willie wrote:Your Sensei looks very interesting.
Interloper wrote:willie wrote:Your Sensei looks very interesting.
He is using all of the mechanisms of dantian, mingmen, kua, etc. that you would find in high-level Chinese internal arts. Six-directional force is the baseline condition, and it is a matter of manipulating that force in many different ways to achieve different effects in martial application. It is in the martial applications that the stylistic differences are evident among these various arts, both Chinese and Japanese.
jaime_g wrote:Really good daito ryu uses silk reeling and dantian
willie wrote:There appears to be a lot of Tai Chi influence in his style. I believe that I have said this before and your reply was no if I'm not mistaken? But a lot of the applications that he is working off of are from Chen Style. It appears that they have been altered a little bit for his purposes. As in the cover picture of that video itself. That is him kneeling down but at the same time he is applying single whip. It appears that he is using some Dantian in his applications, I did not see any evidence of the higher-level use of the Dantian. But of course it is just a demo. I like what he's doing, it's pretty cool
Interloper wrote:
Hi willie,
Salahuddin Muhammad had only one aikijujutsu teacher, the late Okazaki Shuji, who was a direct deshi of Yoshida Kotaro (Daito Ryu), as well as of several koryu (old school, classical) Japanese martial arts. The art is an amalgamation of Kukishin Ryu (weapons), Takagi Ryu (bodyguard practical system), Kosen judo (for ne waza/ground grappling).
There were some other influences, but those four arts are the principle ones, and it was Yoshida's Daito Ryu that provided the foundational aiki. Because Okazaki Sensei was a seeker and martial scientist, always refining and improving his skills, It's very possible that he met Chinese internal martial artists and had some kind of exchange.
Muhammad Sensei started training at age 9 with Okazaki (before that, he had trained in jujutsu with another Japanese teacher, starting at age 6). He stayed with Okazaki until his teacher's death in 1991, at which time, Muhammad Sensei became the generational inheritor of the art. Okazaki had called his art Takagi Shin Ryu, but Muhammad Sensei retired the name and renamed it Hontai Hakkei Ryu to honor his teacher, because Okazaki Sensei had always referred to the explosive power of "hakkei" (transliteration of "fajin") that aiki generates.
It's interesting that the word "hakkei" is not one that you hear in Daito Ryu, and that it simply the Japanese word for "fajin" Daito ryu has this explosiveness, but I believe they use a term that is not taken from Chinese.
It's an interesting conundrum, because in the several years I have been training in HHR-AJJ, I have noted many similarities to the other internal art I study, which is a Chinese family art that has a very deep curriculum for developing the connected, internal body method. For that reason, the two arts are compatible with each other, despite their being very different in terms of outward expression and martial application.
Interloper wrote:klonk,
In the majority of Japanese internal arts schools, very limited "internal" material is passed on, except to perhaps a select handful. The rest get external material -- and it may be very good, just not anything incorporating the so-called "internal qualities" of the art. In that respect, it's very much akin to the Chinese internal martial arts.
In the Japanese arts, as with the Chinese arts, who gets the skills depends on how much jikiden (direct teaching/transmission -- physical, verbal and psychological) a student receives from the teacher. Beginning students are given what would be considered "external" sets of standing and moving exercises to do which don't in themselves exercise internal mechanisms, but which start the development of neural-muscular pathways that will lead to the student being able to physically recognize, locate, and activate the internal tissues and processes necessary to make internal structure and power. By themselves, these exercises could be practiced for a lifetime and never impart anything remotely "internal" in a person; the teacher has to know how to incrementally build on, and in, the student the necessary pathways. Some students will be given this key, and move on to more sophisticated skills. The rest may become exceptionally fluid and powerful from the "skeletal" foundation exercises, but never progress beyond the overt movements and products of the beginning movements they were taught.
Trick wrote:I don't understand this post, you say begginers exercises can lead the practitioner to get this Aiki, but you also say a practitioner need "special guidance" to get Aiki skill....A non Aiki skilled practitioner can become "exceptional fluid and powerful", so what will an Aiki skilled practitioner become then?
Interloper wrote:The second set of movement skills are not something a person can teach himself, because it is so specific and so unconventional. The chances of stumbling across the "formula" for aiki and internal power, are pretty slim. So, while you might be able to teach yourself how to punch "externally," through trial and error, learning how to use your body effectively in the generation of internal power, or manipulative aiki, requires someone who has those skills to guide and instruct you.
The non-aiki person will develop fluid, powerful -external- movements. The aiki person will develop an unusual stability that is very hard to uproot, and a different kind of power that requires less overt-external movement, yet generates more force because it uses the entire unified body in a cyclical process that produces power at every stage (no starting and ending point), rather than "pieces" of the body in sequential chains of movement that have a beginning and an end, and then must be re-chambered or re-set.
Does that help?
Trick wrote:
Well it continue to help me to understand that the "second set of movement skill" belong to the secret teaching but you anyway want to tell that you and the school(dojo/teacher) you're affiliated with are in possession of this skill.....You continue to say that "The non-aiki person will develop fluid, powerful -external- movements" which sound as to contradict the "rather than "pieces" of the body in sequential chains of movement that have a beginning and an end, and then must be re-chambered or re-set."
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