Hi Swordsage, me and my brother was the one who played you during the open beta of SF6 and my crappy Jamie. As far as this topic goes my background in martial arts is White Crane Kung Fu. Strangely enough, when I crossed train in a different martial art such as HEMA and jujitsu. I started to get a much better understanding of my kung fu forms and tai chi. Oddly enough I think if a person who learnt some grappling they would be able to pick up on tai chi very fast. But that’s just my two cents.
It is kind of like with learning how to play any game, you start with the basic controls and a few basic combos and you'll get someone capable of holding their own better than if you have them just memorize combos.
That's probably the best example I've seen, boxing just gives you buttons and let's you create your own combos by yourself while TMA gives you a whole list of combos and makes you slowly decipher which part of the combo is an individual move and how/when to apply it which takes a lot longer to do but if you do manage to decode that entire combo string you are probably able to do all types of crazy stuff with it.
I studied Shotokan, and later, Taekwondo, but that was all very long ago. Listening to you, I'm motivated to get back into martial arts. I'm also considering learning swordsmanship, or archery. Keep up the good work, Sifu!
Some interesting notes Re:The basic building blocks of the Chinese language. Kind of ties into the "learn the basics and figure it out yourself" that you can end up in if your teacher doesn't like you. Also ties into the "Takes too long to learn and can be applied to everything but it makes no sense while making perfect sense" that is... Chinese intellectual anything in general. In the Chinese character writing system, there are at least 19 types of strokes you use to construct a single character. _At Least_ Nineteen. It is up for debate. I will use a list from a dictionary website. This is not a pronunciation lesson, this is painting class with imaginary strokes. Time to learn to paint. _With your mind._ I will be using the traditional Chinese character variants that I never learnt in school because it's relevant to the complexity thing and to keep stuff consistent. This is not a political statement. Yes, the two Chinese writing systems have political implications attached to them, except when they don't. It is very confusing. 1: The 橫(héng), the horizontal line of an appropriate length, but not too short. 2: The 豎(shù), the vertical line of an appropriate length, but not too short. 3: The 撇(piě), the downwards diagonal left-curving line of an appropriate length, but not too short. 4: The 捺(nà), the downwards diagonal right-curving line of an appropriate length, but not too short. 5: The 提(tí), the diagonal line of an appropriate length that can be going in any diagonal direction, but shorter than the 撇 and 捺. 6: The 點(diǎn), the diagonal line of an appropriate length that can be going in any diagonal direction, but shorter than the 提. 7: The 橫折鉤(héng zhé gōu), the horizontal line that makes a sharp change into a vertical line of an appropriate length after traveling an appropriate length. 8: The 橫鉤(héng gōu), the horizontal line that makes a sharp change into a left-facing diagonal line of a short length that is appropriately not too long after traveling an appropriate length. 9: The 豎鉤(shù gōu), Similar to the 橫鉤 in description but rotated 90 degrees clockwise to be vertical. It has taken me half an hour to write up to this point. Gonna do the rest like a drive-thru/secret menu order. Building blocks already above. 10: The 斜鉤(xié gōu), the 撇, except right-curving and ending like 8 and 9 except pointed up after traveling an appropriate length. 11: The 平鉤(píng gōu), the 斜鉤, except rotated to be more horizontal. Appropriate length, blah blah. 12: The 豎彎鉤(shù wān gōu), similar to 10, except looks more like a jaw. Appropriate etc. 13: The 橫折彎鉤(héng zhé wān gōu), begins like 7 with either a 10 or a 12 stuck on the end. Appropriate etc. 14: The 豎折折鉤(shù zhé zhé gōu), an appropriate 2 turning right into an appropriate 1 turning down into an appropriate 2 terminating in an appropriate upwards-left-facing 4. 15: The 撇點(piě diǎn), do a 3, then turn into a 4 after an appropriate length. 16: The 撇折(piě zhé), do an ugly 3, then stick a horizontal, right-facing and appropriate 5 on the end. 17: The 豎折(shù zhé), do a very short 2 that turns right into an appropriate 1. 18: The 橫撇(héng piě)... It's... フ as a lego block instead of Japanese. Done. 19: The 橫折折撇(héng zhé zhé piě). It's a フ stuck onto another フ. I had to write all that bullshit to get to my actual point. The loss of information when the basics are poorly-maintained and poorly-transmitted. And also that if you're not particularly interested in them, you can end up with the impression that none of it really matters as long as it looks good(see Chinese calligraphy as an artform) or kind of looks right(see... Chinese calligraphy as an artform, also just normal everyday scribbles). There's also the "why learn all this when I can just stick it into a computer/smartphone that prints it for me, while I just select from a list" mentality nowadays, which may seriously enter martial arts once the engineers who thought the Terminator movies(and off the top of my head, the I,Robot movie) were tutorial videos finish dooming us all with cloud-based learning AI that learns from the darkest depths of the internet. Here's an example of a complicated Chinese character that is different from all those I pasted above: 鬱 Can you figure out the correct sequence required to write it? That's right! The correct sequence is 橫豎撇捺撇橫橫豎豎折豎橫豎撇捺點橫鉤撇捺點點點點豎折豎橫豎折撇撇撇! For readability and commas:橫,豎,撇,捺,撇,橫,橫,豎,豎折,豎,橫,豎,撇,捺,點,橫鉤,撇,捺,點,點,點,點,豎折,豎,橫,豎折,撇,撇,撇! I didn't know this in the almost three decades of my life on this planet before two hours ago when I started writing this comment! You figured it out in under a minute! Using the list above, that is 1,2,3,4,3,1,1,2,17,2,1,2,3,4,6,8,3,4,6,6,6,6,17,2,1,17,3,3,3!(for less readability: 12343112172123468346666172117333) Now, outside of calligraphy and teaching, there is nothing wrong with starting somewhere weird and getting the same result even if it gets a little wonky so you could do 捺,點,點,點,點,豎折,豎,橫,豎,豎折,豎,橫,豎,撇,捺,豎折,撇,撇,撇,橫,豎,撇,捺,撇,橫,橫,點,橫鉤,撇 or 捺,點,撇,點,橫鉤,點,撇,豎折,點,豎,撇,橫,豎,撇,捺,撇,橫,橫,點,橫,豎,撇,捺,豎折,撇,豎,橫,豎,豎折 *as long as you get something that looks right*, but that leads to important details being lost and bad angles, etc., essentially damage to the form of the character through either ignorance or laziness. When this is the choice of a single individual who never bothers to teach anyone else, this very likely will not become a problem, but if that individual decides to start a school and teach their interpretation with either an incomplete understanding or omission of information and lack of reference to the proper method of doing the thing while additionally never ensuring their students have a complete understanding of what they're doing, you end up with serious problems, both in martial arts and in linguistics/writing. Both fields that I lack the academic qualifications to speak about. On the other hand, if you learn it to as close to perfection and maintain that level, you can pretty much just get it almost exactly right every time you so much as try to half-ass it even faster and more efficiently than the lazy/ignorant ones, both in martial arts and in linguistics/writing. Both fields that I lack the academic qualifications to speak about.
Fun fact: Everything I wrote up there about the basic strokes would be your writing education(excluding actual Chinese characters) for the first... six years of your life at best and probably the first nine or ten if you aren't that good at it.
Having been taught TCMA and now teaching TCMA, I can completely agree with his assessment. It's entirely why I took all my original learning and broke it down to basics (western style) for use, then as students progress I start to add the complexity back in and they start to see the connections between each basic and how it can be used to build complexity (eastern style).
I've done instructing on a couple skillsets, such as gymnastics (for kids) and swimming (for adults), and I've tried to help newbies at BJJ and Judo learn to grapple. I find the most effective approach is to use techniques as vehicles for principles. You want to teach someone to understand "kuzushi", the "unbalancing" phase of a Judo throw. You can't spend the whole time explaining kuzushi, you have to provide them with something to practice with. Then you give them alterations to the scenarios so that they can see how the throw and principle stays the same, but the execution is modified to fit the situation. *THEN* you alter the scenario further to show them that even when the throw itself changes, the principle is still in effect. Then you can break down the principle itself: a) Control your center of mass so that you can attack or adapt as needed. b) Yield to pushing or pulling pressure without sacrificing control of your center, and you can use your opponent's energy against them. c) Direct your own pushing or pulling to your opponent's weak plane d) A body with a higher center of mass will move more easily; lift your opponent to reduce their stability. e) Compromise the structure of an opponent's centerline (spine, mostly) to increase your control on them; twist their torso, turn their head, bend them forward or backward, then carry through. f) The throw is finished when you move their center past their base (usually their feet), and prevent their posts (block the arms and legs from re-basing). These mechanics are, essentially, how every throw and sweep in Judo/BJJ is performed. The specific techniques are merely vehicles for their applications in different scenarios. I don't know if this approach is overly-Western, I started this post thinking it was close to the hybrid you were thinking of, but I have a bias for this approach in the scenarios where I've used it, and would be curious to hear if you or your audience has any thoughts on it (if they got to this point in the post).
I recall watching a video about Asian web design, and why websites in China, Japan, and South Korea (possibly the north too, but I wouldn't know) tend to be very densely packed with information, compared to western web design that tends towards only having a single topic on screen at once. The person making the video is from South Korea, if memory serves, and her suggestion was that it is a cultural tendency in east Asia towards holistic thinking compared to more detail oriented thinking in western cultures that allows people from east Asian countries to easily parse the information dense sites in a way that we in the west would have trouble with. I wonder if this also applies to how forms in various traditional Chinese martial arts appear to contain conditioning for certain body mechanics, stretching, plyometric exercises, and stamina training all in the same form - I recently saw a video by an American karate instructor (sensei seth, for those who want to look it up) who tried out a local shaolin school that has a focus on forms, and while the more advanced one he tried definitely had some more advanced techniques, there was also a lot more jumping around, landing with splits, and general athleticism involved. Edit: I recall you doing a video where you talked about the strange looking punches in tan tui, and how they're intended to train people not to move their heads upward when stepping forward; I wonder if going into a little more detail on that might be an interesting follow-up to this video.
I really liked this. There is a parallel between Asian MAs and VIM. Vim is an old school lightweight insanely fast code editor for programmers. The way you control it is by knowing what command to you use in each situation. Each command is simple (if arcane) but taken all together they quickly fry a noobs brain. it is entirely controlled by the keyboard. No mouse support. When you open it, it's blank. It's all up to you. You have to have completely internalized at least 20 commands to really get started, and you will quickly find yourself I'm situations where you wish you knew more. A master of vim fu will have internalized most of the commands and personalized his editor. Watching a master often leaves people in aww. They leave everyone including people using the latest and greatest code editors in the dust. The most important commands are called "vim motions" they are so good that many other programs use those keyboard shortcuts. So learning vim will also make you better at nearly every other program out there. There's also game for practicing them. Now I will call them vim fa ! Lol
I ended up using a training tool that was basically a video game, and I found that got me to the point where I can easily do the basics, and now I feel like I have both hands tied behind my back if I don't have access to vim motions in other editors.
I definitely know what your talking about with cultural attitudes reflecting in martial arts, some examples from my own personal experience: 1. English fencing tends to be very conservative, both in the sense of being old fashioned and in the sense of not taking things too far. The system George Silver advocated in 1598 would not have looked out of place in 1400 and his method encourages the fencer to take as few chances as possible by staying safely out of reach whenever you can. Bonus points for Silver's suspicion of foreigners, which is also very typical of island nations, hence the double meaning of "insular." 2. Spanish fencing's erect posture and small side steps give it an almost arrogant machismo that is strikingly similar to bull fighting or flamenco. I admit that this sounds like I am just indulging in Spanish clichés, but a huge amount of Spanish fencing is just stepping to the side and letting them run onto your point, almost like your opponent was a bull. The parallels become even more obvious when you remember that rapier and cape fighting was a thing in the Renaissance. Oh, and much like the Spanish Empire, their fencing developed significantly through the 1500's and then adopted a "you can't improve on perfection" attitude 300 years. 3. Italian martial arts (fencing, knife fighting, stick fighting, etc.) have a forwardness and dramatic flair to them, as well as a strong tendency towards regionalism and North-South rivalry. Similarities can be see between knife arts from the former Kingdom of Naples and folk dances such as the Tarantella, with Spanish and French influences being noticeably as well, depending on the region. In addition, Renaissance Italian fencing, like Renaissance Italian culture in general, drew heavily on Classic sources for inspiration and went on to become immensely influential throughout Europe. 4. French martial arts (fencing, savate, la canne, etc.) tend to be very similar to those of northern Italy, but with more of an emphasis on subtlety and minimal effort. Just as one of the great goals of French conversation is to be able insult someone without them realizing, French fencers aspire to be able to set their opponent up and hit them without the opponent ever being able to figure out what went wrong. Also, much like how all European nobility were expected to be conversant in the French language and philosophy, they were also expected to be familiar with their fencing method. 5. German fencing tends to be very direct and a bit old-fashioned, much like your average German bureaucrat. In 1300 they favored large, cutting oriented swords and in 1870 they still favored large, cutting oriented swords. To this day there are traditional fraternities in German universities that wear 19th century hats and practice a heavily regulated form of sabre dueling. 6. Japanese martial arts, where to even begin? They place great emphasis on traditions carefully preserved for centuries, they value loyalty towards your master and respect to those more senior than you, there is a correct way of doing everything, they have pain-staking attention to detail, they obfuscate any potentially foreign influence in their methods, they encourage people to dress and act in similar ways, they have very precisely organized hierarchies, they prefer to practice on spotless wood floors, and they never wear shoes inside, in other words, they're Japanese. P.S. Yes, this is a subject I have spent WAY too much time thinking about....
I notice that you use historical dates for German, Spanish, Italian(through the terms 'Renaissance' and 'Kingdom of Naples') and George Silver but omit dates from French and Japanese. On the two of these that I have read or looked at information about, George Silver and Japanese, I feel I should add information to. It is noted by historical records and modern content creators(e.g. the "Let's ask Seki Sensei | Kobudo Asayama Ichiden Ryu" channel where the grandmaster of Asayama Ichiden-Ryu talks about the history of Japanese Martial Arts and his own style, the books written by previous Tenshin Shoden Katori Shinto-ryu grandmaster Risuke Otake, the recorded history of Kuroda Tetsuzan's Komagawa Kaishin-ryu, the betrayal that is part of Paragon Of Loyalty Sanada Yukimura's history, Toyotomi Hideyoshi abolishing social mobility), that the styles of combat and mentalities of Japanese samurai and people were nothing like what they are believed to be in modern times. There were styles that were all about obsessive perfection of a single strike(e.g. Jigen-Ryu of Satsuma Province), there were styles that spent decades formulating strategies to cover as many scenarios as possible(e.g. Tenshin Shoden Katori Shinto-Ryu, which still teaches stealth, shuriken, armoured combat and infiltration techniques. It also has a full syllabus of magic for countering fairies. I am not joking.), there were styles that focused on personal development and creating individuals who mastered themselves instead of the style they were taught(the original Shinkage-ryu[not Yagyu] and Katori Shinto-Ryu) and there is at least one style that was developed after its founder was attacked by wolves and he realised he was left-handed(Komagawa Kaishin-Ryu). Similarly, before the Edo period, Japan was full of exceptional individuals who rose to power or prominence either through violence or scheming, including women who were considered the equals of men which is not consistent with the post-Edo Japan we know of today. Women such as accomplished archer and military commander Hangaku Gozen(13th century) and military commander Yoshioka Myorin-ni(16th century). There is enough discrepancy between records of post-Edo Japan and pre-Edo Japan that while your statement can be seen as true(The Edo period began in 1603, therefore centuries is correct), it is not accurate to say that the Japanese of modern times are the Japanese that were originally interacted with by European states in the 16th century, or that the Japanese of right now are even keeping to the traditions they are famous for upholding. On the topic of George Silver, we have to be careful to use his actual words and not filter it through any biases, as it is very easy nowadays to fall into the trap of "He doesn't know what he's talking about" I recommend the book "Master of Defence: The Works of George Silver" by Paul Wagner, as it sheds more light on what Silver was opposed to, as well as including legal and historical context. A proclamation in 1557 banned the sale of *any* sword or rapier with a blade length of over a yard and half-quarter, with a record of a French ambassador in 1580 being enraged over finding out he'd have to have his rapier's blade cut down to size. Wagner also cites a reference that notes that in 1587, English rapiers were "longer than the like used in any other country". On Silver's words against the rapier, Wagner notes that there are records of the rapier having been a weapon used by English nobility and those of the middle-class at least 48 years prior to Silver's manuscript, referencing Herbert Berry's publication titled "The Noble Science: Sloane Manuscripts 2530, Papers of the Masters of Defence of London, from the 1540s to the 1590s", and additionally notes that, at the time of Wagner's writing, the earliest example of what could be considered *rapier* rapier technique, as opposed to *sidesword* rapier technique was shown in Angelo Viggiani's Lo Schermo in 1575. He adds that the *rapier* rapier in Italy at the time was called a "spada da lato a striscia" according to Ghisliero, so there were likely people in Italy at the time who considered the rapiers... to be something other than the sidesword. Silver may be rather boastful in his manuscript, but we must not overlook what he says early in the manuscript, at the end of his second, very long, paragraph of his... very long foreword. Excluding the pages of dedications, of course. The following is his entire second paragraph of his foreword, from Wiktenauer. "And for as much as this noble and most mighty nation of Englishmen, of their good natures, are always most loving, very credulous, & ready to cherish & protect strangers, yet that through their good natures they never more by strangers or false teachers may be deceived, once again I most humbly to admonish them, or such as shall find in themselves a disposition or desire to learn their weapons of them, that from henceforth as strangers shall take upon them to come hither to teach this noble & most valiant & victorious nation to fight, that first, before they learn of them, they cause a sufficient trial to be very requisite & reasonable, even such as I myself would be contented withal, if I should take upon me to go in their country to teach their nation to fight. And this is the trial: They shall play with such weapons as they profess to teach withal, three bouts apiece with three of the best English masters of defence & three bouts apiece with three unskillful valiant men, and three bouts apiece with three resolute men half drunk. Then if they can defend themselves against these masters of defence, and hurt, and go free from the rest, then are they be honored, cherished, and allowed for perfect good teachers, and what countrymen soever they be. But if any of these they take fail, then they are imperfect in their profession, their fight is false, & they are false teachers, deceivers and murderers, and to be punished accordingly, yet no worse punishment unto them I wish, than such as in their trial they shall find."
@@sadwyrm5465 Hello, thank you for the information. Yes, I was playing a little fast and loose with different regional schools and time periods, I was trying to keep my comment as brief and comprehensible as possible on a subject that could easily be a full length book. To clarify with regards to the English, Italian, French and Japanese methods I was thinking of, respectively: the Elizabethan era specifically as this is when we have the best sources on an "English" school rather than one more influenced by outside cultures, the 18th-20th centuries apart from my comment about the Renaissance, 1700-1900 (the French school has a relatively compact chronology), and Edo Jidai forward, I gave dates for the Germans and Spanish already. Yes, I am aware that there is significant diversity of schools within Japan, though I would argue less than in Europe, but I think my comments hold up for most Japanese martial arts of the last 400 years. Now, the question of how things were taught during the Sengoku Jidai is a far more complex one and I freely admit that in that case my generalities might fall apart. Incidentally, it is funny that you should mention Kuroda Tetsuzan as my sensei is a student of his (to be clear my sensei does not claim to teach Komagawa Kaishin-ryu, he already had an instructor rank in a different art before he met Kuroda sensei). I agree that George Silver is a more complex character than he is given credit for and many people unjustly dismiss him as a crack pot because of his attacks on the Italian school. Personally, I think Silver knew what he was talking about when it came to his own school but that he and the foreign masters were talking past each other when they argued. There are hints that he didn't completely disdain continental fencing such the quote you provided, the fact that he challenged Saviolo to meet him at (among other weapons) rapier, the inclusion of the obviously Italian terms "montante" and "imbrocatta" in Paradoxes of Defense, and his remark that the Spanish were the second best swordsmen in Europe after the English. That said, I'm not prepared to dismiss the idea that Silver had a bias towards foreigners as a) there are very few fencing treatises that spend as much time attacking others as Paradoxes of Defense*, b) Silver's apparent glee in describing incidents of foreign fencers being beaten or killed by Englishmen, c) his brief and highly dismissive critique of all of Spanish fencing, d) the attempt by Silver and the Maisters of Defense on the life of Vincent Saviolo, and e) his claim that "Shew me the finest fencer in all England and I shall beat him out of his fence tricks with good downright blows!" which implies that he believed that he, a non-master, was the equal of the best foreign fencer. My conclusion is that Silver was the kind of bigot who was willing to make exceptions for those who could prove themselves, but his default position was that any given outsider was no match for an Englishman. *Some of the later works of Luis Pacheco de Narvaez are an exception to this rule, but Narvaez was an unpopular man who even criticized his own teacher Jeronimo Sanchez de Carranza.
@@andrewk.5575 Thank you for your reply and for providing time periods for the other regions you mentioned. I agree with part of what you mentioned re:most Japanese martial arts, and I have to say that, having spent way too long years ago watching interviews with elderly Japanese last-of-their-line sorts of martial arts masters talking about the lack of true local interest in styles that aren't popular or fashionable, it is likely that what we are actually seeing is a gradually decreasing diversity of Japanese martial arts, which then influences our perception of how it was back then. It is very likely that Japanese martial arts have lost their significance in the mind of the average Japanese person, and they may only now be experiencing what happened to European styles centuries ago, due to the exoticism of everything that isn't local. I am drawing a parallel here with other modern phenomena, like non-Japanese who are obsessed with Japanese cultural exports for a non-Japanese example of disinterest in local culture/arts, and the general trend for popular Japanese video games and franchises in recent years to cater even harder to the "I am Japanese and I want to escape from reality and be anywhere else as long as it is 200% not Japanese" customer base. Incidentally, out of the arts I named, two of them(Jigen-ryu and Asayama Ichiden-ryu) definitely surfaced during the Sengoku period, one(Katori Shinto-ryu) might have surfaced during/before it, and one(Komagawa Kaishin-ryu) is... ambiguous but sometime after Shinkage-ryu and sometime before the Japanese wolf experienced heavy population decline. Regarding Kuroda Tetsuzan, I have heard from a student of his that Kuroda specifically prohibits anyone who has studied under him from teaching others what he teaches, not because of paranoia or other such reasons, but because he does not want anyone to learn it wrong from someone who might not truly understand what he was taught. I frequently wish that I had the money to actually afford studying under him since he very clearly knows stuff you can't learn elsewhere. Either way, I have a few blood-related genetic disorders that prevent me from seriously practicing martial arts so I have a choice between "give up" and "become the dreaded armchair martial artist from the greasy ponytail side of reddit". You can see which path I took. Regarding Silver's _Paradoxes of Defence,_ I would personally only call it a 'fencing treatise' in the loosest of ways, as he does not really describe much about his arts and spends more time talking in broad terms about how training slowly without testing your techniques at speed is bad, how lack of pressure-testing is bad, how poor range management is bad, how attacking without concern for defence is bad, how being big and strong is better than being small and strong or small and weak, etc. If anything, _Paradoxes of Defence_ is a perfect example of what a modern RUclips video essay that you might find on this channel or... other martial arts channels would look like back then, for example. Silver does have an actual treatise-like treatise in his _Brief Instructions upon My Paradoxes of Defence,_ but if you look at how he begins with proper content and great information before suddenly switching to summarizing his chapters following chapter 8, it is possible that, combined with its never-published status and the way Wiktenauer notes that the timeline after 1599 appears to be broken and full of inconsistencies, Silver contracted a disease and wasted away into death before he was half-done with the necessary steps he'd have to take to deal with those he intended to compete with. Things like hiring an artist to illustrate his instructions or... hiring an artist to illustrate his instructions. It always remains a possibility that it was a half-done draft that just happened to be in his estate when he died and it just never got around to being disposed of as I find it difficult to believe a guy with his level of pride would ever allow himself to be outdone by a bunch of fashionable _professors_ and their _Italianated fight_ that was causing unnecessary loss of life among the English. Paul Wagner in the book I mentioned before includes in the endnotes of _Brief Instructions_ three sections that are noted to have been deliberately crossed-out, which is definitely not something you would see in a complete manuscript.
@@andrewk.5575 I apologise for any strangeness in my grammar, word choice or spelling. I have been awake for... at least an hour longer than this video has been published and that comment I posted earlier about Chinese writing really drained my energy for the day.
Great Video, i prefer the way western Martial Arts teach but sometimes there are Trainers/Coaches that only really master a part of their Martial Arts and lack the Overall mastery of it to teach advanced pupils in a different part. As a example there are some Coaches in Boxing that teach Boxers on the Pro level only really one Style of fighting because they are great at it even if it's detremental to the Boxer who would have greater benefit Boxing in a different style.
Seeing a video with an upload timing of "30 seconds ago" is very rare.
I'm taking a screenshot for memory's sake.
Hi Swordsage, me and my brother was the one who played you during the open beta of SF6 and my crappy Jamie.
As far as this topic goes my background in martial arts is White Crane Kung Fu. Strangely enough, when I crossed train in a different martial art such as HEMA and jujitsu. I started to get a much better understanding of my kung fu forms and tai chi. Oddly enough I think if a person who learnt some grappling they would be able to pick up on tai chi very fast. But that’s just my two cents.
It is kind of like with learning how to play any game, you start with the basic controls and a few basic combos and you'll get someone capable of holding their own better than if you have them just memorize combos.
That's probably the best example I've seen, boxing just gives you buttons and let's you create your own combos by yourself while TMA gives you a whole list of combos and makes you slowly decipher which part of the combo is an individual move and how/when to apply it which takes a lot longer to do but if you do manage to decode that entire combo string you are probably able to do all types of crazy stuff with it.
I always find your content useful, informative, and entertaining.
I studied Shotokan, and later, Taekwondo, but that was all very long ago. Listening to you, I'm motivated to get back into martial arts. I'm also considering learning swordsmanship, or archery.
Keep up the good work, Sifu!
You should, if possible.
I'm glad I could get you motivated! Martial arts practice is a beautiful thing. :)
Just don't call me Sifu. I'm nowhere near that level.
Some interesting notes Re:The basic building blocks of the Chinese language. Kind of ties into the "learn the basics and figure it out yourself" that you can end up in if your teacher doesn't like you. Also ties into the "Takes too long to learn and can be applied to everything but it makes no sense while making perfect sense" that is... Chinese intellectual anything in general.
In the Chinese character writing system, there are at least 19 types of strokes you use to construct a single character. _At Least_ Nineteen. It is up for debate. I will use a list from a dictionary website. This is not a pronunciation lesson, this is painting class with imaginary strokes. Time to learn to paint. _With your mind._ I will be using the traditional Chinese character variants that I never learnt in school because it's relevant to the complexity thing and to keep stuff consistent. This is not a political statement. Yes, the two Chinese writing systems have political implications attached to them, except when they don't. It is very confusing.
1: The 橫(héng), the horizontal line of an appropriate length, but not too short.
2: The 豎(shù), the vertical line of an appropriate length, but not too short.
3: The 撇(piě), the downwards diagonal left-curving line of an appropriate length, but not too short.
4: The 捺(nà), the downwards diagonal right-curving line of an appropriate length, but not too short.
5: The 提(tí), the diagonal line of an appropriate length that can be going in any diagonal direction, but shorter than the 撇 and 捺.
6: The 點(diǎn), the diagonal line of an appropriate length that can be going in any diagonal direction, but shorter than the 提.
7: The 橫折鉤(héng zhé gōu), the horizontal line that makes a sharp change into a vertical line of an appropriate length after traveling an appropriate length.
8: The 橫鉤(héng gōu), the horizontal line that makes a sharp change into a left-facing diagonal line of a short length that is appropriately not too long after traveling an appropriate length.
9: The 豎鉤(shù gōu), Similar to the 橫鉤 in description but rotated 90 degrees clockwise to be vertical.
It has taken me half an hour to write up to this point.
Gonna do the rest like a drive-thru/secret menu order. Building blocks already above.
10: The 斜鉤(xié gōu), the 撇, except right-curving and ending like 8 and 9 except pointed up after traveling an appropriate length.
11: The 平鉤(píng gōu), the 斜鉤, except rotated to be more horizontal. Appropriate length, blah blah.
12: The 豎彎鉤(shù wān gōu), similar to 10, except looks more like a jaw. Appropriate etc.
13: The 橫折彎鉤(héng zhé wān gōu), begins like 7 with either a 10 or a 12 stuck on the end. Appropriate etc.
14: The 豎折折鉤(shù zhé zhé gōu), an appropriate 2 turning right into an appropriate 1 turning down into an appropriate 2 terminating in an appropriate upwards-left-facing 4.
15: The 撇點(piě diǎn), do a 3, then turn into a 4 after an appropriate length.
16: The 撇折(piě zhé), do an ugly 3, then stick a horizontal, right-facing and appropriate 5 on the end.
17: The 豎折(shù zhé), do a very short 2 that turns right into an appropriate 1.
18: The 橫撇(héng piě)... It's... フ as a lego block instead of Japanese. Done.
19: The 橫折折撇(héng zhé zhé piě). It's a フ stuck onto another フ.
I had to write all that bullshit to get to my actual point. The loss of information when the basics are poorly-maintained and poorly-transmitted. And also that if you're not particularly interested in them, you can end up with the impression that none of it really matters as long as it looks good(see Chinese calligraphy as an artform) or kind of looks right(see... Chinese calligraphy as an artform, also just normal everyday scribbles). There's also the "why learn all this when I can just stick it into a computer/smartphone that prints it for me, while I just select from a list" mentality nowadays, which may seriously enter martial arts once the engineers who thought the Terminator movies(and off the top of my head, the I,Robot movie) were tutorial videos finish dooming us all with cloud-based learning AI that learns from the darkest depths of the internet.
Here's an example of a complicated Chinese character that is different from all those I pasted above: 鬱
Can you figure out the correct sequence required to write it?
That's right! The correct sequence is 橫豎撇捺撇橫橫豎豎折豎橫豎撇捺點橫鉤撇捺點點點點豎折豎橫豎折撇撇撇! For readability and commas:橫,豎,撇,捺,撇,橫,橫,豎,豎折,豎,橫,豎,撇,捺,點,橫鉤,撇,捺,點,點,點,點,豎折,豎,橫,豎折,撇,撇,撇! I didn't know this in the almost three decades of my life on this planet before two hours ago when I started writing this comment! You figured it out in under a minute!
Using the list above, that is 1,2,3,4,3,1,1,2,17,2,1,2,3,4,6,8,3,4,6,6,6,6,17,2,1,17,3,3,3!(for less readability: 12343112172123468346666172117333)
Now, outside of calligraphy and teaching, there is nothing wrong with starting somewhere weird and getting the same result even if it gets a little wonky so you could do 捺,點,點,點,點,豎折,豎,橫,豎,豎折,豎,橫,豎,撇,捺,豎折,撇,撇,撇,橫,豎,撇,捺,撇,橫,橫,點,橫鉤,撇 or 捺,點,撇,點,橫鉤,點,撇,豎折,點,豎,撇,橫,豎,撇,捺,撇,橫,橫,點,橫,豎,撇,捺,豎折,撇,豎,橫,豎,豎折 *as long as you get something that looks right*, but that leads to important details being lost and bad angles, etc., essentially damage to the form of the character through either ignorance or laziness.
When this is the choice of a single individual who never bothers to teach anyone else, this very likely will not become a problem, but if that individual decides to start a school and teach their interpretation with either an incomplete understanding or omission of information and lack of reference to the proper method of doing the thing while additionally never ensuring their students have a complete understanding of what they're doing, you end up with serious problems, both in martial arts and in linguistics/writing. Both fields that I lack the academic qualifications to speak about.
On the other hand, if you learn it to as close to perfection and maintain that level, you can pretty much just get it almost exactly right every time you so much as try to half-ass it even faster and more efficiently than the lazy/ignorant ones, both in martial arts and in linguistics/writing. Both fields that I lack the academic qualifications to speak about.
Fun fact: Everything I wrote up there about the basic strokes would be your writing education(excluding actual Chinese characters) for the first... six years of your life at best and probably the first nine or ten if you aren't that good at it.
Having been taught TCMA and now teaching TCMA, I can completely agree with his assessment. It's entirely why I took all my original learning and broke it down to basics (western style) for use, then as students progress I start to add the complexity back in and they start to see the connections between each basic and how it can be used to build complexity (eastern style).
I've done instructing on a couple skillsets, such as gymnastics (for kids) and swimming (for adults), and I've tried to help newbies at BJJ and Judo learn to grapple. I find the most effective approach is to use techniques as vehicles for principles.
You want to teach someone to understand "kuzushi", the "unbalancing" phase of a Judo throw. You can't spend the whole time explaining kuzushi, you have to provide them with something to practice with.
Then you give them alterations to the scenarios so that they can see how the throw and principle stays the same, but the execution is modified to fit the situation.
*THEN* you alter the scenario further to show them that even when the throw itself changes, the principle is still in effect. Then you can break down the principle itself:
a) Control your center of mass so that you can attack or adapt as needed.
b) Yield to pushing or pulling pressure without sacrificing control of your center, and you can use your opponent's energy against them.
c) Direct your own pushing or pulling to your opponent's weak plane
d) A body with a higher center of mass will move more easily; lift your opponent to reduce their stability.
e) Compromise the structure of an opponent's centerline (spine, mostly) to increase your control on them; twist their torso, turn their head, bend them forward or backward, then carry through.
f) The throw is finished when you move their center past their base (usually their feet), and prevent their posts (block the arms and legs from re-basing).
These mechanics are, essentially, how every throw and sweep in Judo/BJJ is performed. The specific techniques are merely vehicles for their applications in different scenarios.
I don't know if this approach is overly-Western, I started this post thinking it was close to the hybrid you were thinking of, but I have a bias for this approach in the scenarios where I've used it, and would be curious to hear if you or your audience has any thoughts on it (if they got to this point in the post).
I recall watching a video about Asian web design, and why websites in China, Japan, and South Korea (possibly the north too, but I wouldn't know) tend to be very densely packed with information, compared to western web design that tends towards only having a single topic on screen at once. The person making the video is from South Korea, if memory serves, and her suggestion was that it is a cultural tendency in east Asia towards holistic thinking compared to more detail oriented thinking in western cultures that allows people from east Asian countries to easily parse the information dense sites in a way that we in the west would have trouble with.
I wonder if this also applies to how forms in various traditional Chinese martial arts appear to contain conditioning for certain body mechanics, stretching, plyometric exercises, and stamina training all in the same form - I recently saw a video by an American karate instructor (sensei seth, for those who want to look it up) who tried out a local shaolin school that has a focus on forms, and while the more advanced one he tried definitely had some more advanced techniques, there was also a lot more jumping around, landing with splits, and general athleticism involved.
Edit: I recall you doing a video where you talked about the strange looking punches in tan tui, and how they're intended to train people not to move their heads upward when stepping forward; I wonder if going into a little more detail on that might be an interesting follow-up to this video.
I really liked this. There is a parallel between Asian MAs and VIM. Vim is an old school lightweight insanely fast code editor for programmers. The way you control it is by knowing what command to you use in each situation. Each command is simple (if arcane) but taken all together they quickly fry a noobs brain. it is entirely controlled by the keyboard. No mouse support. When you open it, it's blank. It's all up to you. You have to have completely internalized at least 20 commands to really get started, and you will quickly find yourself I'm situations where you wish you knew more. A master of vim fu will have internalized most of the commands and personalized his editor. Watching a master often leaves people in aww. They leave everyone including people using the latest and greatest code editors in the dust.
The most important commands are called "vim motions" they are so good that many other programs use those keyboard shortcuts. So learning vim will also make you better at nearly every other program out there.
There's also game for practicing them. Now I will call them vim fa ! Lol
I ended up using a training tool that was basically a video game, and I found that got me to the point where I can easily do the basics, and now I feel like I have both hands tied behind my back if I don't have access to vim motions in other editors.
it made sense
Now that you have more space for reviews and demos, could you demonstrate the basic building blocks you consider important?
Onn point""🎐🤜🤺👍
I definitely know what your talking about with cultural attitudes reflecting in martial arts, some examples from my own personal experience:
1. English fencing tends to be very conservative, both in the sense of being old fashioned and in the sense of not taking things too far. The system George Silver advocated in 1598 would not have looked out of place in 1400 and his method encourages the fencer to take as few chances as possible by staying safely out of reach whenever you can. Bonus points for Silver's suspicion of foreigners, which is also very typical of island nations, hence the double meaning of "insular."
2. Spanish fencing's erect posture and small side steps give it an almost arrogant machismo that is strikingly similar to bull fighting or flamenco. I admit that this sounds like I am just indulging in Spanish clichés, but a huge amount of Spanish fencing is just stepping to the side and letting them run onto your point, almost like your opponent was a bull. The parallels become even more obvious when you remember that rapier and cape fighting was a thing in the Renaissance. Oh, and much like the Spanish Empire, their fencing developed significantly through the 1500's and then adopted a "you can't improve on perfection" attitude 300 years.
3. Italian martial arts (fencing, knife fighting, stick fighting, etc.) have a forwardness and dramatic flair to them, as well as a strong tendency towards regionalism and North-South rivalry. Similarities can be see between knife arts from the former Kingdom of Naples and folk dances such as the Tarantella, with Spanish and French influences being noticeably as well, depending on the region. In addition, Renaissance Italian fencing, like Renaissance Italian culture in general, drew heavily on Classic sources for inspiration and went on to become immensely influential throughout Europe.
4. French martial arts (fencing, savate, la canne, etc.) tend to be very similar to those of northern Italy, but with more of an emphasis on subtlety and minimal effort. Just as one of the great goals of French conversation is to be able insult someone without them realizing, French fencers aspire to be able to set their opponent up and hit them without the opponent ever being able to figure out what went wrong. Also, much like how all European nobility were expected to be conversant in the French language and philosophy, they were also expected to be familiar with their fencing method.
5. German fencing tends to be very direct and a bit old-fashioned, much like your average German bureaucrat. In 1300 they favored large, cutting oriented swords and in 1870 they still favored large, cutting oriented swords. To this day there are traditional fraternities in German universities that wear 19th century hats and practice a heavily regulated form of sabre dueling.
6. Japanese martial arts, where to even begin? They place great emphasis on traditions carefully preserved for centuries, they value loyalty towards your master and respect to those more senior than you, there is a correct way of doing everything, they have pain-staking attention to detail, they obfuscate any potentially foreign influence in their methods, they encourage people to dress and act in similar ways, they have very precisely organized hierarchies, they prefer to practice on spotless wood floors, and they never wear shoes inside, in other words, they're Japanese.
P.S. Yes, this is a subject I have spent WAY too much time thinking about....
I notice that you use historical dates for German, Spanish, Italian(through the terms 'Renaissance' and 'Kingdom of Naples') and George Silver but omit dates from French and Japanese.
On the two of these that I have read or looked at information about, George Silver and Japanese, I feel I should add information to.
It is noted by historical records and modern content creators(e.g. the
"Let's ask Seki Sensei | Kobudo Asayama Ichiden Ryu" channel where the grandmaster of Asayama Ichiden-Ryu talks about the history of Japanese Martial Arts and his own style, the books written by previous Tenshin Shoden Katori Shinto-ryu grandmaster Risuke Otake, the recorded history of Kuroda Tetsuzan's Komagawa Kaishin-ryu, the betrayal that is part of Paragon Of Loyalty Sanada Yukimura's history, Toyotomi Hideyoshi abolishing social mobility), that the styles of combat and mentalities of Japanese samurai and people were nothing like what they are believed to be in modern times.
There were styles that were all about obsessive perfection of a single strike(e.g. Jigen-Ryu of Satsuma Province), there were styles that spent decades formulating strategies to cover as many scenarios as possible(e.g. Tenshin Shoden Katori Shinto-Ryu, which still teaches stealth, shuriken, armoured combat and infiltration techniques. It also has a full syllabus of magic for countering fairies. I am not joking.), there were styles that focused on personal development and creating individuals who mastered themselves instead of the style they were taught(the original Shinkage-ryu[not Yagyu] and Katori Shinto-Ryu) and there is at least one style that was developed after its founder was attacked by wolves and he realised he was left-handed(Komagawa Kaishin-Ryu).
Similarly, before the Edo period, Japan was full of exceptional individuals who rose to power or prominence either through violence or scheming, including women who were considered the equals of men which is not consistent with the post-Edo Japan we know of today. Women such as accomplished archer and military commander Hangaku Gozen(13th century) and military commander Yoshioka Myorin-ni(16th century).
There is enough discrepancy between records of post-Edo Japan and pre-Edo Japan that while your statement can be seen as true(The Edo period began in 1603, therefore centuries is correct), it is not accurate to say that the Japanese of modern times are the Japanese that were originally interacted with by European states in the 16th century, or that the Japanese of right now are even keeping to the traditions they are famous for upholding.
On the topic of George Silver, we have to be careful to use his actual words and not filter it through any biases, as it is very easy nowadays to fall into the trap of "He doesn't know what he's talking about" I recommend the book "Master of Defence: The Works of George Silver" by Paul Wagner, as it sheds more light on what Silver was opposed to, as well as including legal and historical context. A proclamation in 1557 banned the sale of *any* sword or rapier with a blade length of over a yard and half-quarter, with a record of a French ambassador in 1580 being enraged over finding out he'd have to have his rapier's blade cut down to size. Wagner also cites a reference that notes that in 1587, English rapiers were "longer than the like used in any other country".
On Silver's words against the rapier, Wagner notes that there are records of the rapier having been a weapon used by English nobility and those of the middle-class at least 48 years prior to Silver's manuscript, referencing Herbert Berry's publication titled "The Noble Science: Sloane Manuscripts 2530, Papers of the Masters of Defence of London, from the 1540s to the 1590s", and additionally notes that, at the time of Wagner's writing, the earliest example of what could be considered *rapier* rapier technique, as opposed to *sidesword* rapier technique was shown in Angelo Viggiani's Lo Schermo in 1575. He adds that the *rapier* rapier in Italy at the time was called a "spada da lato a striscia" according to Ghisliero, so there were likely people in Italy at the time who considered the rapiers... to be something other than the sidesword.
Silver may be rather boastful in his manuscript, but we must not overlook what he says early in the manuscript, at the end of his second, very long, paragraph of his... very long foreword. Excluding the pages of dedications, of course.
The following is his entire second paragraph of his foreword, from Wiktenauer.
"And for as much as this noble and most mighty nation of Englishmen, of their good natures, are always most loving, very credulous, & ready to cherish & protect strangers, yet that through their good natures they never more by strangers or false teachers may be deceived, once again I most humbly to admonish them, or such as shall find in themselves a disposition or desire to learn their weapons of them, that from henceforth as strangers shall take upon them to come hither to teach this noble & most valiant & victorious nation to fight, that first, before they learn of them, they cause a sufficient trial to be very requisite & reasonable, even such as I myself would be contented withal, if I should take upon me to go in their country to teach their nation to fight. And this is the trial: They shall play with such weapons as they profess to teach withal, three bouts apiece with three of the best English masters of defence & three bouts apiece with three unskillful valiant men, and three bouts apiece with three resolute men half drunk. Then if they can defend themselves against these masters of defence, and hurt, and go free from the rest, then are they be honored, cherished, and allowed for perfect good teachers, and what countrymen soever they be. But if any of these they take fail, then they are imperfect in their profession, their fight is false, & they are false teachers, deceivers and murderers, and to be punished accordingly, yet no worse punishment unto them I wish, than such as in their trial they shall find."
@@sadwyrm5465 Hello, thank you for the information. Yes, I was playing a little fast and loose with different regional schools and time periods, I was trying to keep my comment as brief and comprehensible as possible on a subject that could easily be a full length book. To clarify with regards to the English, Italian, French and Japanese methods I was thinking of, respectively: the Elizabethan era specifically as this is when we have the best sources on an "English" school rather than one more influenced by outside cultures, the 18th-20th centuries apart from my comment about the Renaissance, 1700-1900 (the French school has a relatively compact chronology), and Edo Jidai forward, I gave dates for the Germans and Spanish already.
Yes, I am aware that there is significant diversity of schools within Japan, though I would argue less than in Europe, but I think my comments hold up for most Japanese martial arts of the last 400 years. Now, the question of how things were taught during the Sengoku Jidai is a far more complex one and I freely admit that in that case my generalities might fall apart. Incidentally, it is funny that you should mention Kuroda Tetsuzan as my sensei is a student of his (to be clear my sensei does not claim to teach Komagawa Kaishin-ryu, he already had an instructor rank in a different art before he met Kuroda sensei).
I agree that George Silver is a more complex character than he is given credit for and many people unjustly dismiss him as a crack pot because of his attacks on the Italian school. Personally, I think Silver knew what he was talking about when it came to his own school but that he and the foreign masters were talking past each other when they argued. There are hints that he didn't completely disdain continental fencing such the quote you provided, the fact that he challenged Saviolo to meet him at (among other weapons) rapier, the inclusion of the obviously Italian terms "montante" and "imbrocatta" in Paradoxes of Defense, and his remark that the Spanish were the second best swordsmen in Europe after the English. That said, I'm not prepared to dismiss the idea that Silver had a bias towards foreigners as a) there are very few fencing treatises that spend as much time attacking others as Paradoxes of Defense*, b) Silver's apparent glee in describing incidents of foreign fencers being beaten or killed by Englishmen, c) his brief and highly dismissive critique of all of Spanish fencing, d) the attempt by Silver and the Maisters of Defense on the life of Vincent Saviolo, and e) his claim that "Shew me the finest fencer in all England and I shall beat him out of his fence tricks with good downright blows!" which implies that he believed that he, a non-master, was the equal of the best foreign fencer. My conclusion is that Silver was the kind of bigot who was willing to make exceptions for those who could prove themselves, but his default position was that any given outsider was no match for an Englishman.
*Some of the later works of Luis Pacheco de Narvaez are an exception to this rule, but Narvaez was an unpopular man who even criticized his own teacher Jeronimo Sanchez de Carranza.
@@andrewk.5575 Thank you for your reply and for providing time periods for the other regions you mentioned.
I agree with part of what you mentioned re:most Japanese martial arts, and I have to say that, having spent way too long years ago watching interviews with elderly Japanese last-of-their-line sorts of martial arts masters talking about the lack of true local interest in styles that aren't popular or fashionable, it is likely that what we are actually seeing is a gradually decreasing diversity of Japanese martial arts, which then influences our perception of how it was back then. It is very likely that Japanese martial arts have lost their significance in the mind of the average Japanese person, and they may only now be experiencing what happened to European styles centuries ago, due to the exoticism of everything that isn't local. I am drawing a parallel here with other modern phenomena, like non-Japanese who are obsessed with Japanese cultural exports for a non-Japanese example of disinterest in local culture/arts, and the general trend for popular Japanese video games and franchises in recent years to cater even harder to the "I am Japanese and I want to escape from reality and be anywhere else as long as it is 200% not Japanese" customer base.
Incidentally, out of the arts I named, two of them(Jigen-ryu and Asayama Ichiden-ryu) definitely surfaced during the Sengoku period, one(Katori Shinto-ryu) might have surfaced during/before it, and one(Komagawa Kaishin-ryu) is... ambiguous but sometime after Shinkage-ryu and sometime before the Japanese wolf experienced heavy population decline.
Regarding Kuroda Tetsuzan, I have heard from a student of his that Kuroda specifically prohibits anyone who has studied under him from teaching others what he teaches, not because of paranoia or other such reasons, but because he does not want anyone to learn it wrong from someone who might not truly understand what he was taught. I frequently wish that I had the money to actually afford studying under him since he very clearly knows stuff you can't learn elsewhere. Either way, I have a few blood-related genetic disorders that prevent me from seriously practicing martial arts so I have a choice between "give up" and "become the dreaded armchair martial artist from the greasy ponytail side of reddit". You can see which path I took.
Regarding Silver's _Paradoxes of Defence,_ I would personally only call it a 'fencing treatise' in the loosest of ways, as he does not really describe much about his arts and spends more time talking in broad terms about how training slowly without testing your techniques at speed is bad, how lack of pressure-testing is bad, how poor range management is bad, how attacking without concern for defence is bad, how being big and strong is better than being small and strong or small and weak, etc. If anything, _Paradoxes of Defence_ is a perfect example of what a modern RUclips video essay that you might find on this channel or... other martial arts channels would look like back then, for example.
Silver does have an actual treatise-like treatise in his _Brief Instructions upon My Paradoxes of Defence,_ but if you look at how he begins with proper content and great information before suddenly switching to summarizing his chapters following chapter 8, it is possible that, combined with its never-published status and the way Wiktenauer notes that the timeline after 1599 appears to be broken and full of inconsistencies, Silver contracted a disease and wasted away into death before he was half-done with the necessary steps he'd have to take to deal with those he intended to compete with. Things like hiring an artist to illustrate his instructions or... hiring an artist to illustrate his instructions. It always remains a possibility that it was a half-done draft that just happened to be in his estate when he died and it just never got around to being disposed of as I find it difficult to believe a guy with his level of pride would ever allow himself to be outdone by a bunch of fashionable _professors_ and their _Italianated fight_ that was causing unnecessary loss of life among the English. Paul Wagner in the book I mentioned before includes in the endnotes of _Brief Instructions_ three sections that are noted to have been deliberately crossed-out, which is definitely not something you would see in a complete manuscript.
@@andrewk.5575 I apologise for any strangeness in my grammar, word choice or spelling.
I have been awake for... at least an hour longer than this video has been published and that comment I posted earlier about Chinese writing really drained my energy for the day.
Great Video, i prefer the way western Martial Arts teach but sometimes there are Trainers/Coaches that only really master a part of their Martial Arts and lack the Overall mastery of it to teach advanced pupils in a different part. As a example there are some Coaches in Boxing that teach Boxers on the Pro level only really one Style of fighting because they are great at it even if it's detremental to the Boxer who would have greater benefit Boxing in a different style.
Yoooooo ⚔🙏
I don't 🙃
hello dude do you use instagram?