even too restrictive, and eventually evolved into a philosophy and martial art he would come to call Jeet Kune Do or the Way of the Intercepting Fist. It is a term he would later regret, because Jeet Kune Do implied specific parameters that styles connote; whereas the idea of his martial art was to exist outside of parameters and limitations. Fitness and nutrition At 173 cm (5 ft 8 in) and 64 kg (141 lb), Lee was renowned for his physical fitness and vigor, achieved by using a dedicated fitness regimen to become as strong as possible. After his match with Wong Jack Man in 1965, Lee changed his approach toward martial arts training. Lee felt that many martial artists of his time did not spend enough time on physical conditioning. Lee included all elements of total fitness—muscular strength, muscular endurance, cardiovascular endurance, and flexibility. He used traditional bodybuilding techniques to build some muscle mass, not overdone as that could decrease speed or flexibility. At the same time in balance, Lee was careful to admonish that mental and spiritual preparation are fundamental to the success of physical training in martial arts skills. In Tao of Jeet Kune Do he wrote, "Training is one of the most neglected phases of athletics. Too much time is given to the development of skill and too little to the development of the individual for participation. ... JKD, ultimately is not a matter of petty techniques but of highly developed spirituality and physique." According to Linda Lee Cadwell, soon after he moved to the United States, Lee started to take nutrition seriously and developed an interest in health foods, high-protein drinks and vitamin and mineral supplements. He later concluded that in order to achieve a high-performance body, one could not fuel it with a diet of junk food, and with "the wrong fuel" one's body would perform sluggishly or sloppily. Lee also avoided baked goods and refined flour, describing them as providing calories which did nothing for his body.

Changquan Weapons Training 1. Long Staff (Gun) 2. Broadsword (Dao) 3. Double Edge Sword 4. Spear (Qiang) 5. Chain/Nine Section Whip (Bian) 6. Dragon Phoenix Sword 7. Umbrella 8. Straight Sword (Jian) 9. Double Sword (Shuang Jian) 10. Double Broadsword (Shuang Dao) 11. Pudao 12. Meteor Hammer 13. Hook Sword

Wushu Contemporary Taolu Events Wushu events are performed using compulsory or individual routines in competition. Compulsory routines are those routines that have been already created for the athlete, resulting in each athlete performing basically the same set. Individual routines are routines that an athlete creates with the aid of his/her coach, while following certain rules for difficulty. In addition to events for individual routines, some wushu competitions also feature dual and group events. The dual event, also called duilian (对练), is an event in which there is some form of sparring with weapons, or without weapons or even using bare hands against weapons. The dual event is usually spectacular and actions are choreographed beforehand. The group event, also known as jiti (集体), requires a group of people to perform together and smooth synchronization of actions are crucial. Usually, the group event also allows instrumental music to accompany the choreography during the performance. The carpet used for the group event is also larger than the one used for individual routines. Previously, international wushu competitions most often used compulsory routines, while high-level competitions in China most often used individual routines. However, after the 2003 Wushu World Games in Macau it was decided to opt for individual routines in international competition with nandu (难度; difficulty movements) integrating a maximum 2 point nandu score into the overall maximum score of 10. There is some controversy concerning the inclusion of nandu in wushu because many of the movements created for the specific events are not originally movements used in those styles. In addition the number of injuries which have resulted from the inclusion of these nandu have caused many people to question their inclusion. Those who support the new difficulty requirements follow the assertion that they help to progress the sport and improve the overall physical quality of the athletes. Barehanded 1. Changquan (長拳/长拳 or Long Fist) refers to long-range extended wushu styles like Chaquan (查拳), Huaquan (華拳/华拳), Hongquan (洪拳; "flood fist"), and Shaolinquan (少林拳), but this wushu form is a modernized style derived from movements of these and other traditional styles. Changquan is the most widely seen of the wushu forms, and includes speed, power, accuracy, and flexibility. Changquan is difficult to perform, requiring great flexibility and athleticism, and is often practiced from a young age. All nandu movements must be made within 4 steps or it will not count for nandu points. 2. Nanquan (南拳 or Southern Fist) refers to wushu styles originating in south China (i.e., south of the Yangtze River, including Hongjiaquan (Hung Gar) (洪家拳), Cailifoquan (Choy Li Fut) (蔡李佛拳), and Yongchunquan (Wing Chun) (詠春拳/咏春拳). Many are known for vigorous, athletic movements with very stable, low stances and intricate hand movements. This wushu form is a modern style derived from movements of these and other traditional southern styles. Nanquan typically requires less flexibility and has fewer acrobatics than Changquan, but it also requires greater leg stability and power generation through leg and hip coordination. This event was created in 1960. All nandu movements must be made within 4 steps or it will not count for nandu points. 3. Taijiquan (太極拳/太极拳, T'ai chi ch'uan) is a wushu style famous for slow, relaxed movements, often seen as an exercise method for the elderly, and sometimes known as "T'ai chi" in Western countries to those otherwise unfamiliar with wushu. This wushu form is a modern recompilation based on the Yang (楊/杨) style of Taijiquan, but also including movements of the Chen (陳/陈), Wu (吳/吴), Wu (武), and Sun (孫/孙) styles. Competitive contemporary taiji is distinct from those traditional styles it draws from, in that it typically involves difficult holds, balances, jumps and jump kicks. Modern competitive tai ji requires good balance, flexibility and strength. Short weapons 1. Dao (刀 or knife) refers to any curved, one-sided sword/blade, but this wushu form is a Changquan method of using a medium-sized willow-leaf-shaped dao (柳葉刀/柳叶刀). 2. Nandao (南刀 or Southern Style knife) refers to a form performed with a curved, one sided sword/blade based on the techniques of Nanquan. The weapon and techniques appears to be based on the butterfly swords of Yongchunquan, a well known Southern style. In the Wushu form, the blade has been lengthened and changed so that only one is used (as opposed to a pair). This event was created in 1992. 3. Jian (劍/剑 or double-edged sword) refers to any double-edged straight sword/blade, but this wushu form is a Changquan method of using the jian. 4. Taijijian (太極劍/太极剑 or Taiji double-edged sword) is an event using the jian based on traditional Taijiquan jian methods. Long weapons 1. Gun (棍 or staff) refers to a long staff (shaped from white wax wood) as tall as the wrist of a person standing with his/her arms stretched upwards, but this wushu form is a Changquan method of using the white wax wood staff. 2. Nangun (南棍 or Southern cudgel) is a Nanquan method of using the staff. This event was created in 1992. 3. Qiang (槍/枪 or spear) refers to a flexible spear with red horse hair attached to the spearhead, but this wushu form is a Changquan method of using the qiang.