“There is nothing like experience itself”, I am not sure exactly who said those powerful words, but they have an effervescent truth. I learned this the hard way when I was going for my first degree black belt. The only type of fitness training I did back then was forms and sparring. When the day of the test arrived, I almost fainted and I was gasping for air. All things happen for a reason and I think that eventful day was a pivotal point for me.

Traditional training in martial arts mean using your forms, katas or hyungs, kicks, punches or blocks as the only means of training. This approach helps tremendously as far as developing proper execution and for just learning techniques. However, your body needs to be powerful and explosive to be able to deliver devastating and fierce techniques. At this point tradition and modern training must meet.

Imagine if we kept using the horse and carriage today as means of transportation. It would take forever to go to a far place, correct? The same goes for the martial arts and combat sport, there must be a blend of the new and old, instead of isolating the two from each other. Tradition is necessary to understand martial movements at their basic level and modern training is necessary to improve those movements. A perfect example of this is the transformation of Bruce Lee from a traditional trainer to a scientific trainer. He didn’t discard all traditional training, but what he kept was useful and necessary. His transformation expanded to all martial arts practice today. This man is a true inspiration!

Another great thing about blending both approaches is their ability to simplify techniques. Think of the innovations of the heavy bag, shields, focus pads and other target tools. All striking like kicking, punching and elbowing have greatly improved because accuracy, timing and power can be practiced without the need to hurt a training partner. Resistance training, weight training, isometrics, under water training and plyometrics among other new school accessories have changed the martial arts world forever.

Finally, by taking an old school approach like meditation, we can practice visualization to enhance physical prowess or to practice internally when we are not able to participate in class because of sickness or injuries. What we can use in martial arts both physically and mentally are already amazing technologies because they teach us how to use our potential in ways we never thought possible. Instead of creating opposition by choosing either old or new approaches, we should learn from both like yin and yang which coexist with each other. This is the balance of life and this is the balance of martial arts.

About the Author

Mr. Lopez holds a second dan black belt in Tae Kwon Do, he is the founder and instructor of Yin Yang Martial Arts Center, a place created for personal growth and for the awakening of the inner master in all human beings. He also has a vast background of Yoga and Chi gung.

There are millions of people all across the world who practice martial arts. Some are masters of the arts while others are first-time students, but one thing that all martial arts pupils share is a respect for its history. This is because they respect how spiritual and sacred all forms of martial arts are.

The history of martial arts goes back thousands of years. Its history is one that is full of various different martial art styles and techniques, one in particular being Tai Chi Chuan.

One of The Oldest – Tai Chi Chuan

Better known in its short forms, Tai Chi, or Chinese boxing, it is one of the most ancient, historical, and distinctive Chinese forms of martial arts. This art focuses on the importance of breathing techniques and non-aggressive self defense techniques. Its masters can effortlessly fend off attackers by using graceful movements that redirect the energy or force of the attacker. But be aware it takes years to master just the breathing techniques of Tai Chi.

Tai Chi is specifically designed to provide relaxation in the process of body conditioning exercise, which teaches its students the mental power and peace of meditation. This is why Tai Chi differs so greatly from so many of the other martial art forms.

Any history lesson in martial arts needs to include Tai Chi because it was one of the very first art forms to be accepted and practiced worldwide. It closely resembles kung fu in that it may be used with or without weapons.

Kung Fu

When talking about the history of martial arts one can also not forget kung fu, a martial art that focuses on exercise and a spiritual transcending. The various different movements that are employed in this martial art form are mostly imitations of the fighting styles of animals, and have such names as:
* Dragon
* Horse
* Snake

Kung Fu is spectacular to watch in action. If you ever get a chance go watch a sparring tournament.

Karate is another of the martial art forms that needs to be included in the history of self-defense arts, and karate can be considered as a form of self defense, a form of physical fitness, or even a way of life. It is one of the most commonly practiced self defense tactics in the world, and there are basically three main components that are included in typical karate training, which are:
* Kihon
* Kata
* Kumite

Karate classes can be great for kids and adults alike who are interested in getting in shape, learning discipline and respect. If you have that competitive edge you can also enter sparring tournaments to test your skill against other karate students.

Regardless of which particular martial art form you are interested in practicing, the most important thing is that you understand the history behind martial arts in general, so that you can truly understand and respect the dynamics of the many ancient forms of martial arts. It will also give you an idea as to which art you would like to pursue next and why.

About the Author

Self-defense classes are great for kids and your fitness, but as Madison Greene knows first hand, those techniques are no match for a viscous street criminal who is intent on robbing, raping, or murdering you. If you would like to be introduced to techniques that are easy to learn that can actually protect you in the real world visit: www.HardcoreFightingSecrets.com

There was a time when the karate man was looked upon with respect and feared. A time when, if someone said they were a black belt, it caused others to be impressed. You can say that karate has become outdated. But what has really happened is that karate has become exposed. There has been an interesting development in the martial arts in the late 20th Century and into the 21st. Martial arts have evolved and become much more true to life than ever.

If you are one of those people who like to question things then maybe this thought has gone through your mind. Why are there so many different martial arts systems in the world. We all have two arms and two legs don’t we? So why all the different systems of self defense? I know that systems were usually born out of a need such as one group of people having to fight another group who were better armed. So they developed systems to fight those men who used certain weapons a certain way. Unfortunately these men thought their system more effectual than they should.

So let’s look at what we have in the world without going into a deep history lesson. You basically have karate and ju-jitsu from Okinawa and Japan. You have a multitude of kung fu systems from China. You have Tae Kwon Do and a few others like Tang Soo Do from Korea; boxing and wrestling from Europe of course. Of these there is every variation under the sun. You name it and someone has tried to develop it into a fighting system. But what do we really have. The fact is that all we really have is three men out there. It all boils down to THREE. You have boxers or people who fight predominantly with their hands, kickers who like to use kicks as their main weapon and grapplers who like to take people to the ground and finish them there. That’s really it. Just those three. Now there are people who are good at one, two or even three of those methods. Those guys are now known as mixed martial artists.

Someone once asked, what is truth? I think we can ask that same question here. I mean how can the average guy deal with someone who is skilled in one or even three of the main fighting methods? You know, the grappler who can kick and box. If the guy is good at all three methods then do I have to be good at all three methods, too? Do I have to fight in the same manner? I know karate won’t do the job. Definitely Tae Kwon Do will not do. How about adding a self defense class or two. Will that help? I don’t think so. What about kung fu and all the various animal styles? No. You can pretend to be an animal but that won’t beat the skilled boxer, kicker, grappler. So how do we deal with this guy. It can’t be using his own methods. You can’t box a boxer and expect to win if he’s really good at what he does. Let’s just assume this guy is a really good mixed martial artist who happens to be a thug and wants to rob and maybe even kill you. What’s the answer if you don’t have a weapon at hand?

The answer is elementory yet intricate. In order to effectively deal with a skilled thug you must first put away all your preconceived ideas about what real combat is. Forget the ring. Forget what you see on TV. How can an older man; say middle-aged, defend against a group of younger, stronger and faster opponents. It will not be by speed and power. If he is to win; and he must, he has to do something all together different. Yes the older man is a master of self-defense. But his system is highly evolved. He relies on a core group of concepts rather than techniques. Of course he uses proper technique but it is all grounded in his core principals. He also has the amazing ability to fight in a very apropos manner because he is guided by highly developed contact reflexes. In other words, if he is touched by an aggressor, the older man instantly knows all about him and deals with him in proper time with super preparatory application. That means he stops the first attack and all future attacks immediately. He also uses skeletal alignment to enhance his power. He is able to hit much harder than his younger counterparts who use muscle to deliver their blows. The skilled older man delivers his strikes with his bones which feels like being hit with the end of an iron rod.

The answer is to unite with the opponent’s energy. No struggling or resisting but moving according to “the now”. To be able to discharge a highly potent “motion martial art”. Not static or choppy, muscular movements but relaxed yet aligned motions that can deal with an attack as if it were just a crude language. Yes, the answer is to have a highly developed and fluent martial language as a complete and elaborate communication. Yes, self defense can be like this. The only martial art I know that achieves this elevated dexterity is Wing Chun.

If a person truly dedicates him or herself to only doing and developing a system that is fit for the 21st Century real world self defense, then he must use external defenses guided by internal faculty. A system that encompasses the most effective techniques a person can deliver with the most advanced internal concepts one can make manifest. Now I mentioned Wing Chun earlier but not every Wing Chun teacher has developed in this manner or to this level. It is rare to find people who have this high level skill. But they are out there.

If you really want to get involved with a martial art and want to find verity, then take a few steps back. Get back far enough away from what is traditionally known and taught. Take an honest look around and see if the martial art before you justifies itself intellectually. Ask the hard questions. Will it work against the boxer, kicker, grappler guy? Can it be done effortlessly? What makes the most sense? Study and do research before you join a school. I can tell you right now, forget karate and Tae Kwon Do unless you just want to do a sport. Don’t be too reverent with any martial art system. Be honest with yourself and hopefully you’ll find a good teacher.

About the Author

Armando Sainz has been involved in martial arts since 1979. His school is highly recognized in the industry as being one of the top Wing Chun schools in the country.
http://www.centerlineacademy.com/

“How important is age?”

In a nutshell, age is extremely important. A child who cannot handle being in kindergarten, or pre-school, will not be able to concentrate in a martial arts class. Before five years of age, any child who can focus in a martial arts class is exceptional.

We have successfully trained a few children who were, or are, four years of age. I don’t want to turn away the next Bruce Lee or Mozart, when he or she comes along, but there are a few factors to consider when a child is very young.

1. Can he or she let go of a parent’s hand and work independently, in a classroom setting? This is very important, unless you can find a martial arts teacher that will teach parent and child, together, in the same classroom.

2. What are your true goals? When a parent has a lot of patience, it is much easier to accomplish realistic goals of focusing in a classroom, improved motor skills, and enhanced athletic abilities. However, instant success and precision performance are not likely. In many cases, young karate students tend to “shine” around seven years of age or older, so why put your child under pressure?

3. How much of a distraction is a young child going to be in a karate class? If your child is used to being the center of attention, this won’t work in a martial arts class. Time is shared with other students, and the objective is to learn everything in the daily lesson plan. This cannot be accomplished if a child is screaming for attention.

Within our Karate studio, in North Providence, we have a no pressure screening process for young children, as a measure, to see if joining our kids Karate classes will be a good relationship for the parents, child, and the Karate studio. This is why we have a free 30-day trial membership, with no obligations on either side.

As a parent, you want your child to get the optimum martial arts experience every time they train. This can only happen if the martial arts school establishes clear guidelines for conduct and if all the children participating are “team players.”

Otherwise, parents do not get their money’s worth and children waste time in a Karate class, while the child who gets the most attention is a discipline problem.

Within a child’s mind, being responsible for his or her actions is a matter of developing awareness, and everything is a new experience. As adults, we know that this knowledge comes with age, but each individual child grows at a different rate. Children are not “little adults,” and we cannot place adult expectations upon them.

If you put children into extremely high-pressure
situations, they will not continue to enjoy the activity. Whether it is martial arts, academic school, or little league baseball, it is healthy for parents and children to have goals, but we all have to learn to accept life’s little setbacks without worry.

© Copyright 2005 – Paul Jerard / Aura Publications

About the Author

Paul Jerard is the director of Yoga teacher training at Aura in RI. He’s a master instructor of martial arts and Yoga. He teaches Yoga, martial arts, and fitness. He wrote: Is Running a Yoga Business Right for You? For Yoga students wanting to be a Yoga teacher.

http://www.yoga-teacher-training.org

People have been picking up sticks to beat each other since time immemorial, but the joong bong, the Korean Middle staff, is something really special in the world of martial arts. This is the most commonly taught weapon in the Korean martial art of Kuk Sul Won, though tournaments and ease of use have brought the joong bong into other arenas, like Tae Kwon Do.

I got my first look at joong bong technique a few years ago, when I was interviewing one of the advanced students at a Kuk Sool Won school in Milwaukee. She was giving me the run down on the basic kicking and striking techniques used when something caught my eye. Next to the fans and tridents, most people wouldn’t have given the homely stick a second glance, but I could tell from the wear that this was a weapon that many students had trained with.

The joong bong itself varies depending on the school and the preference of the user. Usually, it is made out of wood or rattan and measures between 2 and half to three feet long. My friend mentioned that some heavy hitters like their joong bong to be made out of metal, and after I did a few passes with it, it makes sense; in terms of practicing, the heavier the stick is, the better the workout you’ll get.

She explained that the joong bong was the middle-sized staff that many students started off with, and is one of the easier weapons to master in the realm of Korean martial arts. She herself had started with the joong bong, and though she had progressed to a mastery of several other weapons, the joong bong remained one of her favorites. As I watched, she demonstrated some of the moves associated with this ancient weapon.

The joong bong is held at one end, rather than in the center. My friend emphasized that that this is used primarily for striking and as such, the tip should be aimed at the opponent’s neck for maximum effectiveness. Slowly, she took me through the four basic striking techniques that make up her joong bong practice and then she sped it up. As I watched in awe, she became the center of a whirling storm, the slow exercises she had been demonstrating turning into a fierce burst of activity.

She grinned at me when she finished up and asked if I cared to try. I was ready to go ahead so I stepped on the mat to face her, but she laughed.

“I was thinking about pairing you with one of our newer practitioners of joong bong,” she said and pointed at a thirteen-year-old boy, who was taking his own stick through the motions. I was going to laugh too, until I noticed how fast he was moving and how hard he could bring down his stick!

About the Author

Yoshi I Kundagawa is a freelance journalist. He covers the
mixed martial arts industry. For a free report on
Joong Bong
visit his blog.

In the world of self defense and martial arts training, most people believe that 1 method – one approach or style – is all you need to protect yourself. When, the truth is that, the more options you have in any given situation, the greater will be your chances for success.

This is true in the business world – true with regards to setting and achieving goals…

…and it is especially true when we’re talking about being able to protect yourself against danger.

Could you imagine how successful military or police professionals would be if they trained this way? Especially the special forces of each branch – the teams trained to be able to handle an emergency situation at a moment’s notice?

These groups, who have no idea where they’ll be going next, or what the next situation will present them with, don’t have the luxury of having a favorite “style,” or method for getting results and winning. That’s why they train to have different strategies, tactics, and techniques – so that they can be ready and able to adapt to whatever a particular situation or enemy presents them with.

And, if you’re serious about being able to protect yourself against a real assailant, in a real street self defense situation, then you must be able to adapt to whatever he throws at you!

Instead of being limited to just one style or approach to self defense against a raging assailant intent on hurting you, here are 4 different methods, or strategies, that will allow you to meet your aggressor with the right tactics against his own.

4 Self Defense Modes For Effective Street Self Defense

• Strong & Stable - Here, you hold your ground and use your strength and superior positioning to stop his attempts to get at you. You use the principle of using your strong points against his weak ones to crush his attack and bring him under your control. In the world of Japanese martial arts, this is very much like Sumo.
• Long-Range, Defensive Angling - Against a bigger, more aggressive assailant, you use the principles of long-range distancing and strategic angling to cause his attacks to miss you, while simultaneously opening his own targets to you. From this newer, more advantageous position, you crash back in with powerful, full-body attacks that knock him back and down. Judo and jujitsu are good examples of this type of strategy.
• Direct, Committed Aggression - Before he ever gets a chance to touch you, you explode forward and take the fight to him. He finds himself going on the defense against your onslaught of punches, kicks, and other directed techniques that blast him backwards before he ever has a chance to know what happened! If we were to look for an example of this type of forward-moving, “get-’em” kind of fight strategy, Karate and Tae kwon do almost immediately come to mind.
• Slippery Evasion - Using this strategy, you use tricky, last-second timing to evade and avoid his incoming attacks. He finds that, what he thought was an easy target in front of him, is now a formidable adversary who has him tied up or off balance and reeling. This is the kind of strategy and principles that we would associate with the Japanese martial art of Aikido.

I know how easy and instinctive it might be to look at the above list and be drawn to one or two of these strategies. However, you must consider the fact that, street self defense is not the same thing as a contest with mutually agreed upon rules and a referee to insure fairness.

In fact, in a real-world, street self defense attack, you will not know…

• Who your attacker will be
• If he (or they) will be armed
• What the attack or situation will be like
• How much experience your attacker has at doing damage…
• …and a whole range of other unknowns!

The only things that you will know are:

• That you’re being attacked!
• What you think you know about handling a situation like the one you’re in, and…
• How you feel about your attacker and the attack they’re throwing at you.

That’s it.

Based on that, and the attention you put into the details of any training you’ve had in dealing with THIS particular type of attack, you’ll go into action.

The only question that remains is…will you be prepared for what will really happen in the moment? Not what you think might happen, or what some teacher told you.

About the Author

Effective self defense requires more than just a few “karate moves.” It involves the ability to think strategically, and understand how to defend yourself with as little wear-and-tear on you as possible.

For more information on what you MUST know to survive a real street attack, read my newest self defense book: “Fight Smarter – Not Harder!” It’s available free at: http://www.warrior-concepts-online.com/street-fighting-self-defense-book.html

Jeffrey M. Miller is an internationally-known self defense expert. Each month he teaches literally thousands of students through live seminars, corporate training events, and his in-demand Self Defense Success Secrets Home Study Courses, the lessons to be able to survive in Today’s often dangerous world.

Have you ever been watching martial arts movies and thought, “I can do that?” Bruce Lee, Jet Li and Jackie Chan make it all look so easy. They make it look like anyone can do it. I know it makes me want to do flying kicks off walls and jump through ladders, but these guys are trained professionals. What they do is very dangerous.

 Let me give you 3 reasons why imitating these professionals can land you in the hospital or the cemetery.

 #1 The Martial Arts Movies Focus on High Jumps and Kicks

While the fast paced movies love the high flying kicks, in real life they are hard to land and pose serious risk. Spin kicks require precision and split second timing. If you don’t know how to land when falling, then you are asking to be hurt. Ask any stunt man about falling. They will tell you that falling is serious business. The ground comes quick and hard. It offers no forgiveness. Don’t try this at home folks.

 #2 Movie Fights are Choreographed

In the movies the fighters know what will happen. In real life, you don’t know what your opponent will do. Movie fights are choreographed and bodily harm is not a problem. However, street fighting is dangerous and anything can happen. Trying movie tactics in a street fight is never a good idea as it could be quite dangerous.

 #3 Movie Fights Use Spectacular Moves

Martial artists go into movies knowing proper techniques. Then, when they begin a movie, proper technique is substituted with spectacular moves by directors for the benefit of the audience. Think about it. Do you really think that Bruce Lee would really opt to jump through a ladder in a real life fight? Of course not! But it does make for good movie watching.

About the Author

I am the owner of this site.

Combat Jujitsu is one of the hottest trends in martial arts today. In fact, a lot of martial arts masters are creating a new and unique form of all martial arts known as combat martial arts. Learning combat Jujitsu can have a lot of benefits.

Jujitsu is a very skilled martial arts that uses a lot of different moves such as holds, mounting, grappling, takedowns, and a whole lot more. If you are persistent, determined and disciplined you can learn Combat Jujitsu and experience an entirely new level of personal development through it.

Jujitsu is an ancient martial art originating from the country of Japan, and was created in the 1500s. The ancient martial art of Jujitsu combines all of the grappling, holds, mounting, and takedown moves with relaxing and beneficial meditations.

Judo was actually developed from the ancient martial art of Jujitsu in the 1800s by a man named Jigoro Kano. Jigoro Kano took a variety of different techniques from other masters of Jujitsu and meshed them together into Judo. Kano called this form of Jujitsu and Judo “Kadokan Judo”. Kano soon found out that his dog’s breakfast version of Jujitsu wasn’t as great as he thought it was. His students could not defeat the Jujitsu students in any of the competitions they engaged in. Kano knew it was time for a change, and he chose to add some more skills to his form of Judo – joint locking techniques, choking techniques and holds. One of Kano’s students eventually moved to the beautiful country of Brazil and brought his unique form of Jujitsu and Judo to the country with him. From there, the martial arts of Jujitsu and Judo spread throughout the world.

Combat Jujitsu takes the original Jujitsu and creates a martial arts that has a lot more combat involved, especially self-defense moves. Learning self-defense in any form of martial art is a great benefit. It can even save your life. It will give you the confidence you need to know that you can protect yourself and those around you. You do not need to be scared anymore. You will learn how to watch out for situations you need to get away from, how to escape an attacker trying to hurt you, feel more confident and self-reliant when you go out. Also, you can have a lot of fun learning combat Jujitsu while you are becoming a healthier person overall.

Practicing combat Jujitsu on a regular basis will help you in self-defense and meditation. You will also reduce your risks for many debilitating diseases. In an age of fast food, fast cars, no sleep, 500 channels and road rage, learning this martial art will have countless benefits!

About the Author

Yoshi Kundagawa is a freelance journalist. He covers the mixed martial arts industry. For a free report on
Combat Jujitsu
visit his blog.

The most well known martial art is Japanese Karate, but Karate is not the only style of martial art that makes up Japanese karate. Judo, and Aikido are also included. These two styles are most evident in the extreme, or mixed martial arts fighting styles seen on television.

What Is Judo?

Judo is the major style practiced within Japanese karate. Judo developed from its ancestor, Ju-Jitsu. Judo is considered a sport, an art, a discipline, and an incredibly competitive and effective self-defense style.

It is best known for the incredible throwing techniques that are used, and as well it involves considerable grappling and wrestling moves that take place down on the mat. Judo techniques can bring an opponent to submission very quickly and effectively. When you watch extreme martial arts fighting on television watch for the Judo techniques.

Some of the Judo techniques include:
* Control holds
* Arm locks
* Choking techniques

One of the most important things to recognize about Judo is that it is a martial arts style that emphasizes full physical activity for top conditioning.

One other thing that is great about this form of Japanese Karate is that all age groups, genders and even disabled people are able to participate, and it is incredibly effective for developing self discipline and respect for oneself and others. It also provides a means for learning self confidence and self esteem.

What About Aikido?

Aikido is another of the most commonly practiced styles of Japanese karate, and it is a relatively modern and non-competitive martial art form that relies primarily on the use of techniques combined with energy in order to control and redirect an opponent’s force. It is one of the most comprehensive and effective martial art forms that provides an excellent basis for both physical and spiritual development.

And Karate?

Karate is yet another of the most well recognized Japanese karate styles, and one of the most widely practiced as well. It is a martial art of Japanese origin, one which deals with attacks through evasive body movements and blocking.

As a self defense system karate teaches a set of principles that can be applied in almost any situation, and the sporting element of karate is what allows people of a sporting inclination to be able to test their own karate skills against others.

There are literally hundreds of different martial art forms that are practiced around the world, and although each is certainly different in its own way, either in regards to the history behind it or the techniques and movements used within it, all martial art forms actually share the same basic ideal, which is to promote self defense and protection techniques. Japanese Karate is no different.

If you are interested in learning one or more of the styles of Japanese Karate pick up a phone book or go on the Internet and hunt around for a local dojo near you. However, you need to make sure that the style is taught in its traditional method.

Also make sure the karate instructor has very good credentials, such as a black belt of at least the fourth degree and that they have actually gone and studied in Japan.

About the Author

Brue M. Baker, is an expert on natural health and fitness who has helped people from across the world sky-rocket their health and well-being. Rather than hitting your head against a wall trying to find unbiased health information let Brue take you by the hand and give you the best natural health information on the web. Visit DietHealthAndFitness.com to learn more.

Most fight scenes rely heavily upon the vague, and somewhat inaccurate, public perceptions of how martial artists would utilize their skills in a real fight. That is an unfortunate limitation, because the most interesting aspect of the martial arts is what goes on inside the mind of the fighter. That is where the most compelling part of the story truly lies. It’s what needs to be told.

Authenticity is the Polestar

Authenticity is the polestar. An author must always know the subject, and if the subject is the martial arts, that means keeping a few basics in mind. First, there is no such thing as one martial art. Instead, there is an amalgam of thousands of both popular and obscure fighting arts worldwide.

We may be familiar with the term, Karate, which had its birthplace in Okinawa. But how many of us realize that there are dozens of distinct styles of Karate, each with its own rankings, requirements and principles? How many of us are familiar with the South American discipline of Capoeira, a Brazilian martial art, which can be traced to Africa; or Krav Maga, the modern Israeli martial art; or the more than 1500 various styles of the Chinese martial art called, Kung Fu?

Hence, the first question an author describing a martial arts encounter must answer is what style does her protagonist practice? The next is this: how would that style fare in a real fight; with adrenaline fueling the encounter and panic setting in? The authenticity of a real fight is that it is savage, bloody and frayed at the edges. Unlike the crisp, well-executed forms and drills of typical martial arts training, a physical confrontation is hard to control. Breaking boards is fine, but they don’t hit back. An opponent does.

In short, write about the chaos of a real fight. Bring the reader into what makes a fight something to avoid. Show the dark underbelly of the encounter.

For example, here is a fight scene from my novel, Point and Shoot, in which the protagonist uses an Okinawan style of Karate called, Shaolin Kempo, which relies on the interpretation of the five shaolin animals (tiger, crane, leopard, snake and dragon) for its basic moves:

I ducked under the second swing and snapped myself into the tiger mindset. The other four animal styles of our Shaolin Kempo Karate system, the snake, the leopard, the crane and the dragon, often utilized a block or parry before moving in for a strike. The tiger was the only one whose nature did not significantly involve defense. This animal was at the top of the food chain, the strongest and deadliest in the Kingdom. It went in one direction, always forward, toward the prey. All offense.

No holding back.

I formed my hands as if I were gripping imaginary tennis balls and launched myself at him. I dug my fingers into the bicep of the swinging arm and ripped at the muscle, while striking the forearm on the same side, straight in with the heel of my palm, the “paw” as it were. It was a thousand year old battle protocol from the great Kung Fu masters: first, attack the arm that attacks you.

The bat fell to the ground.

Next, press the advantage decisively. I ripped into his face with the middle and forefingers of my right hand, raking along his nose and mouth. With the other hand, I struck his neck and dug my fingers in, grabbing the windpipe. The technique called for me to pull it out, lacerating his throat and killing him. But there were other options. I pushed rather than pulled, momentarily closing the windpipe against itself, cutting off his air.

Then, I sped things up. Kempo Hands.

I had once timed myself at six strikes per second, and if anything, at that moment, it felt even faster. A double palm heel blow to both ears, ripping downward along the cheek and collapsing onto his throat; stepping under and inside his flailing arms to shoot an elbow upward into his abdomen, taking his center; rolling into a palm heel strike to the groin; and back into a rising elbow to the underside of his chin; arcing down into another palm heel onto the bridge of his nose. There were no wind ups, no wasted motion; each movement was designed to roll naturally into the next.

His body jerked from one direction to the other, in rhythm to the apposite lines of each attack. The primary strategy of Kempo Karate was to strike an aggressor in opposing directions, so he could not muster his composure sufficiently to counter-attack. It also forced the aggressor’s body to lurch into the next stroke head on. The strokes would roll into one another and create a tumbling effect. To an outside observer, it would appear to be one simultaneous tornado of movement, of blinding speed, a blur too fast for the eye to follow.

Blood splattered from his nose and mouth. His eyes closed and he made a gurgling sound, flailing his arms impotently as he flew backward.

But my mind-set was the tiger, an animal that kept going when it saw blood. The next move in this particular combination would have gotten him on the ground and “smashed” both hands into his throat. The smashing tiger. A finishing blow to the throat, for insurance.

Instead, I took another step forward and chambered both my hands, palm forward, elbows bent: the left one at shoulder level; the right, at my hip. I shouted a Kiai, the warrior yell, and launched a double palm heel strike, imagining both my palms penetrating through his body. I made contact with his bladder and the underside of his cheekbone. They were both prime acupuncture points; but just as the meridians could be used for healing, the pathways could also be blocked.

His head whipped around, and he collapsed, lying on his back, bleeding from the various facial lacerations and coughing in fits.

*** *

The entire fight had taken less than five seconds; when done right, they usually did. I paused and reached into my back pocket, taking out some tissues, pressing them against his facial cuts. He lay there, quietly, allowing me to work on him. I had seen this before when I was a cop, the defeated male. Docile and compliant.

It occurred to me that this was how a deer might look after being taken down by an actual tiger. Completely shocked and overwhelmed by the ferocity of the attack, waiting for the neck bite that would end it all.

He coughed a few times, but was finally able to breathe again without laboring. I turned him on his side so he could spit out the blood. I wiped it away and found that there were only two places I had actually broken the skin. One was the juncture of his upper and lower lip and the other, his nose. After a few moments of pressure, they both stopped bleeding.

I helped him up and left him standing there, crouching with his hands on his thighs, I searched for my gun in the grass. I found it about twenty feet away. I opened the chamber out of habit to be sure it was still fully loaded and rejoined him. He lumbered his way to the door, ignoring me.

I noted that the baseball bat had landed on the ground behind him. I kicked it into the street.

He dabbed at his face and looked to see if there was anymore blood. “You fight like a girl,” he said.

The Author Must Inhabit The Mind of the Fighter

It is important that the author learn what it is like not only to throw a punch, but to take one, as well. Most of us have not been in an actual fight (at least as adults), yet we write about them with impunity. I am not advocating that a brawl take place at the next writer’s convention, but certainly, there is something to be said for an author going to the local marital arts school and learning the basics of controlled sparring.

If you are afraid to try that, use that fear in your story. Emotional content is a powerful tool for a writer. Your characters should be afraid to fight on some level. The way they deal with that fear, either by denying it; using it to bolster their awareness; or allowing it to overtake them in a fit of panic, will establish the realism of your fight scene.

Perhaps your central character is so angry that he sets aside the fear. Perhaps your character is protecting a loved one so she ignores her slight stature and lack of real training and proceeds to overcome a larger opponent. The actual punching and kicking should be secondary. You must guide the reader into inhabiting your character’s feelings and motivations about the hostile encounter.

You Need Not Describe Every Grunt

We all know the standard refrain for new writers: show don’t tell. In a fight scene, the author can “tell” the reader a great deal about his characters by simply “showing” how they fight. In this scene from my book, Point and Shoot, I wanted to paint a portrait of how an older man named, Grandfather, would overcome two younger, stronger ones, whom I call White Shirt and Pony Tail, by utilizing the internal aspects of the martial arts.

“Management. We had a complaint from one of the other guests about noise.”

“We’re leaving,” he replied. “Give us ten minutes to clean up.”

“I can’t hear you, sir.”

White Shirt leaned into the door. “I said we’re leaving.”

Suddenly the door exploded off its hinges, smashing directly into him. He arced across the room.

I had so rarely seen Grandfather let loose to maximum effect in these last years. When he did, it looked nothing like what Bette and I would do, none of those solid and crisp Kempo Karate combinations he had taught me so long ago, drawn from the basic system. His movements were now hidden and obscure.

And unstoppable.

He calmly stepped inside the room. Pony Tail leveled his gun, taking aim from the other side. Grandfather ran his hand in a large arc from head to waist. It looked like he was fanning the air. Pony Tail shouted in pain and fell backward, dropping the gun.

Grandfather approached him without haste. Pony Tail righted himself and scrambled to pick up the gun again.

Still far away from him, Grandfather clapped his hands together, and twisted his palms outward. The younger man smashed against the far wall, caught in a wave of energy. That gave Grandfather the time he needed to reach him. He placed his fingers gently on Pony Tail’s gun hand. The weapon immediately dropped to the floor once more. Then he lightly tapped the center of Pony Tail’s chest. The younger man collapsed to the ground, unconscious.

By now, White Shirt had pulled himself back together. He had his gun aimed.

Without touching him, Grandfather made a short, blunt movement which I did not recognize. White Shirt grimaced and dropped the gun, holding his hands to his temples. There was another blunt movement, this one emanating from a twist in Grandfather’s hip, something akin to a bump and grind.

White Shirt also collapsed to the ground.

Conclusion

Fight scenes should be viewed as opportunities to develop characterization and introduce emotional content to the story. To do so, the author must present a both physically and mentally authentic description of the encounter. Now, go out there and have your characters kick some ass.

About the Author

G.D. Baum is a graduate of the Sarah Lawrence Writing Program. He has achieved a black belt in Shaolin Kempo Karate, and was ranked sixth in the United States in forms for his Division by the NASKA Find out more about G.D.Baum and his novel Point and Shoot at
http://www.pointandshootwebsite.com