Song Changrong’s Baguazhang

When people talk about ‘Song style’ in a bagua context, there are actually two styles that could be meant: one is the bagua of Song Yongxiang (passed on by Liu Wancang of Beijing and his disciples), while the other is that of Song Changrong, a disciple of Dong Haichuan who was well-known for his lightness skill (qing gong). The material presented below profiles the latter:

‘Flying Legs’ Song Changrong

Song Changrong was born into a noble family in Beijing. Because of Dong Haichuan’s position at the mansion of Prince Su, there was a lot of interaction between the two houses. The Qing dynasty was a peak period for CMA. Everyone from the emperor down to the common man was interested in martial arts. The Song family’s noble status and economic strength meant that they placed great emphasis on the practice martial arts. As nobles, they were of course aware of Dong Haichuan’s position at Prince Su’s mansion, treating him as an honoured guest. And so, Song’s family invited Dong to teach martial arts at their house. This kind of environment meant that Song Changrong was systematically trained by Dong Haichuan from a very young age. As a result, Song’s bagua reached a very high level, to the point that his bagua formed its own branch in Beijing.

When Song was 6 or 7 years old, Dong Haichuan started to teach him a ‘game’. The Song family’s house happened to have a large garden. Dong asked the Songs to prepare several vats, so that Song could practice ‘vat-running’. At first, someone had to support Song on the vats; later on, he learnt how to walk and run freely on top of the vats. After a long while, Song could run and jump on the vats as if he was walking on solid ground. This entire time, Dong did not teach Song any other martial exercises. It was only when Song was 12 or 13 that Dong began to teach Song bagua. As a result, Song was particularly accomplished at ‘lower basin’ (xia pan) walking. He carried on Dong’s lightness skill, called ‘Ba Bu Gan Chan‘ (lit. catch a cicada in 8 steps).

Catching a snake with Seven-Star Staff

After Song had been learning bagua from Dong for 5 or 6 years, his gongfu had made great strides, but there was one thing that vexed him. When Song practiced in his back garden, a small white snake would wriggle out of its burrow and start ‘dancing’ tens of metres away from Song, almost as if it was trying to compete in a test of agility with him! Song tried to use his lightness skill to catch the snake, to no avail: as soon as Song got within 10 metres of the snake it would start beating a retreat. Just as Song thought he might catch it, it always managed to dive into its burrow just in time. All Song could do was sigh in frustration. This continued every day for two months, with Song totally at a loss as to do what to do.

One day, Song mentioned this white snake while Dong was overseeing Song’s practice. In response, Dong picked up a wooden staff and taught Song bagua’s Seven-Star Staff. After a month’s arduous practice, Song had become proficient with the staff. A month later, when Dong came to the Song family mansion to oversee Song’s practice, the white snake appeared yet again. This time, Song chased the snake with his seven-star staff and managed to pick up the snake with his staff just as it was about to reach its hole. Looking at the snake, he said “Who’s faster, you or me?” The snake, seeming to admit defeat, didn’t even struggle to escape. Song, satisfied that the snake was beaten, put it back on the ground, whereupon it sped back into its burrow. The snake never appeared again after that, but the seven-star staff established a place in the bagua school.

‘Tightrope Walker’ Song

Baguazhang’s gongfu comes from circle-walking. ‘Curves’ and ’straight lines’ are relative concepts; when someone has achieved mastery, he can generate luoxuan jin (spiral force), zheng guo li (‘wrapping’ power) and immense baofa jin (explosive force). Once the art is mastered, the body becomes light as a swallow, hence the name ‘lightness skill’. Because this sort of skill was so hard for ordinary people to achieve, the younger generation were all eager to see if the rumours of Song’s skill were true.

One day, Song was at a teahouse with his bagua brothers when they asked him to perform some bagua for them. Because they were all of the bagua school, Song didn’t try to refuse, but instead, picked up a length of hempen rope and asked two of his companions to hold the rope tight at either end. So saying, Song leapt onto the rope and proceeded to perform one of the 64 straight palms on the rope, which was met with loud applause. Some of the others tried to repeat the feat, but none could stand steadily and so they all fell off. Henceforth, people knew that Song’s bagua was its own system with its own style. Unfortunately, Song’s background limited his interaction with the CMA community, and hence he had very few disciples. As a result, a lot of Song’s skills were not passed down (according to an interview with the 4th-generation Cheng-stylist Liu Xinghan in 1994, when he was 85 years old).

Lightness Skill Revealed in a Courtyard

In a courtyard in old Beijing, the second and third generations of bagua had all gathered together in one place to have a ‘longevity banquet’ for one of the second generation masters (Cheng Tinghua? Liang Zhenpu?). This was a big day for the bagua community, and of course Song Changrong had come as well. IN CMA circles, the ‘longevity banquet’ is a momentous occasion at which everyone has to drink to the host’s health.

This kind of banquet was usually only laid on for senior respected members of the bagua community. Thus, the atmosphere in the courtyard was festive and raucous. During the dinner, someone’s disciple came up with the idea of asking M. Song to demonstrate ‘Ba Bu Gan Chan’ to liven up the atmosphere at the banquet. The moment the suggestion was made, the crowd went wild. Most of the people at the crowd had only ever heard rumours of Song’s lightness skill, at any other time no-one would have had the temerity to ask Song to perform. All eyes swivelled to focus on Song. They saw Song stand up and with a fist salute, “M. Dong always instructed us to avoid showing off our art in public. But seeing as it’s my shixiong’s (elder kungfu brother) birthday and we’re all bagua men here, why not?” And so, everyone hurriedly tried to make way for Song to go out into the courtyard, but Song wanted the assembled crowd to go out first. Seeing that neither side was giving in, Song said “Fine, I guess I won’t walk then” and so saying leapt out of the nearest window. By the time everyone caught on, Song had already lightly landed in the middle of the courtyard. Upon seeing this, everyone exclaimed that Song had really lived up to his nickname of ‘Flying Legs Song’.

(According to a 1989 interview with the 3rd generation Liang-stylist Li Ziming at the age of 90)

Song style in the North-east: Wei Jianfeng

The 4th-generation Song stylist Wei Jianfeng had learnt his bagua from Song Changrong’s disciples Zhao Yanrong and Zhao Xiting. He was fearless and straight-talking as well as being an impressive martial artist. During the Japanese occupation (Wei lived in Shenyang, which was occupied by the Japanese during the Sino-Japanese war), he killed Japanese and fought against Chinese traitors. He was thrown in jail twice by his own government: once by the Nationalists (KMT) for opposing their army, and once by the communists, during the Cultural Revolution. The brutal long years in prison robbed him of the opportunity to teach, such that a lot of his special skills were not passed on.

zhang-zemin1

Wei Jianfeng's disciple Zhang Zemin

According to the materials made public by his disciples Yu Hechuan, Ren Hemin, Zhang Licheng, Li Zhiyi, Song Peijian, Zhang Zemin et al., Wei’s bagua comprised the following routines :

Ba Da Zhang (8 great palms)
Lao Ba Zhang (8 old palms)
64 palms
Long Xing Baguazhang (Dragon-shape Bagua)
Bagua Shi Ba Shuai (18 throws)
Bagua Zhai Yao Quan (‘Extract’ of Bagua)
Bagua Lian Huan Zhang (Linking Palms)
Bagua Feng Mo Zhang (‘Crazy Demon’ palm)
Ba Da Deng Pu (8 great Sweeps?)

Paired routines:
Pu An (Catch and Press)
Zui Han Nian Hou (Drunkard shoos Monkey)
Baguazhang Duilian (paired bagua)
72 locks
Qin Na

Weapons:
18 Staff
Bagua Dao [sabre]
Bagua Jian [straightsword]
Emei Ci [Emei needles, aka 'judges pens']
Ziwu Yuanyang Yue (Mandarin Duck Knives, aka Deerhorn knives)

There are also several paired weapons routines.

After Wei’s passing, his disciples continued teaching his bagua in the parks in Shenyang. In 1994 Wei’s grandstudent Zheng Zhi-hong (student of Yu Hechuan) became the first person to bring Song style bagua to Japan when he established his ‘Natural Dojo’ in Kyushu.

Wei Jianfeng's senior disciple Yu Hechuan

Wei Jianfeng's senior disciple Yu Hechuan

READ MORE - Song Changrong’s Baguazhang

‘Departed Warriors’ – the xingyiquan of Li Zhongxuan

I recently came across an excellent book on xingyiquan called “Departed Warriors” (called ‘Shiqu de Wulin’ in chinese). The book contains the recollections of one man, Li Zhongxuan (now deceased), who had the good fortune to study under three disciples of Li Cunyi: Shang Yunxiang, Xue Dian and Tang Weilu. The book, organised by Xu Haofeng, contains Li’s recollections of studying under his three masters as well as his thoughts on the practice of xingyiquan. I have translated below a part of one chapter from his book:

五台雨雪恨难消 (part 1)

‘Tang-chuan’ xingyiquan refers to the xingyi passed down by Tang Weilu. He was known as ‘Tang xiao hou’ (little monkey Tang) echoing the nickname of Sun Lutang, who was also nicknamed ‘Sun the monkey’ – in both cases, the nicknames refer to their ability to scale walls. Amongst xingyi boxers the two men were known as the ‘two lus’, derived from the ‘lu’ part of their names, but also homophonous with the chinese for ‘2 deer’, referencing both men’s ability to walk three or four hundred li (1 li = 500m) in a night.

Whenever M Tang visited Beijing, so as to not attract unwanted attention, he did so at night. He would sleep in Ninghe (near Tianjin) during the day, set off at 7pm, and by daybreak the next day would have reached Beijing, having had to slip past several tax office checkpoints along the way. Li Cunyi gave Tang Weilu the ‘xingyi name’ of Tang Jianxun – the meaning of the name was to commemorate Tang’s exploits. Li Cunyi appreciated Tang’s fighting ability – it wasn’t just because of his speed that Tang was mentioned in the same breath as Sun Lutang. Everyone back then knew M Tang’s fighting skills were a cut above.

Famed xingyi master Li Cunyi
Famed xingyi master Li Cunyi

M Tang always gave the impression of being languid – he would always be carrying a teapot, if left to his own devices he could easily spend a whole day sauntering around town, his teapot in hand. But he was very resolute in that he would willingly accept any challenges that came his way. He once defeated a famed master who had founded his own style, yet would not allow us to tell anyone – this was M Tang’s Wu De (martial morality). It’s exactly because M Tang was satisfied with the quiet life that his xingyi preserves more of the ‘flavour’ of Li Cunyi. Readers interested in the xingyi taught by Li Cunyi at the Tianjin Guo Shu Guan can use M Tang’s xingyi as a reference point.

M Li Cunyi’s book on xingyi begins with the phrases “Only xingyi is most skilled at defeating the enemy and obtaining victory.” Later, in an interview with a journalist, he stated “A practitioner of wushu strengthens his body; a practitioner of guoshu defends his home and country; xingyiquan can be called guoshu”. These two statements led to a misunderstanding, as other martial artists thought that M Li was trying to position xingyiquan as the ‘national art’ (guoshu). And so many people came to challenge him, saying “M Li, is my art wushu or guoshu?” M Li knew that explanations were useless and simply accepted all the challenges. The wulin (martial arts community) in the old days was like that, the slightest slip of the tongue could land you in big trouble.

M Li Cunyi was a man of noble-character who became embroiled in senseless disputes in his old age. It was lucky that he maintained his reputation intact in that he was not defeated. But still, for a man of his years to have to meet challenges every day must have vexed him sorely.

So what exactly did M Li mean by “only xingyi is skilled”? The answer can be found in old xingyi manuals: “The martial artists of the world need to be able to see to accomplish anything; thus, by day they can just about attain victory. But how can they cope at night if they are confronted by the enemy? Only xingyiquan can deal with attacks at night, by relying on ‘feel’ and reacting to the slightest touch.”

The essence of xingyi is not practicing your vision or hearing, but rather this physical response.

My shixiong under Shang Yunxiang, Shan Guangqin, told me that you could talk or walk around M Shang while he was sleeping, no problem. But the moment you focused your attention on him, he would wake up. It sounds far-fetched, but this kind of awareness is a necessary product of extended training in xingyi.

The Iron-foot Buddha, Shang Yunxiang
The ‘Iron-foot Buddha’, Shang Yunxiang

The ‘xing’[form] in xingyi refers to everything external, whilst the ‘yi’ [intent] refers to everything internal, thus xingyiquan can be understood as ‘training everything’. The ‘Xingyi 5 Element Classic’ also echoes M Shang’s approach, it’s about sensitivity. In addition, xingyi’s ‘reacting to the slightest touch’ is unconscious, automatic.

One time, M Tang had gotten lost in thought whilst teaching his disciples. One of them, wanting to test out M Tang’s gongfu, suddenly launched a punch at him. M Tang managed to press the student to the ground, all the while still in a bit of a daze. This student was very happy when he pulled himself off the ground, for he thought that he had found out M Tang’s real gongfu.

M Tang, on the other hand, from then on stopped teaching that disciple, saying “So-and-so has already surpassed me.” Actually, this was his way of ‘disowning’ that disciple. There needs to be sincerity between teacher and student. The kind of person who still has an attitude of ’stealing the art’ whilst studying under you is not to be taught. Even if such a person learns martial arts, they will only bring harm upon themselves and others.

Even after M Tang had passed away, this person still called themselves M Tang’s disciple. Times are different now, the younger generation cannot be held responsible for the actions of their elders. In order to avoid embarrassing this person’s students, I have deliberately omitted his name.

Xingyiquan (Form and intention boxing) is also known as Xingyiquan (moving intention boxing). The grandmaster of our branch was Liu Qilan, who was known for his shenfa (body method), was praised as ‘Long Xing Sou Gu’ (dragon shape searching for bones). The later generations from this branch, Li Cunyi, Shang Yunxiang and Tang Weilu were all known for their gongfu in the legs (tuigong) and shenfa. To retreat whilst fighting Li Cunyi was a big mistake; as soon as you tried to retreat he would be upon you and knock you down.

Gongfu in the legs comes from zhan zhuang and [xingyi] walking. Tang Weilu specially emphasised walking to his disciples. In the morning we would walk 5 km with our hands clasped behind our backs, either loosening up our backbones or with a bit of martial intent. Sometimes we would omit the ‘yi’ of xingyiquan and say that we were learning ‘xing quan’ [moving boxing] with M Tang.

M Tang’s trademark weapons were the judge’s pens (pan guan bi). In xingyi, judge’s pens are basically double spears, initially arms-length with rounded tips. After the practitioner has become familiar with their use, the pens used become shorter, about the length of a forearm. I had a pair of bronze pens specially made; at that kind of weight, there’s no need to hit vital points, wherever you hit the opponent he will go down.

Normal judges pens (pan guan bi)
Normal judge’s pens (pan guan bi)

The double spears require more finesse than the double broadsword; because of the vivid descriptions in pingshu [traditional chinese storytelling], I was very enthusiastic in training the double spear.

One time, when M Tang was visiting Beijing, he saw me practicing the judge’s pens and lost his temper, saying “You were supposed to learn sword from M Shang! If you learn boxing but not sword from M Shang, you will have come to Beijing for nothing!” M Tang also said, anyone can pick up a staff and fight people with it, but most people would be at a loss to know what to do with a straight sword.

My name in Shang Yunxiang’s school was Li Yixia, which was chosen according to the ‘codex of names’ left behind by Liu Qilan; the generation after me all had the character ‘zhi’ [志, ambition] in their xingyi names. In the Shang tradition, learning the jian was a ceremonious affair. Every morning we would have to kow tow to the sword, as the hilt of the sword represents one’s teacher, hence the saying “To have the sword there is like having one’s teacher there”.

In gripping the sword, the little finger must be slightly hooked, out of respect for one’s teacher. In actual fact there is a reason to this hooking of little finger, namely that [in TCM] the little finger is connected to the eyes, if the little finger is continually hooked it can damage your eyesight. Some people experience loss of acuity after practicing xingyi, this is caused by ‘hooking’ the little finger too tightly. This kind of thing is what led to the saying ‘practicing xingyi invites bad luck [zhao xie]“; this saying is actually nonsense, the problems experienced by people after practicing xingyi are because they have not been taught in detail, and go against their own physiology.

The Tang school of xingyi traditionally had good relations with the Yanqing school [Yanqing quan being another name for Mizong, or 'lost-track' boxing], a relationship which had started with Li Cunyi. There was an old Yanqing master, a good friend of Li Cunyi, who was good at ‘tie dang gong’ [iron crotch skill] and liked to demonstrate this skill at the local public baths. Unfortunately, this master attracted the attention of a group of young men who started harassing him with slingshots. Having no disciples of his own to assist him, he passed a message onto M Tang asking for help.

In order to further my training, M Tang sent me to deal with it. Because I knew I was going up against slingshots, I packed a pair of judge’s pens into me knapsack. On the way to the bathhouse, I was waylaid by 3 muggers. I said “My bag is full of gold ingots, let’s go into this copse, and I’ll give you a share.”

They were shocked, but still followed me into the copse. The moment I took out the judge’s pens, they turned tail and fled. Maybe they thought I intended to kill them – all of this stuff was just youthful hijinks. In those days, M Tang’s reputation was a strong deterrent. I invited these guys to talk it out. At first, seeing that I was young, tried to browbeat me and just talked endlessly. Frustrated, I slapped the table (breaking a teapot in the process), at which they immediately promised that they wouldn’t harass Li cunyi’s friend any more. The truth is, they were afraid of M Tang.

Before I went out there, M Tang had said to me, “Don’t fight, try to reason with them.” I thought, if they were reasonable they wouldn’t have harassed an old man, that kind of person is not at home to reason.

That night, I stayed over at this Yanqing master’s house. He was very chatty, and we eventually got to talking about Xue Dian.

Xue Dian
Xue Dian’s 12 animals, taken from David Devere’s excellent website, www.emptyflower.com

He said that Xue Dian was one of Li Cunyi’s later disciples who Li was proud of, but who unexpectedly lost to his shixiong, Fu Changrong. The two of them suddenly crossed hands on the upper floor of a restaurant. With a ‘returning body palm’ [hui shen zhang], Xue Dian was knocked down the stairs. After he reached the bottom, Xue quickly stood up and, without a word, walked off. No-one knew where he had gone.

When Li Cunyi passed away, his friends came to pay their respects. Those who had come from afar would stay for 3-5 days. At the request of the Guo Shu Guan students, they would often perform their gongfu after dinner. One of them in particular, an extremely tall man, stunned the audience with his phenomenal speed. He announced himself as one of M Li’s disciples, causing one of the Guo Shu Guan students to say ”Our shifu never taught this”, to which he said: “I am Xue Dian.” Immediately subsequent to this, he issued a public challenge to Fu Changrong.

READ MORE - ‘Departed Warriors’ – the xingyiquan of Li Zhongxuan

How To Live 100 Years: Re-Learning to Breathe

qi

The famous comedian George Burns was once asked, “What’s the secret of Life,” of which he replied, “keep breathing.” Wise words from a guy that reached the ripe ol’ age of 100 (and two months).

The Chinese symbol to the left is Qi (pronounced “chee”). We’ve heard it plenty… some of us have read up on it… but every one of us has experienced it [just most of us haven't been aware of it]. When I speak to youngsters about qi, I often allude to the Star Wars films in which George Lucas replaced “Qi” with “the Force.” Qi is a term that means energy, or breath. It is the prime-mover of our existence and permeates throughout the universe.

There are different types of “Qi Training” (called Qigong) such as: Buddhist Qigong, Taoist Qigong, Wushu Qigong and Medical Qigong. Within these, the practitioner learn to harness and cultivate this energy for the purposes of: emitting, absorbing, cleansing, conditioning and healing. [Author's note: Wushu Qigong should not be attempted without a qualified teacher. Practitioners should also have a basic understanding of qi and qigong training before wushu qigong is attempted]. And yes, there are even methods: Natural, Differential, Reversed, Dantian, Embryonic and “method of no-method.” All have their benefits but it is the first (Natural Breathing Qigon) that we will focus on for purposes of “beginning at the root”, health and in developing a habit of “correct method” of breathing throughout of days.

Breathing and its link to good health makes plenty of sense. …for it’s the air we breathe, the oxygen that is delivered to the cells and the energetics at work that nurtures life. But it’s our awareness of our breath through both moving or non-moving activities that bolsters results.

  • Awareness: Concentrating on the “breath in” and the “breath out” focuses our mind internally and removes us from outside thoughts and common distractions. Thoughts will always enter in… it is just our nature as humans to think. But just as ripples appear on a pond… let the mind return to calm and think back to the breath as it is drawn into the body and finds its rest in the lower abdomen.

A MYTH: Healthy breathing does NOT mean expanding the chest and letting as much oxygen in as possible. By doing so, oxygen restricts the hemoglobin molecules and less is released to the cells.

THINK QUALITY OVER QUANTITY.

  • Quality: Soft. Quiet. Relaxed. Smooth… all of these should be words to describe “how you are breathing. As you breath into your nostrils (at a relaxed, steady pace), imagine the breath going all the way down to your abdomen (aka. dantian). By bringing your breath to your dantian, even smallest blood vessels will relax and open and will enrich your body with a greater flow of blood, oxygen and qi.
  • Natural or Diaphragmatic breathing:Breathe through the nose at a soft and steady rate and bring the breathe to the abdomen. Allow the abdomen to expand (by way of the breath, and not by your abdominal muscles pushing outwards). As you breathe out, do so by breathing out through the nose and allow the abdomen to contract/go inward.
  • Relax: This cannot be repeated enough. The better you are at relaxing, the greater the benefits you will attain from your practice. Bring your thoughts away from school, work or any other outside distractions. If your thoughts drift… return back. Over time, over practice… the “return” will be easier and easier.
  • Posture: There are many qigong postures and all of them will have to be adjusted slightly since we all are built differently. I have only 3 postures (which may be over simplified) and they are: standing, sitting and laying. I use each of these postures as throughout the day (as I am often in one of the 3 postures naturally). For instructional purposes, a standing posture should be made with a straight spine, head erect, knees slightly bent, arms by your side and the tip of the tongue resting softly behind the roof of the mouth (behind the first two teeth).
READ MORE - How To Live 100 Years: Re-Learning to Breathe

JOURNEY OF TAI JI

Lean With Back {Hanging Rock, NC}Many people in their professional life truly enjoy what they do (many do not, and that’s a shame). But it’s safe to say there are those that do enjoy their job. Even fewer, I believe, work without a single gripe. It’s huge bragging rights I know… but teaching (for me) gives a sense of joy like no other. Over the years, I’ve fielded lots of questions that I will repost here regarding the essence of Taijiquan and my method of teaching this lovely artform.

If you have a question that you’d like me to answer, please ask it in the comment section of this page and I’ll get to it as promptly as I can. Peace and love. -Coach

  • What is Taiji ?
    • Let me first say that there is a misconception that continues to mystify most, and that is centered around two words: taiji (tai chi) and taijiquan (tai chi chuan). They are related but different. Taiji is a subtle principle within Taoist philosophy regarding the essence and relationship of nature to anything and everything. Taijiquan is an artful expression of movement that attempts to unify our physical nature with that which is universal. It is an exercise that stimulates and rejuvenates the mind and body but it can not be forgotten that it is also a wonderful martial art and can be used for self-defense. [sidenote: any of us simply use 'Taiji' to shorten a word by four letters per the example below. Just so you don't try to catch me later. Haha! Thought you had me!]
  • Is Chen Style Taiji for fighting & Yang Style for the elderly?
    • No. Finding strength and learning to be soft are one and the same. Never set them apart just because they have a different look and appeal. Yang Style came from Chen Style, so in theory, technique and principle, they are also the same. Master Hong once wrote, “When we (Chen Stylists) look at Yang Chengfu’s (Yang Stylist’s) photos performing the ‘DaLu’, his sinking power into horse stance is perfect. No difference than Chen Style.”
  • How many years does the system take to master?
    • There are people that are quick learners, but I can tell you with complete honesty that the system of Taijiquan is very special because it can take a lifetime to master. Incidently it can take a lifetime to only become mediocre. People should study the theory, hold true to the principles and practice correctly (daily) to reach a high level. In addition, I also want to say that I do not believe in holding a “rank” over another person. I always had a problem with another person calling me “master.” This type of ego-stroke… superiority is never a good thing and isn’t what the martial arts should be about. Learning and discovery is cooperative and hence, is why I am referred to as ”teacher, coach or laoshi.” I had an interesting talk with Dr. Yang, Jwing-ming (teacher and prolific writer) and it makes me smile to remember what he told me… he said, “You may call me ‘Yang’ or ’Dr.Yang’ or ‘teacher’… but you call me ‘Master’ and I call you ‘Slave.’”
    • Although people succeed and become a better martial arts (in terms of movement and energy) when they devote time and enthusiasm to their practice… I’ve never advocated in my classes or workshops that long, grueling hours and standing mediations of extreme lengths of time (and boredom) are requisites. In this way, I’m not a teacher of the traditional ways. Becoming what others term “a master” is not what I look for… I ask the questions of “Do you enjoy what you are doing?”… “Do you enjoy HOW you do it?”… “Can you truly FEEL what you’re doing?” … by answering yes to one or all of these questions are all that really matters.
  • How do I find “naturalness?”
    • It’s funny, and just one of the many contradictions of Taiji practice and this is “to be natural.” I remember speaking with my Taiji brother Ronnie Yee at Hunyuan World in 2003 and we had an interesting discussion on the subject. He made the point that we read that we should “flow like water”… “mental intention should be here (or there)”… “we should assume this posture for this length of time”… all of these words are in fact, unnatural for us (at least in the beginning). But what I (Michael Joyce) continue to tell my students is this: “The movements, breathwork, coordination… all of these are difficult for the beginner and is quite unnatural. This is simply because it is something foreign or new to us. Proper Taijiquan should be balanced (that is to say, neither 100% soft nor 100% hard/rigid)… done in a relaxed manner in hope to achieve what Bruce Lee termed ‘natural unnaturalness.’”
READ MORE - JOURNEY OF TAI JI

Finding the work ethic of Chen Fake (part 1)

A young Chen FakeChen Fake is considered by many as the greatest Taijiquan master of the century. Born as “Fusheng” in the village of Chenjiaguo, in Henan Province, China, Master Chen grew up to become an extraordinary martial artist and teacher through persistant practice, respect for his family background (ancestors all masterful in Taijiquan), and love of the artform.

From reading about Chen Fake, through the words of his disciple, the late Hong Junsheng (and my teacher Chen “Joseph” Zhonghua), I’ve developed a deep admiration for the man and for his accomplishments as an artist and teacher. If one was to sum up in the man in terms of his gift of Taijiquan, these two characteristics must be mentioned,

Firstly, it was with the dent of hardwork and preserverence that harvested this amazing gongfu skill. Secondly, Master Chen never withheld anything from his teaching. His students asked and they were given an answer. In most cases, a detailed understanding. Withholding anything is strictly for the ego.

Lesson 1: Work, Work, Work

Part 1 is dedicated to that which is most important. To accomplish anything in life, we must put forth effort…never an aimless attempt… but a steady, direct and focused study of that which we feel we must accomplish. The word “work” being just another of those four-letter words that, for many, initiate a conditioned response of dread… is just the first problem of many. Our first direction should be to make work into something else. For me, when I’m teaching, studying, or training in Taijiquan or fencing…I’m “play”ing. So, in essence, hardwork might best be called hardplaying. The only criteria one must follow (after this change in vernacular) should a change in “how we play.” Whether we are playing the piano, ice skating, or doing a martial art form we should look to our actions a heavenly experience and never anything reminiscent of a chore. Embrace your bliss with your entire being and you’ll be surprised at the growth and jubilance (I may have just made that word up, but from “jubilant”) that follows.

Those with anything to add or comment on… please please please.
READ MORE - Finding the work ethic of Chen Fake (part 1)

Zhang Xiang San "Taiwan's Six Harmony Praying Mantis Master"

Taiwan's Six Harmony Praying Mantis Master

MantisZhang Xian San (aka Zhang Yi Xi) studied from Ding Zi Cheng. He was among many top Kung Fu experts to migrate to Taiwan during the war in China. In Chang Kai Shek's Taiwan he taught his major art, Six Harmony Praying Mantis (Liu He Tang Lang). He was also a Kung Fu brother of Liu Yun Chiao and encouraged him to teach openly. Both men respected each other and Liu would recommend people to Zhang if they showed interest in Liu He Mantis.Zhang also talked some Seven Star Mantis. Zhang also wrote a number of books on his art many of which are now highly sought after.

mantisDing Zi Cheng's method of instruction was progressive (though in some ways a throwback to authentic traditional teaching) and influenced Zhang's method of instruction all the way down to his disciples such as Boris Shi. Deng would introduce movements and concepts from the form to be studied separately. After the student had practiced and mastered this application Deng would show another. Finally, with numerous skills acquired, Deng would teach the whole form.

Liu He Tang Lng is itself one of the most sophisticated version of Mantis boxing. Some have even said that it is essentially Liu He or Six Hrmony Boxing with the mantis thrown in as a flavor. Certainly some of the outward aspects of the style are quite different from what most people regard as typical Mantis hands. The hook hand, for instance, is not seen in the style. There is far less emphasis on either hopping (Mei Hua) or stomping (Seven Star) though practitoners of Liu He often start with some Long Arm training followed b Seven Star (often Zhai Yao) and then are introduced to Liu He. Movements are isolated, related to the forms, then isolated again with a gradual refinement process that includes trying to apply the movements in cooperative and non-cooperative means.

Books by Zhang Xing San:
Mantis book
Mantis book

Zi Mu Liang Huan Quan
Qi Xing Tang Lang Quan
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GM Liu Yun Qiao Baji Movements Video download

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Liu Yun Chiao (1909 - 1992)


Grandmaster Liu
Yun Chiao

This world famous martial artist started as a weak boy in Cang County, HeBei province, China. Liu Yun Chiao, destined to leave his country and to become an internationally renown Kung Fu instructor, started as a youth in such poor straits that his father hired the service of a Kung Fu instructor just to see if he could be brought back to health. Young Liu's first teacher was named Chang Yao Ting and he taught the boy such unusual styles as Tai Tzu Chang Chuan (The First Emperor of the Sung Dynasty's Long Fist) and Mi Zong (The Lost Track Style). Liu gradually regained his health and showed a marked interest in Kung Fu. So his father hired the services of a very famous master, Li Shu Wen. This master was known as an expert in two styles: BaJi and PiGua, both beatiful and powerful forms of martial arts. The first was based on the energies of the Bear and the Tiger, the latter on the Snake and the Eagle. Li's method was good but torturously difficult. The young Liu spent his first year in nothing but training stances.


Grandmaster Liu
Yun Chiao performing BaJi.

Li Shu Wen was already in his sixties when he taught young Liu, who was to become Li's last real disciple. But Liu gained the benefit of all Li's advanced knowledge and theories. Then Liu continued his study to include Six Harmony Praying Mantis (from Ding Zi Cheng) and BaGua Palms (from General Gong Bao Tian).

Liu entered the army and fought against the Japanese invasion starting in 1937 and for eight more years. He then moved to Taiwan and became commander of the airborn troops there along with other military positions. He also became the head training officer for all of Chiang Kai Shek's bodyguards. While thus engaged he taught many students in Taiwan and organzied the association known as Wu Tan which has produced many graduates. Liu Yun Chiao's students include many of great fame such as
Adam Hsu, Su Yu Chang, Tony Yang and Jason Tsou.


Grandmaster Liu Yun Chiao (black) with his mantis teacher on his right.


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Xing Yi Quan Freestyle Combat

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THE TRUE HISTORY OF HIDDEN SAMBO

Scott Soonen

The Timeline of Sambo’s Evolution

This history of Sambo matches Winston Churchill’s description of Russia as a “riddle, wrapped in a mystery, inside an enigma.” I spent well over a decade researching, traveling and studying it’s many onion layers. What you read of this history may not be the ultimate truth, but it is the most sensible collection of convincing lies that no one to date has been able to accurately debunk.Only a decade ago, no information could be located anywhere. The new generations weren’t alive for the “Cold War” and the phenomenon of clandestine subterfuge that it had institutionalized Sombo. I hope to fill that void by sharing my version of the story. Sambo (Russian: самбо but also called Sombo in the US and sometimes written in all-caps SOMBO) is a modern martial art, combat sport and self-defense system developed in the former Soviet Union, and recognized as an official sport by the USSR All-Union Sports Committee in 1938, presented by Anatoly Kharlampiev. The word is an acronym of САМозащита Без Оружия (SAMozashchita Bez Oruzhiya) meaning “self-defense without a weapon” in Russian. This grappling style has its roots in traditional folk styles of wrestling such as Armenian Koch, Georgian Chidaoba, Moldovan Trîntǎ, Uzbek Kurash, and Mongolian Khapsagay but also in the martial traditions of the West and of the Far East. How those three veins pump from the same heart is the moral to the story I wish to share with you.

The Three Patriarchs: Spiridonov, Oshchepkov, Kharlampiev

The founders of this style sifted deliberately through all of the world’s martial arts available to them to augment their military’s hand-tohand combat system. Their distinct concentration, their unique perspectives and their individual discoveries resulted in three divergent flavors. The primary founder was Vasili Oshchepkov, a Russian who at age 19 was admitted into Japan’s Kodakan by Professor Jigoro Kano in 1911. In 1913, Oshchepkov was the first Russian, the fourth European in history, to receive a black belt ranking in Judo (eventually earning his nidan; second degree black belt in 1917 out of then only five degrees). In 1921, Oshchepkov served in the Red Army as a commander traveling covertly for special purpose missions into China where he studied Wushu. Oshchepkov had observed Kano’s distillation of Tenjin Shin’yo Ryu Jiujitsu and Kito Ryu Jiujitsu into what he named Judo. Oshchepkov recognized Kano’s genius in distilling Jiujitsu into a deliberate, educational process. When he returned to Russia, he taught judo to elite Red Army forces at the Central Red Army House. He used Kano’s philosophy in formulating the early development of his new Russian art. Sambo was in part born of native Russian and other regional styles of grappling and combative wrestling, bolstered with the most useful and adaptable concepts and techniques from the rest of the world. Its early development stemmed from the independent efforts of another Russian, Victor Spiridonov, a combat veteran of World War I, to integrate the techniques of Jiujitsu into native wrestling styles. His “soft-style” was based on the fact that he received a bayonet wound during the Russo-Japanese war which left his left arm lame.

In 1918, Lenin created Vseobuch (Vseobshchee voennoye obuchienie or “General Military Training”) under the leadership of N.I. Podvoyskiy to train the Red Army. The task of developing and organizing Russian military hand-to-hand combat training fell to K. Voroshilov, who in turn, created the NKVD physical training center, “Dinamo.”

Spiridonov was one of the first grappling and self-defense instructors hired for Dinamo. As a “combatives investigator” for Dinamo, he drew from Judo and Jiujitsu, Greco-Roman wrestling, American Catch-wrestling, non-sport British pugilism and Dutch Silat, and many Slavic wrestling styles.

Both Oshchepkov and Spiridonov hoped that the Russian styles could be improved by an infusion of the techniques distilled from Jiujitsu by Kano into the new “Judo” style of grappling. In 1923, Oshchepkov and Spiridonov collaborated with a team of other experts on a grant from the Soviet government to improve the Red Army’s hand-to-hand combat system. Spiridonov had envisioned integrating the entire world’s fighting systems into one comprehensive style that could adapt to any threat. Oshchepkov focused on creating a consistently successful competitive fighting format for teaching the various departments within the Soviet military.

Their development team was supplemented by Anatoly Kharlampiev and Ivan Vasilievich Vasiliev who also traveled the globe to study the native fighting arts of the world. Ten years in the making, their catalogue of techniques was instrumental in formulating the early framework of the art. Here, Oshchepkov’s and Spiridonov’s improvements in Russian wrestling slipped into the military’s hand-to-hand-combat system.

Kharlampiev is often called the “father of Sombo.” This may be largely semantics since only he had the longevity and political connections to remain with the art while the new system was called “Sambo”. However, Kharlampiev’s political maneuvering is single-handedly responsible for the USSR Committee of Sport accepting it as the official combat sport of the Soviet Union in 1938 - decidedly the styles “birth”.

Spiridonov, however, was the first to actually begin referring to the new system as Samoz, short for “Samozashchita” or Self-defense. Samoz was a softer, more aikido-like system that could be used by smaller, weaker practitioners or even wounded soldiers and secret agents. Spiridonov’s inspiration to develop Samoz stemmed from his injury that he suffered that greatly restricted his ability. Refined versions of the style are still used today or fused with specific applications to meet the needs of modern Russian commandos.

Each technique for the style was carefully dissected and considered for its merits, and if found acceptable in unarmed combat, refined to reach Sambo’s ultimate goal: stop an armed or unarmed adversary in the least time possible. Thus, the best techniques of Jiujitsu and its more competitive cousin Judo, entered into the the styles repertoire. When the techniques were perfected, they were woven into applications for personal self-defense, police, crowd control, border guards, secret police, dignitary protection, psychiatric hospital staff, military, and commandos.

In 1929, Oshchepkov was invited to Dinamo, where he took the sportive form of SAMOZ, coupled with the Randori (the competitive act of applying techniques against fully-resistant, non-compliant, uncooperative partners who were attempting to equally apply techniques) concept of Judo and the physical education conditioning of Wushu to form the style.

Oshchepkov was enamored with the principle of force-on-force training with a fully resistant partner to experience the requirement of timing and rhythm to apply techniques. He regularly conducted competitions between Leningrad and Moscow gyms in order to field test his theories and techniques. Oshchepkov’s study of physical training, early kinesiology and biomechanics, from pioneers such as Muller, Buk, and Suren was just as important a contribution as the Randori methodology of training techniques under resistance.

The Leningrad Sport Committee abolished Oshchepkov’s competition between Leningrad and Moscow fighters. The Soviet State regime did not want to recognize the part Japanese Judo played in the new freestyle fighting (not yet officially named.) The State insisted on eliminating every reference to Judo. Oshchepkov sent harshly critical letters to the All-USSR Sport Committee, Army’s Inspection of Physical Culture and Sport, in Moscow, Leningrad, Ukraine and Beyond-Caucasus Institutes of Physical Culture.

In 1937, the entire country was under the pressure of nightly arrests. The slogan “better to arrest ten innocent than to miss one spy” was the basis for the inner security service of that year. The criterion of criminal unreliability was very simple: a man would be arrested if he made foreign travel or had relatives or friends in other countries. As Oshchepkov lived in Japan studying directly with Kano, he belonged to this category. On September 29, 1937, the decree read: “Oshchepkov Vasili Sergeevich is sufficiently unmasked as Japanese spy… citizen Oshchepkov is prosecuted due to clause 58 article 6.” In the night of October 1, 1937 he was arrested in his home. Although a staunch patriot wrongly accused of being a Japanese spy, ten days after his arrest, Oshchepkov was led to a Siberian Gulag and subsequently shot in the head for his fraternization with “Japanese imperialists.”

Sambo would have disappeared at this point, if it weren’t for the political savvy of one of Oshchepkov’s students, Anatoly Kharlampiev, who used cunning diplomacy to revise the history of the art. Kharlampiev redefined the style to be a compilation of techniques from various Soviet Republics, an exclusively Soviet State-centric combat system and sport.

In 1938, Kharlampiev’s Sambo’s history was acknowledged, unsurprisingly by the All-USSR State Sport Committee as his creation based upon Soviet training methodologies and heritage. From this point forward, it would be known as the fighting art of the Motherland. Its adherents and promoters surrounded it with all of the patriotic nationalism associated with the former Soviet Union.

In 1942, a covert special military operations school prepared professional assassins named Volkodav (wolf-killer). The 18 trainers at the school were under the management of two time “Hero of the Soviet Union” and Captain of Marine Reconnaissance, Nikolai Leonov, the sworn enemy of Adolph Hitler. Their training was informally called as “a system of survival in extreme conditions” (sometimes just “the system” or Systema and sometimes just “survival” or Vyzhivaniya). It was intended strictly for the officers of Soviet Army GRU Spetsnaz.

One of the best graduates of this school was Alexsei Kadochnikov, often referred to as “Grandfather” and a legend among Soviet Spetsnaz. As direct schooling from the Spiridonov’s tradition, Kadochnikov inserted his academic engineering into this biomechanical perspective. He established the principle of efficiency as the primary emphasis of all training. The style of hand-to- hand fighting, designed by Kadochnikov, is a direct descendent of Spiridonov’s school.

In the 1970s, the Russian art flooded the international Judo competitive scene and revamped the entire perspective of what it meant to grapple. So strong were the Soviet Sambists in Judo competition and so successful, that rules changes were made to limit the use of their unique strengths and skills.

In 1980, Sambo was a demonstration sport at the Olympic Games in Moscow, Russia. However, due to boycotts, it failed to bring sufficient numbers for continued inclusion as a participatory game. That was nearly the death-knell for the discipline, as in less than 20 years, the Soviet Union would fall, and with it all of the State sponsored athletic programs, including the Russian fighting art.

According to the International Federation of Associated Wrestling Styles (FILA), it is one of the four main forms of amateur competitive wrestling practiced internationally today, the other three being Greco-Roman wrestling, Freestyle wrestling and Judo. FILA accepted it as the 3rd style of international wrestling in 1968 until it formed its own organization Federation International Amateur Sambo (FIAS) in 1985.

In the mid-1980s, Combat Sambo competitions began to be held. These “no-holds-barred” mixed martial art competitions invited any fighter of any background to compete in their win by knockout or submission only competition. Although called barbaric, this ushered in new life into the art.

My Entry into the Timeline

In 1991, I began training with Andrew Bachman, Sambo World Bronze Medalist. With him, I fought on the USA SOMBO Team, and was elected as USA National SOMBO Team Coach for the United States SOMBO Association. Andy introduced me to his coach, who happened to by an US Olympic Greco-Roman wrestler alternate, five time World Sambo silver medalist, a Class A gymnast and the only man to ever defeat Havalia Hussein – known as “The Great One” in Sombo. He received his Master of Sport rank directly from Evgeny Mikhailovich Chumakov, the training partner and advisor to Anatoly Kharlampiev. Chumakov, the USSR Champion of Sombo, was the author of the famous “100 Lessons of Sombo.” Unfortunately, despite this man’s incredible fighting abilities, he is now a convicted criminal and I don’t want to give him any energy by publishing his real name. During this time, I was introduced to Josh Henson, one of the most significant figures in Sombo’s history, President of FIAS, and international promoter of the sport. Mr. Henson and I worked together for quite a few years, and although we had a rocky relationship, I learned a great deal from him. In 1992, I was appointed as the President of the association in charge of American Combat SOMBO. I was appointed with the task of creating the American SOMBO Belt Ranking System. I became very well acquainted with Kharlampiev’s Sombo through this experience, but my quest demanded that I look deeper into the history. Inconsistencies and blatant disinformation caused me to push further. My investigations caused me to be named “unpatriotic” for studying with Russians and former Soviet coaches and athletes. And I became the “black sheep” of American SOMBO for many years, until I basically out-lived the involvement of those incumbent officials.

In 1993, I began working with Michael Galperin, whose teacher was one of Oshchepkov’s students and Kharlampiev’s partners, Ivan Vasiliev. Mr. Galperin honored me with as an honorary lifetime member of his organization, the United States Combat Sombo Association. From Mr. Galperin, I came to learn more about Oshchepkov’s Sombo, and its distinction from Kharlampievan style. Those discoveries spurred me deeper into my studies, especially when I stood right in the middle of a huge political eruption in Sombo…

In 1993, FIAS split into two organizations. I was there. But I was still too young in Sombo to understand what had happened and why it was so monumental. To me, it just seemed like an argument, a vote, and people storming out of the meeting. The content, the controversy, is irrelevant. It’s arguable that all martial arts that get to the level of popularity of Sombo, will face this… Both organizations used the same name and logo. I actually made the mistake of trying to mend the two organizations together by agreeing to be on the USA National Coaching Staff for both. I suspect that I only managed to focus their arguments on me rather than doing any good.

And although in 2005, FILA reached an agreement with one of the two organizations to reassume control over the sport, the other organization claims that the two organizations were reunified in 2006. At present FILA sanctions international competition in the style as does FIAS. Both organizations conduct separate world championships and other international events. By the time you read this, it’s likely that more political changes may occur.

But then… July 14, 1995, at the 6th tournament of a new so-called “noholds- barred” sport, the Ultimate Fighting Championships® (VI), a two time Russian Sombo Champion astounded the world: Oleg Taktarov. “Sombo is not just a style,” observed Mr. Taktarov, “But rather a combination of all the best techniques in any self-defense, martial art, and fighting style.” Oleg was not only a Russian Sombo champion, but also the four time full-contact Euro-Asian Jiujitsu Champion. He demonstrated, and more importantly stated, that Sombo was an evolving strategy. I observed his fighting style adapt with each new opponent he faced, and became reinvigorated in my investigation and practice.

What is important is how the above time-line merges next, and how the different lineages converged in my training.

In 1996, I received an invitation from Alexander Ivanovich Retuinskih, a Red Army commander, who was a student of and eventually partner to Alexsei Kadochnikov from 1976-1982. Mr. Retuinskih was a former USSR Sombo and Judo Champion, Distinguished Master of Sport in Sombo and Judo, Distinguished Coach of Russia, and the founder of “Systema” R.O.S.S.

Alexei Kadochnikov followed Spiridonov’s SAMOZ closely, since Kadochnikov was also a professor of engineering. When Retuinskih began to improve upon his teaching, Kadochnikov partnered with Retuinskih in co-research and development. It was at this point, where relations between Kadochnikov and Retuinskih became pressured. Kadochnikov believed that competitive resistance did not help improve fighters for combat. It is important to understand Mr. Retuinskih’s history in order to appreciate the different path his training took from Mr. Kadochnikov.

When Alexander Retuinskih was 7 years old, he began learning specialized gymnastics/acrobatics, that later formed his interest in biomechanics and psychology. At the age of 12, he began studying boxing; at 14, Sombo and Combat Sombo; and at age 19, Judo and hand-to-hand fighting. He became a Master of Sport in Sombo and Judo and a champion of different competitions in Russia and the USSR. In the 1980’s, he began researching Russian Martial Arts. From 1982-1989 he was an Instructor of hand-to-hand combat for the police of Krasnodar and Krasnodarskay oblast. It was in 1991, that Mr. Kadochnikov and Mr. Retuinskih finally split and went different ways.

Beginning in 1991, Mr. Retuinskih was the organizer and leader of the International and All-Russian Training-Practical Seminars on RMA. Beginning in 1993 he became Chairman of the Russian Combat Sombo Committee of the Russian Sambo Federation and Vice- Chairman of the International Combat Sombo Commission of FIAS (International Sambo Federation) and the General Director of the RETAL (Russian Combat Skill Consultant Scientific & Practical Training Center).

Soviet special forces training held the condition of “absolute secrecy” - so the nebulous designation of “Systema” - or plainly, “the system” - was assigned to special forces combatives training - another prominent reference call-sign was “Combat Sombo Spetsnaz.” During the fall of the Soviet Union, many trainers were left in the field to fend for themselves. As a result, we saw the emergence of a diverse amount of styles appear such as Vyzhivaniya (”Survival”), Rukopashni Boi (”Hand to hand combat”), Kulachni Boi (”Hand to hand fighting”), as Kadochnikov’s Systema, Vasiliev’s Systema, Ryabko’s Systema, etc…

In 1995, Alexander Retuinskih patented Rossijskaya Otechestvennaya Systema Samozashchity or in acronym, R.O.S.S., “Russian Native System of Self-defense.” He did this to create a sense of Russian identification and pride, to create an understanding of Russian Martial Art as an entire System. But he also did this to differentiate his System from others, so that people would understand Retuinskih had devised a unique system of combative education based upon his unique study and experience, and that of his research and development team. The ROSS educational system was patented as “Know-How” (registered with the State enterprise “Informpatent” Committee of the Russian Federation by patent and trademark on April 4, 1995).

Beginning in 1997 he became the Chief of the Department of Hand to Hand Combat for Cossack Military. He was ranked as a General of the Cossack Military. With his interaction with the Cossack population came a large influx of interaction with the Cossack folk styles of martial art, such as Sploch.

In 1998, at St. Petersburg State Academy of Physical Culture, the Department of Bayonet Fencing and Russian Martial Art ROSS was opened. Now, Mr. Retuinskih writes dissertation at the Department of Hand-to-hand Combat of St. Petersburg Military College of Physical Culture. The Subject of the dissertation is “Methodic ‘ROSS’ used in teaching”. In February of 2000 Retuinskih was awarded the highest award in sports, the “Distinguished Coach of Russia.”

In 1998, I began working with Boris Shapovalov, Distinguished Master of Sport in Sombo, President of the Ukrainian Federation of Russian-Style Martial Art (Kadochnikov System) and Chairman of the Police Sombo Commission for FIAS. With Mr. Shapovalov’s guidance, I coached the first in history USA Police Sombo Team, competing in the 1999 World Police Sombo Championships in Lithuania. From Mr. Shapovalov, an expert in both Mr. Kadochnikov’s “Systema” and Mr. Retuinskih’s ROSS, I came to understand the actual pedagogical differences between the systems of Retuinskih and Kadochnikov.

I also had the honor of training with the last of the royal line of pre- Soviet Russia, the late Prince Boris Golitsin, who in the Great Patriotic War received a maiming bayonet wound to his right shoulder. He composed a fighting system based upon his father’s teaching of “Golitsin family-style” (a pre-Soviet, Russian Martial Art) to accommodate his “disability” - though after training with him, I would hardly qualify it as a disability, since with one mostly paralyzed arm, I saw him bayonet fight three men, and have personally felt the pain of his whack. However, this was an independent line having only recently collaborated with ROSS (in the past 10 years).

Mr. Retuinskih studied extensively with the famous Alexander Mikhailovich Krivorotov, the first in history Distinguished Coach of Russia in Sombo, direct student of Viktor Oshchepkov. Krivorotov, due to Mr. Retuinskih’s exhaustive research and development, began studying under Retuinskih. I’ve had the distinct honor of training with Mr. Krivorotov. It’s difficult to describe to people what it was like training with the world’s best Sombo coach. Suffice it to say that I learned the difference between amateur and professional training.

Mr. Retuinskih also trained with Vladimir V. Volosov, Distinguished Coach of Russia in Sombo, Chairman of Sambo Academy in Kstovo - the world’s largest Sombo academy; Vladimir P. Guliaev - Distinguished Coach of Bashkiria in Sambo; Uriu A. Shulik - Master of Sport in Sambo, Doctor of Pedagogical Sciences, the current Professor of Krasnodar State Academy of Physical Culture; G. Potoroka - Master of Sport in Sambo and Judo (deceased). With my experience with Mr. Retuinskih, I gained the final complete picture on Sambo: Kharlamievan, Oschepkovan, and Spiridonovan styles.

Beginning in 1999, I served as Vice-President of the American Amateur Sambo Federation, the US governing body for the sport of Sambo, under the guidance and company of Dr. Leonid Polyakov, FIAS Vice-President, AASF President, who received his Doctorate of Physical Education through a dissertation on Sambo itself. By Dr. Polyakov, in 1999, I was awarded the Distinguished Master of Sport in SAMBO, the highest achievement in SAMBO, for my contributions to the sport. Dr. Polyakov through our meetings and travels connected me with the international leader of Sambo, Mr. Tikhomirov.

FIAS President and All-Russian Sambo Federation President, Mikhail Tikhomirov appointed me as the Chairman of the International Combat Sambo Commission for FIAS in 1999 when we were together in Lithuania for the World Police Sambo Championships.

In 2000, Igor Yakimov, World Sambo and Judo Champion, and North America’s highest-rated Sambo Coach, appointed me as the USA Director of United Federation of Russian Sambo. Mr. Yakimov and I worked together for a short time in the attempt to bring “Combat Sambo” tournaments to the West.

In 2006, I began coordinating efforts with a young mustang organization, the American Sambo Association and its President, Stephen Koepfer. Steve remained refreshingly apolitical despite extreme pressures to the contrary, and developed his own variation on sport rules called “Free-style Sambo” – which includes chokes, strangulations and positional fighting opportunity for Sambo athletes. The development of Steve’s organization is another example of evolution erupting, regardless of oppressive attempts to confine and traditionalize Sambo.

Three Rivers Return to One
I have an interwoven history with Sambo, and for whatever divine grace was given the opportunity to train only one step removed from each of the founders of Sambo – Spiridonov, Oshchepkov and Kharlampiev, and the three “flavors” that they created. From Spiridonov: we have inherited an emphasis on efficiency over effort, on leveraging our strengths and mitigate our weaknesses until such a time that they too become strengths. From Oshchepkov: we have inherited a practical measuring stick to determine the efficacy of our theories, a cauldron in which we can melt away the slag from the pure gold so that no potentially valuable method goes uninvestigated or unevaluated. From Kharlampiev: we have inherited the flexibility to continue our discipline no matter what the format in whole or in part so that we can ensure that our legacy will continue to survive.

Each vein of Sambo has kept the heart of this creature alive. Although once separate, I believe they are now integrated. They each have pumped the life into the content of this article, and they each speak to you through it.

I believe that I have earned the right to say what I believe was the original intent of Sambo, and I believe that I have earned the right to renovate Sambo to meet the needs and desires of modern day fighters. I realize that doing so will not sit well with traditionalists who believe Sambo should stay “as it was.” They are wrong.

Sambo was never in its history a specific style. It evolved with history. It adapted to the challenges threatening its existence. It survived all of the attempts foreign and domestic to squash the methodology from existence.

When you read the core doctrine of Sambo, I believe you will see why I believe it is the direct descendent not just in lineage but in bone and flesh of each of the forefathers of this discipline.

My Philosophy of Sambo
I’ve laid out this article in step-by-step format, so that it’s easiest to understand. You can start at the bottom with technique and work backwards up to tactics. The inherent strategies are embedded so you don’t really have to understand them at the beginning. The underlying beliefs (or doctrine) are self-explanatory, but if you do understand what beliefs created this science, since all science is based upon underlying assumptions, then you’ll be able to question those beliefs, and once you accept them, strengthen them.

RMAX Sambo Philosophy

  • Doctrine S.E.A.T.
  • Strategies Position Before Submission
  • Tactics The Saddle Series and Transitions
  • Techniques The Seven Core Leg Locks

S.E.A.T. Sambo Doctrine
Sustainability: In order for a training method to be useful, it must be non-destructive to the practitioner. If you cannot sustain the ability to practice it because it destroys your body, it will not be of any use when you need it.

Evolution: One needs to experience the unexpected and unfamiliar in order to foster continued evolution. Although sound mechanics are universal, training methods must be allowed to evolve as all approaches are relative to the time, culture and event in which they were born. Any means necessary to accomplish the task. Any potentially valuable method should be weighed and tested on its own merit regardless of origin or association.

Aliveness: One needs fully alive resistance to become mentally tough and emotionally controlled. Only through actual uncooperative competitive opposition does one truly own knowledge.

Transferability: Good mechanics are universal (context-free), so studying them will allow you adaptability to whatever circumstances you encounter. Regardless of what format, so long as ideas are considered and tested, the adaptation is always organic, never in isolation.

These above original intentions have all been neglected, ignored or redefined in an emasculated manner with the ‘traditionalizing’ of Sambo. I have no taste for it, and stay true to the original intentions listed above.

The 3 Strategies of Sambo
There are three modes of Sambo that end up being taught, though these are different than the traditional 3 flavors of Sambo (which were selfdefense, combat and sport):

Self-Defense: Self-Defense oriented Sambo involves a very large curriculum of techniques resembling stand-up Jiujitsu, ground Judo, Boxing and Kickboxing. Unfortunately, due to the volume of material, there is often not enough time spent facing resistant opponents. However, it doesn’t claim to be a competitive sphere of martial art. Self-Defense Sambo should remain an adjunct to competitive resistance so that the more fine motor techniques have a platform of timing and rhythm which only alive, dynamic resistance creates within the nervous system. There are many in the West who only train in Self-defense Sambo, when it was never intended to be trained in to the exclusion of the other two aspects.

Sport-Wrestling: Sport Sambo is an incredibly athletic game which is much like a combination of Judo and Freestyle wrestling, but including leg locks and excluding chokes. However, from its birth to the current day, it remains besieged with politics. From one organization and one event to the next, the rules are so different that it’s difficult to prepare and have a good time. Moreover, the rules have become so restrictive that preparing for sport Sambo requires that you to become a lesser overall fighter (from a mixed martial arts perspective). Basically, you have to train dangerous habits, like exposing your neck to strangulation, or never developing a good closed guard game.

Mixed-Fight or “Combat Sambo”: I know that the traditionalists will be in a tizzy over me saying that one of the flavors of Sambo is mixed martial arts (MMA). I say this not because it was a deliberate intention of the founders (although, historically, I could argue that easily, especially since few people truly know the history of Sambo). I say this because it is the mode of actually studying the discipline. When you go to class, and work in dynamic drills, you face people of diverse backgrounds, levels and abilities. With no formalized ranks in Combat Sambo, everyone fights everyone. What I’m saying here is that the mode in which Combat Sambo is studied is more important than the content of the actual class: facing other martial artists of mixed backgrounds. This is the superiority of Combat Sambo as a delivery system for timing and rhythm, the essential virtues of fighting efficacy.

I find category 3 – Sambo for MMA or “Combat Sambo” – to be the most athletically stimulating, intellectually challenging and personally/ professionally fulfilling. So, when I’m discussing tactics and techniques, I am only speaking to fighting other martial artists – MMA - not to Sport-wrestling or Self-defense.

Originally, these three flavors were meant to be synergistic, but frankly, most non-professionals do not have the time, energy or inclination to practice all three. Most people aren’t familiar enough with Sportwrestling Sambo to be interested, and most people will not invest the long years of practice to refine the Self-defense aspects of Sambo. But that’s not relevant to this article, which regards specifically Combat Sambo and its stage in the mixed martial arts world.

READ MORE - THE TRUE HISTORY OF HIDDEN SAMBO