Salahuddin Muhammad

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Re: Salahuddin Muhammad

Postby Interloper on Thu Jan 12, 2017 2:34 pm

He does teach fairly openly compared to some. Though, one thing he has said about his public videos is that they are -not- the formal art itself, but "freestyle" practical, contemporary applications of principles and concepts from the curriculum. In his dojo and study groups, the classes are much more formal and traditional, and the work comes directly from his teacher's densho (scrolls).

Here is a quote from Salahuddin Sensei, regarding his publicly-accessible videos and seminars:

"Though certain principles and methods are extracted for public consumption, much is taught very privately to very small groups. The public material is more about applications. At the dojo, formal attire is worn (kimono, obi, hakama) and the kyoka (curriculum) is followed closely."

He keeps his circle of direct students quite small, believing that jikiden (direct transmission) is the only way his teacher's art can be effectively and fully taught and passed along. Some years ago, he was much more open and perhaps a little over-generous in who he would teach, and what, but had some unpleasant experiences. So, he is more cautious now. He says that admission of new students has gone back to being very traditional, the way his own teacher was:

"A formal introduction from a current student is required. These standards were relaxed for a three-year period, much to our detriment. We are an independent small system; everyone knows everyone."

So, that's how Salahuddin Muhammad rolls now. He has a great group of people, and some of them have trained with him long enough to be demonstrating some impressive skills. I think we will be seeing them doing public demos and workshops before too long. That, to me, is the real sign of a good teacher and art - that the students develop the skills of the teacher.
Last edited by Interloper on Thu Jan 12, 2017 3:36 pm, edited 1 time in total.
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Re: Salahuddin Muhammad

Postby Interloper on Tue Feb 07, 2017 9:11 am

Found another short clip online, from one of his past denshukai (intensive week-long training "camps"), that shows some of the shocky effects of concussive impact. This is through use of "six-directional energy" and the processes ("aiki") that allow a person to attack and control the opponent's center of mass instantly on contact ("kuzushi on contact"). Enjoy.

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Re: Salahuddin Muhammad

Postby windwalker on Thu Feb 09, 2017 8:14 am

This is through use of "six-directional energy" and the processes ("aiki") that allow a person to attack and control the opponent's center of mass


Can you explain how you feel or is explained that the others center of mass is, or would be controlled.
Asked out curiosity. If its not something you can not, or would prefer not to go into on line, understood ;)
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Re: Salahuddin Muhammad

Postby Interloper on Thu Feb 09, 2017 9:32 am

windwalker wrote:
Can you explain how you feel or is explained that the others center of mass is, or would be controlled.
Asked out curiosity. If its not something you can not, or would prefer not to go into on line, understood ;)


Hi windwalker,

Center of mass, or center of gravity, as I know it, is the area where our weight or mass tends to "fall," and where the body maintains its balance. That is the pelvic-lower abdominal area. In mechanical terms, if you can feed through the body's joints from the point of contact, down to the lower lumbar vertebrae where it meets the pelvis/hips, you can break a person's structure. There is also an "upper center," which can also be controlled through the same process; however, in order to fully break someone's structure through that upper point, you still have to feed through the spine to the lower center of mass.
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Re: Salahuddin Muhammad

Postby shawnsegler on Thu Feb 09, 2017 10:40 am

:36 to :38

Makes me sad.

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Re: Salahuddin Muhammad

Postby Interloper on Thu Feb 09, 2017 11:10 am

shawnsegler wrote::36 to :38

Makes me sad.


Why, Shawn?

When the uke shoves nage (Salahuddin Muhammad), nage absorbs the shove and takes it to the ground, using a unified structure and the manipulation of soft tissues on the front of his body. Then he returns and augments uke's force from the ground, back into uke's structure to his center of mass. He does this several times in very small, pulse-like movements, which shocks uke's system, takes his balance, and doesn't allow him to regain it. This is one of the hallmarks of aikijujutsu in the Japanese internal arts.

And, I know for fact that uke is delivering a committed, forceful shove. I have met and trained with him.
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Re: Salahuddin Muhammad

Postby shawnsegler on Thu Feb 09, 2017 11:41 am

Because the Uke continues to lock his arm out and grimace as though he's being controlled and in pain after the hands have left him entirely.

S
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Re: Salahuddin Muhammad

Postby Interloper on Thu Feb 09, 2017 12:07 pm

shawnsegler wrote:Because the Uke continues to lock his arm out and grimace as though he's being controlled and in pain after the hands have left him entirely.

S


I understand. Having been in that uncomfortable position myself -- Nage is continuing to project through his quad (and before that, from the front AND back of his body) through uke's aligned joints from point of contact, to shoulder, to center of mass, and is being controlled even as he seems to slide to the ground.

For this use of internals to be effective, there must be constant change-ups that don't allow uke to get his equilibrium back or to break away. Nage here never pulls back or releases the feed-in of force through uke's structure. He is constantly filling uke with force down to his center of mass and the ground, compressing him. In CIMA, discussion would be on the expansion and direction of mingmen with complementary suction of dantian. In JIMA, it's called "aiki-sage" (aiki - "sahgei").

In real-life application, I don't believe anyone would maintain this kind of connection for so long. Nage would have used uke's first moment of shock and imbalance to deliver strikes, chokes, locks, cuts. Nage would have uke on the ground, with his knee on uke's back compressing uke's diaphragm/breathing. But this is a lesson, and Salahuddin Muhammad is demonstrating some of the nuances of body control. I know the uke... trust me, if he could pull away, he would have. He is under strict instructions to do everything he can to attack, strike, evade, etc.
Last edited by Interloper on Fri Feb 10, 2017 7:20 am, edited 3 times in total.
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Re: Salahuddin Muhammad

Postby Interloper on Thu Jun 01, 2017 11:32 am

Another interesting video from Salahuddin Muhammad, demonstrating some of the principles of his internal art, Hontai Hakkei Ryu Aikijujutsu.
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Re: Salahuddin Muhammad

Postby chud on Thu Jun 01, 2017 12:53 pm

shawnsegler wrote:Because the Uke continues to lock his arm out and grimace as though he's being controlled and in pain after the hands have left him entirely.

S


Yeah, I saw that too.
No hands on him at all and he still has the arm locked and is squirming.
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Re: Salahuddin Muhammad

Postby Interloper on Thu Jun 01, 2017 6:27 pm

You don't have to have hands on to do it. Any place where there is a point of contact, compression can be directed through the opponent's structure to his center of mass, controlling him.

Btw, the main teki/uke is a very experienced Systema instructor. He doesn't tank for anyone. The three big, muscular guys later in the video are not Salahuddin Muhammad's students. They train in yi chuan, hung gar and taiji.
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