If you’ve spent any amount of time on the internet, no doubt you have heard all sorts of stories explaining the origins of the martial arts. From the tale of wing chun kung fu having been developed by a woman to protect herself in an arranged marriage to the claim that taekwondo was designed to enable soldiers to kick enemies off horses on the battlefield, they are numerous. Most of them, however, are just legends. Whether they are the product of folklore or — and this is often the case — outright fabrications from hustlers, such legends are linked to the martial arts. Part of the reason so much mystique surrounds the arts is that mystique is often what draws people in. The other part of the reason these myths exist is simple: The martial arts are and always have been a niche component of human history, and as such, the creation of any given art is often poorly documented. And when a creation story is written down, it’s usually by the person developing the art. For example, Brazilian jiu-jitsu was created in the 1900s, yet because all the records were made by the Gracies, there are many inaccuracies. (See my article on Kimura vs. Rikidozan for more information). The histories of muay Thai and the related martial arts of kun Khmer/pradal serey, muay Laos and lethwei are complicated for similar reasons. These arts are all more or less the same with the only difference being that lethwei allows head butts. The actual techniques taught in these styles are identical. This implies that they all share a common ancestor. Unfortunately, however, unlike East Asian martial arts such as karate and kung fu, which were popular among middle- and upper-class people, Indochinese boxing was largely practiced by people who were illiterate. That has left us with very few details on their origins. Bokator, for example, is sometimes claimed to be the father of muay Thai, and its purported offspring kun Khmer is believed to be older than muay Thai — by Cambodian people, at least. Yet there is no way of knowing that because there are no historical records of the formation of the martial art. Bokator has very little in the way of records prior to the current revival of the martial art, which we have seen during the past two decades. Yet even if there were documents at one time, the cultural revolution and the takeover of the Khmer Rouge led to the destruction of so much history that some questions will never be answered. Unfortunately, a similar thing also happened in Thailand in 1767, when the ancient capital of Ayutthaya was sieged by Burmese invaders. So many records were destroyed that archaeologists have been forced to piece together what they can from other nations’ records of having interacted with Thailand. In previous articles, I’ve written about a few of the muay boran styles that are verified to have existed — and my experience researching those styles and finding reputable historical sources was like getting blood out of a stone. It’s often stated that muay Thai was a battlefield martial art that in the 1600s and 1700s was transformed into a spectator sport, but this is like saying that medieval knights were transformed from Sir William Wallace to Sir Billy Connolly. While it’s true there is something of a through line — the martial art practiced on the ancient battlefields of what is now Thailand probably does have a lineage that extends to modern muay Thai — that doesn’t mean muay Thai itself was being practiced 500 years ago. When we look at video footage of muay Thai from the 1920s, it is visibly different from what we see today. It is clearly part of the same tradition, but it is not the same art. The art, like all martial arts, has adapted and changed over time as new practitioners have adjusted it for new purposes. We actually have no clue how muay Thai was practiced on the battlefield or if it was at all. There are no manuals like you see from medieval fencing. There are only paintings and illustrations that don’t necessarily show the martial art as it truly was. That is why the history of muay Thai is so complicated. With martial arts like karate, which do not have as old a lineage, you can trace the origin of each style directly back to the styles that influenced it. With Southeast Asian martial arts, it’s not that simple. This becomes a problem when people advertise themselves as teaching traditional muay boran. After all, if older masters of muay Thai struggle to know their own lineage, why would newer people know — especially Westerners? Yet we see muay boran classes popping up and purporting to teach traditional muay Thai that is more lethal or more authentic than the ring sport. Most people aren’t as familiar with muay Thai as they are with karate or kung fu, and even fewer are capable of doing proper historical research into the art they’re studying. As a result, people are likely to be scammed by martial artists who are essentially teaching modern muay Thai with a bit of “woo” flair. There isn’t much that can be done to recover records that no longer exist, but spreading the knowledge that the ancient history of muay Thai has actually been lost would be a great step forward in stopping scammers from exploiting people who do not know any better.

What You Need to Know to Find the One That Is Right for You! To karate practitioners, kumite (fighting or sparring ) is the culmination of all training. Whether you study the martial arts for self-defense, competition or personal improvement, kumite serves many useful purposes. It is more than just fighting, however. It's a direct link to karate's origin and intent, as well as a personal expression of you as a martial artist. Why Fight? The purpose of kumite is not to see who is the strongest, who can hit the hardest or who is the fastest. It is to allow students an opportunity to better understand themselves. This understanding provides an insight into their physical condition, mental attitude, spiritual commitment and technical ability. In addition, it serves as an indicator of how students handle life's day-to-day problems. During kumite, it's easy for students to imagine that their opponent is stronger and more technically proficient than he or she really is. The students, because of their own lack of confidence, form this image of a formidable and frightening foe. They fail to make eye contact with the opponent, immediately going on the defensive — often to the point of running away. This attitude may reflect the way the students handle problems in life. Dwelling on the problem, they envision it to be much more complicated. Instead of confronting the problem for what it is, they choose to back down, accepting failure and defeat without even trying. Kumite is the final span in a long bridge that includes kihon (basics) and kata (formal exercises). Cementing the gaps between the spans requires constant adjustments. If, during kumite, a student throws a roundhouse kick and the opponent blocks it, the student must start doing something different. If the opponent constantly scores on the student, the student needs to adjust things so he's not there when the next attack comes. This also applies to life. A student never knows what his day has in store when he awakens in the morning. He may get ill. He may be involved in an accident on the way to work. He may arrive at work only to find that his job no longer exists. Life is full of obstacles, and they require adjustments — just like in kumite. How an instructor teaches his students to approach kumite and how well they learn this can mean the difference between hating it and enjoying it. This same is true in life: How a student approaches it determines whether he succeeds or fails. Kumite is essential to the practice of karate. Karate in its truest and most traditional form was intended as a system of self-defense and self-preservation. If its techniques were ineffective, karate would have vanished shortly after it was created. For the techniques of karate to be applicable to self-defense, they must be constantly and consistently practiced. This includes the practice of kumite in all its forms, seven of which are described here. Sanbon Kumite Sanbonkumite means "three-step fighting." The students face each other in predetermined stances. The most popular stances include zenkutsu dachi (forward-leaning stance), kiba dachi (straddle/horse stance) and kumite dachi (fighting stance). One student plays the attacker, and the other plays the defender. The attacker throws a prearranged technique (punch or kick), and the defender uses a prearranged block and counter. This sequence continues for three movements. At the conclusion of the third block, the defender counters. After the completion of three advances by the attacker and three blocks by the defender, the roles are reversed and the exercise is performed again. This allows the students to practice the basic techniques of offense and defense while learning to adjust to their opponent's movement and compensate for changes in distance. The speed and intensity of the attack can be increased as the students become more proficient. Ippon Kumite Ippon kumite means "one-step fighting." This exercise is done in the same manner as sanbon kumite but with only a single forward movement of the attacker and a corresponding backward movement, block and counter. The students reverse roles after each attack and defense. Kihon Kumite Kihon kumite means "basics fighting." In it, students go through a prearranged series of movements that include blocks, kicks and hand strikes. The exercise teaches students how to transition from one technique to another. It also allows them to adjust their techniques to fit their current fighting needs. This can include modifying the distribution of weight between the feet and the positioning of the hands for punching. For example, the basic seiken chudan tsuki (forefist middle thrust) requires the student to retract his non-punching hand to a position alongside his body between his armpit and hip. His punching hand extends forward at mid-level. But during kihon kumite, his hands may be held high like a boxer's. His retracted hand moves to the area near his chin to protect his face. With this modification, power is sacrificed for the sake of defense and speed, but the student may execute the series of techniques while stationary or moving forward, backward, laterally or diagonally. Yakusoku Kumite Yakusoku kumite means "prearranged fighting." The students practice a prearranged series of movements with a partner. One student attacks with controlled contact, while the other moves about, countering with a prearranged set of blocks. The roles of attacker and defender are reversed after each set. As the students become more confident and proficient, the exchange of techniques and the transitions from attacker to defender become more rapid. This, in turn, allows for a faster and stronger counter. The repetitive nature of the training also enhances the students' timing and sense of distance. Tanshiki Kumite Tanshiki kumite means "modified prearranged fighting." The degree of contact can vary from light to moderate. The intensity depends on the control and proficiency of the students. In actuality, this is an excellent way for students to learn control and avoid injury. The variables in this exercise are endless. One student may be instructed to use only kicks while the other uses only blocks. One student may employ only his hands while the partner uses only his legs. One student may be limited to three or four specified kicks in any order while the partner blocks and counters in a prearranged manner. Without stopping, the students may quickly change from offense to defense or from one set of techniques to another. No matter what the details are, speed, timing, transitioning and distancing are greatly improved. Jiyu Kumite Jiyu kumite means "free fighting." The students are not limited in their choice of techniques, nor are they regulated in their choice of playing the attacker or defender. They apply their techniques according to how their school or art teaches: non-contact tournament sparring, controlled tournament sparring, full-contact tournament sparring or realistic street defense. During the practice of jiyu kumite, students learn how to fight their opponent and acquire an understanding of themselves. Jissen Kumite Jissen kumite means "full-contact, no-pads fighting." This intense form of sparring was created by the legendary Masutatsu Oyama , founder of kyokushin karate. Jissen kumite requires extensive practice of karate kihon and kata, as well as all the aforementioned forms of fighting. It also requires the students to endure an exhausting physical conditioning regimen. Participants engage in jissen kumite without protective equipment. Full-contact punches and kicks are delivered to the head, body and legs. The only prohibitions are hand techniques to the face, groin attacks and frontal attacks to the knees. Those untrained in this form of karate fighting would probably expect numerous injuries to occur. Although they do occur — in all forms of karate fighting and in other contact sports — they are not too prevalent or severe. This is because the fighters are well-conditioned and highly skilled. They have trained long and hard in the dojo (practice hall), and they probably cross-train in running and weight lifting, as well. More injuries occur when karate students use protective gear than when they engage in jissen kumite. Students wearing gear at tournaments and in schools often receive busted noses, split lips or dislocated jaws because of uncontrolled punches to the face. Other common injuries are sprained, dislocated and broken toes and fingers. This happens because students wearing pads often rely on the gear to stop a blow, rather than their own blocking technique. The use of protective gear in sparring is very important for two groups, however: children and students who do not wish to prepare for full contact or real self-defense. It is hoped martial arts students will never be faced with a street encounter, but if they are, there will be no time to stop and put on protective equipment. And you can rest assured that the assailant will not be wearing any. No matter which style of karate is practiced or what your reasons are, kumite can yield significant results. Perhaps the most important is the understanding of yourself. This understanding will better prepare you for life's challenges — which, like kumite, require strength, confidence and determination to overcome. About the author: Michael J. Lorden has studied kyokushin karate for more than 37 years. He has taught the art for the past 18 years and is currently based in Colorado Springs, Colorado. Photos by Brandon Snider

Early in the UFC’s history, it became clear that Brazilian jiu-jitsu was an extremely effective martial art in terms of applicability in a fight. Royce Gracie won the UFC 1, UFC 2 and UFC 4 — and showed the world that his knowledge of ground positions and submissions was enough to defeat bigger and stronger opponents. As MMA has grown and developed, however, we’ve seen a shift to athletes who are more well-rounded. Nowadays, the top mixed martial artists train consistently in a variety of disciplines. We’ve seen many champions with wrestling and striking backgrounds, which has caused some fans to question whether BJJ is still an essential part of MMA training. Let’s examine why jiu-jitsu is and always will be a critical component of mixed martial arts. Jiu-Jitsu Builds Your Defensive Skills One of the primary benefits of learning BJJ for mixed martial arts is it prepares you to defend against submissions. If you’ve trained in jiu-jitsu, you know the feeling of helplessness you had during those first few months. You walked into the gym, and people with even a small amount of experience could submit you easily. Even if you’re world-class at every other martial arts discipline, not knowing jiu-jitsu would be a huge weakness in an MMA fight. At the very least, you must be competent in submission defense. This not only will help you fend off high-level submission attempts but also will give you more confidence to attack. When you have confidence in your defensive skills, it’s much easier to take a risk and attack, knowing that if you end up in a submission or a bad position, you have the skills to get out. Jiu-Jitsu Helps You Control Distance Just as an elite boxer can manage distance in the standing position, so too can a jiu-jitsu athlete manage distance on the ground. Why is this important? Imagine that you’re in the bottom position with no control of the distance between you and your opponent. You’ll be open to strikes that could end the fight, especially if you don’t have a way to create distance soon. While this certainly applies for the bottom player, it’s equally important when you’re on top. Knowing how to break down an opponent’s frames and close distance is invaluable when you need to control your opponent and want to begin landing strikes from a position of power. Jiu-Jitsu Allows You to Finish the Fight We’ve all seen matches in which a fighter pulls victory straight out of the jaws of defeat. While these moments may seem like pure luck to the untrained eye, they’re most often the result of years of skill building. Jiu-jitsu is arguably the best martial art in terms of finishing a fight. A well-timed and well-placed punch can often end the encounter. However, it’s not uncommon to see fighters with an unbelievable ability to absorb strikes. Sometimes a punch or kick that would knock out most combat athletes appears to barely cause an opponent to stumble. We see this especially at the higher levels of MMA. With jiu-jitsu, however — and with chokes, in particular — it’s impossible to resist the technique if it’s applied correctly. No matter how tough or how strong a person is, a properly executed choke will put that person to sleep if there’s no tap. If you have a strong guillotine or rear-naked choke, you’ll be able to finish the fight at a moment’s notice, regardless of whether you were winning up to that point. Having a great defense, knowing how to control distance and being able to finish fights are three big reasons jiu-jitsu is an essential skillset for mixed martial arts.

Ah, close your eyes. Visualize a world where you are fully immersed in the culture of your chosen martial art. Imagine you were born and raised in the motherland of your martial art and have had the opportunity to train with some of the most preeminent teachers in the system from an early age. For many of us, this sounds like an idyllic dream. For martial artist Jemar Carcellar, this is more than a distant dream, this was his life growing up in Cebu City, Philippines, the birthplace of Balintawak. The Style of Practicality "There are no secrets in Balintawak, just well developed skills." This one phrase encapsulates much about the unique Filipino fighting style named Balintawak and also much about the man who teaches it in Atlanta, Georgia. Look to the stance of a Balintawak practitioner and you will see a stance akin to Jeet Kune Do with a stick in the hand. The practitioner stands with feet kept roughly shoulder width apart and ready to move, dominant side held in the front to maximize capabilities. While at first it seems that they are fencing with only one weapon, it is more apt to say they are always training with two. The typical Balintawak stance finds you ready with a single stick in one hand and the other hand empty yet prepared to engage. The empty hand is considered "live" and ready to block, strike, push, pull, and help maneuver as you manipulate distance. At the end of the day, most martial arts can draw more similarities than true differences. Like a boxer working tactics in the air, then hitting the mitts, before getting in the ring with sparring drills and freestyle rounds, Balintawak has progressive levels to its training. The Balintawak student first learns how to strike, then how to defend against the strike. After this is taught, everything else is learned in motion. Working with a partner, new concepts and movement patterns are seamlessly introduced while moving around and blocking and countering. In Balintawak, anything not tested in motion is only theory. Attitude Before Skill: The Teacher's Role "In Balintawak, there are twelve strikes," Jemar explains. " If I am the teacher and you are the student, I can throw one of twelve strikes your way. You must defend and respond with one of two different strikes. The purpose is so that we can go fast and work on reflexes without hurting each other. What do you do with the other ten strikes? Those are for when you become an instructor and are now feeding and are now looking for opportunities for offense." Like a growing plant carefully tended by a gardener, the student is being fed and has parameters. This can lead to Mara-Mara (guided freestyle) and eventually evolves into Sana-Sana (freestyle). The goal of any patterned and guided process is to ultimately become free-flowing and adaptable. The standardization of blocking and countering is to maintain safety and give an environment where you can appropriately grow. With safety comes growth in confidence, with confidence comes the ability to better pressure test and develop appropriate reflexes. If you train harshly and in a manner that quickly and consistently leads to injury, your training can actually regress. Though your body will eventually heal physical injuries, your mind will accrue scars from the experiences. A bad bruise may heal in a week or two, however improper habits (such as excess tension or flinching) will take much longer to fully heal. The student and the teacher both have a fair share of responsibility. Whether training or teaching, an intelligent approach is a must. The True Legend The founder of Balintawak, Venancio "Anciong" Bacon wasn't the largest or strongest eskrimador in Cebu, rather his strong suit was found in his quickness, strategic pressure against opponents, and adaptability. On January 11th , 1932, Bacon's teacher, Lorenzo Saavedra joined with others eskrimadors to create Doces Pares, a group of twelve accomplished fighters promoting their systems. The association became a place for techniques and ideas to be traded as each eskrimador was a master of varying styles and weapons. Shortly after the founding of this association, Venancio Bacon joined the ranks. While acting as a representing member of the group, he taught and continued to develop his own style. When World War 2 came to the Philippines in 1942, it changed many things. By the end of the war in 1945, many of the Doces Pares had lost their lives for their homeland and Bacon's teacher, Lorenzo Saavedra, had also died at the age of 93. All of this took a great toll on the Doces Pares and changed many things, ultimately leading to Bacon leaving the group in 1952. That same year, Bacon opened a new club in the backyard of a watch shop his student owned. Taking the name of the street they were located on, the group named themselves the Balintawak Self Defense Club. Even after Venancio Bacon's death in 1981, Balintawak has continued to advance and spread. The legacy of honest training open to evolution continues today. Integration of an Art "Balintawak is additive," Jemar states after recounting his days spent also training other martial arts such as Yaw-Yan (Filipino Kickboxing), Tat Kon Tou (a system born from Eskrima and Chinese martial arts) and Wing Chun (in the Moy Yat and Lo Man Kam lineage). "It is there to add to what you are already capable of doing." Attributes such as speed, timing, and accuracy are universal. Whether you decide to train Bei Shaolin Kung Fu or Shotokan Karate, you are working with the same weapon: the human body. In a style that actively works to improve these essential attributes, you can learn to integrate your own movement patterns. "We can use anything as a weapon because the weapon is truly just ourselves. We are learning how to generate power and move tactically, while expressing it through whatever is in our hand." "If you can block a stick coming at you at random, whirling around at 55-75 MPH , the hand doesn't seem as fast. It will give you reflex training and additional opportunities to bridge the gap [of distance between you and your opponent]." Keeping your training honest can mean asking yourself if what you are working on is integral to the type of martial artist you desire to become or if it is an auxiliary tool to reach further goals. Neither is wrong, unless you are deluding yourself. Honesty to ourselves and to our teachers breeds respect and respect is the foundation for any important relationship. Without the people we respect, we would hardly be who we are. "I don't care if I have a hundred students, but if I can have four or five people I can call family [then I am happy]. Otherwise, I am wasting my time. If I am teaching and teaching but I don't develop those relationships, what do I have to show for my legacy?" Ready to join a legacy and begin your Balintawak training? You can click HERE to see where Jemar Carcellar's group trains!

Whether you’re starting muay Thai as a pure beginner or coming in from another martial art, it can be intimidating. The atmosphere of a muay Thai gym is more like that of a boxing gym, and the types of people who are drawn to muay Thai are different from the types that are drawn to karate, taekwondo and other martial arts. In this post, I will explain how you can get started in Thai boxing, and I will tell you what to expect if you already have a martial arts background. How to Find a Good Gym Once you’ve scouted your area for muay Thai gyms, you will need to determine which one is right for you. The easiest way to do this is to watch a class. Any good gym will be more than happy to let you watch a class to see if it’s for you. Alternatively, the gym might offer you a free trial class. Consider it a red flag if a gym doesn’t let you watch. It’s not good if the staff won’t allow you to get a feel for the atmosphere and determine if it’s a friendly environment conducive to good learning. When I started muay Thai, I was sold on my gym (the same gym at which I now coach) because of its video package, which showed what life there is like. When I took my first class, I was surprised to find that the coach was actually from Thailand — which is one of the first things you should look for, in my opinion. Muay Thai is not as widespread as karate, and as a result, it’s not as watered down. You are far more likely to find a coach who is from Thailand or who was taught by someone from Thailand. If this isn’t the case, it’s no deal breaker — but it is something you should keep an eye out for. When you watch the class, note how much time is dedicated to clinching and practicing the teep. Muay Thai is different from kickboxing in that clinch work and the teep are the name of the game. Unfortunately, if you’re in the United States, the quality of clinching is far weaker than in the United Kingdom, mainland Europe and, of course, Thailand, so it’s harder to find gyms that do it well. As a result, muay Thai in America often winds up being more like kickboxing. There is a good chance that you will find muay Thai classes in MMA gyms. This is because muay Thai is the preferred striking style for MMA. If you come across an MMA gym in your area, ask if it has a muay Thai competition team. If the answer is no, consider whether you would like to compete or pursue it as a hobby. If you want to really study muay Thai as an art and get a few fights in, you should try to find a gym that regularly sends people to compete in the sport. What to Expect if Coming From a Different Background The following might not make me any friends among those who love the East Asian martial arts, but it’s the truth. Unless you have a background in kyokushin karate or one of its offshoots, you might have difficulty adjusting to the level of intensity found in muay Thai. Muay Thai students spar full contact, and they spar hard in continuous exchanges. If you come from a taekwondo background, unless you are at black-belt level and have a lot of competition experience, expect that adapting to sparring will be a challenge. It’s also true that muay Thai practitioners typically kick harder than karate and taekwondo practitioners. There is also no taboo about kicking through the target in sparring. When you spar, you’re expected to use control, but you’re also expected to kick your target properly. You’ll feel thuds to the ribs and legs, and quite likely you will be limping the next day after your first few sparring sessions. There are, of course, plenty of people from the East Asian martial arts who will have no problem adjusting to this, and they might even be used to sparring hard for fun with their training partners. But in case you’re used to point sparring only, I felt as though I should give you this warning. What to Expect if Coming from Boxing While you might not be used to kicks, if you’re a boxer, you will probably have an easier time adjusting to muay Thai. The stances are similar, though not identical, and muay Thai uses the exact same punching techniques as boxing. Also, you will be sparring in a boxing ring with timed rounds and full contact. So as a boxer, you will feel at home as soon as you get accustomed to the kicks and knee strikes — which is all part of learning. What to Expect if You’re a Beginner If you have no martial arts background, you will have the easiest and the hardest time learning the “art of eight limbs.” This sounds like a complete contradiction, but it’s the truth. I will explain. If you have a martial arts background, you will have the advantage of fitness and the advantage of proprioception, which will help you learn the techniques. You also will have the downside of having developed habits that can cause problems in muay Thai. For example, keeping a narrow stance like you see in taekwondo or one of the more extreme stances used in boxing will cause you nothing but trouble in muay Thai. However, when you know nothing — when you’re a blank slate and can just learn — it will take longer for you to pick up these techniques than an experienced martial artist, but you will learn everything properly from scratch without having any of those old habits creeping in. The downside is that unless you have a lot of strength and conditioning under your belt, fitness will be hard at first. It’s the fitness component that drives people to quit muay Thai. The only thing I can say is that every day will get easier — but you have to train hard every day. Sparring can also be scary at first. You just need to get in there. You’re going to have a bad day sparring eventually, one that will make you question what you’re doing in a muay Thai gym. When you reach that point, get your gloves on and do some more rounds. Bravery is doing something even though it scares you. Not being afraid isn’t bravery; it’s stupidity. I hope this article has given you an overview of what to expect. Muay Thai is a beautiful martial art, and taking it up can be life changing. Don’t be afraid to take the plunge.

The use of terminology in Asian-based martial arts is always a hotly debated topic. Most of the non-Asian practitioners of these arts aren't fluent in their language of origin, let alone the nuances of their historical context, and so toss terms like "soke" around without fully grasping what they mean. One particularly interesting - and contentious - word that frequently gets argued over within the Filipino martial arts community is "kali." Though often used interchangeably with "arnis" or "eskrima" as a catchall phrase to describe Filipino weapon arts, some practitioners of these arts claim kali is actually the ancient mother art from which all Filipino fighting styles descend. Yet no one is really sure where the word comes from or what it means. The word itself does not seem to appear anywhere in the written record until 1957 when a martial artist named Placido Yambao authored the first book on Filipino fighting methods. Written in the Tagalog language, the book Mga Karunungan sa Larung Arnís actually refers to the arts Yambao practiced as "arnis." Though kali is named in the introduction as a pre-hispanic source for arnis, it's been reported that it was actually Yambao's editor and co-author, Buenaventura Mirafuente, and not Yambao himself, who wrote this section. Mirafuente gives no source for his information or where he got the word "kali." Over the years there's been much speculation on where this term originates with various suggestions put forth that it's a composite of two or more words, that it's a version of the word "kalis" (sword) or that it refers to the Hindu goddess Kali. Yet given that there are so many contradictory explanations, combined with the fact they rarely come with much proof beyond "my teacher told me this..." means none of these explanations really carries much weight. Most of the serious academic scholars who've examined the history of Filipino martial arts seem to doubt the historicity of "kali" with many claiming that older Filipino masters never heard of the word prior to the 1960s. True, the Philippines are a vast chain of islands with a wide variety of languages but if kali was really some sort of mother art from which the more modern arnis/eskrima sprang, you would think more people would have at least heard mention of it. Many of those arguing in favor of the historical validity of the term "kali" seem to be martial artists associated with Dan Inosanto or Leo Gaje Jr., two instructors who both favor the use of the word and have made claims of its ancient origins. Though both these men are brilliant martial artists, neither is an academic historian trained in researching such matters. Gaje, despite his being one of the earliest advocates of the term kali, actually referred to his martial art of pekiti-tirsia as "arnis" when he first came to the United States and only later began referring to it as kali. Meanwhile, according to long-time Inosanto student Cass Magda, Inosanto picked up the term from Filipino martial arts instructor Ben Largusa, while Largusa himself got the term from the book Asian Fighting Arts by Donn Draeger and Robert W. Smith. Draeger and Smith's use of the term appears to come from Placido Yambao's book, the only written source given for their chapter on Filipino martial arts. So it seems all "kali" roads lead back to Yambao, or to his co-author, Mirafuente. Nevertheless, many supporters of the term kali will have none of this saying just because no one can find any evidence of an ancient art called kali, or even the word itself as referring to a particular martial art, prior to 1957, that doesn't mean it didn't exist. But as always, the burden of proof is not on people to disprove an assertion, it is on the person making the claim - in this case that kali was a word used to describe an ancient Filipino martial art - to prove its truth. And there simply doesn't appear to be any credible proof available. While words of Spanish origin like "eskrima" or "arnis" may not be fully satisfactory to many Filipino martial artists as an overall term to describe the fighting arts of these islands, perhaps a better solution is for people to just use another term originally coined by Inosanto, the less catchy - but more accurate - phrase "Filipino martial arts" to describe... well... Filipino martial arts.

Expand your knowledge of the Filipino martial arts! When escrima — which is often used interchangeably with the terms arnis and kali — was introduced to America, it was done mainly as a seminar martial art. Of course, there were a few schools, mostly near large Filipino communities around the country, but most martial artists were not exposed to the arts of the Philippines until Remy Presas , Leo T. Gaje Jr. , Dan Inosanto — all members of the Black Belt Hall of Fame — and others began doing seminars. Unfortunately, to make escrima more marketable, some instructors presented it in a way that caused people to get the wrong idea about what it really was. In some cases, the martial art was simplified to make it easier for seminar students to learn. In others, things were actually changed to fit the legal atmosphere of the United States. One of the biggest mistakes was in marketing the martial art as an add-on to other arts. Many magazine articles claimed that stick training would add to a student’s taekwondo or jujitsu skill set. This helped foster a climate in which even instructors began to believe some of these incorrect ideas. This five-part post exposes the most common fallacies about the Filipino martial arts. Misconception No. 1: Stick Fighters Must Contend With Separate Fighting Ranges The idea that there are specific and separate fighting ranges, and that escrima practitioners focus on and train in only one range (i.e. long range, middle range or close range) is untrue. The fact is, all styles developed according to the restrictions of the local terrain and the body type and physical ability of their creator. Additionally, nearly every real self-defense encounter involves all fighting ranges at some point. Escrimadors (escrima practitioners) from heavily forested or jungle areas developed thrusting styles and used longer sticks because slashing and striking were not practical in the heavy foliage. Movements were also completely dependent on the vegetation. The styles that developed in the rice-farming areas used linear footwork patterns, where circular and sidestepping movements were impossible because the small raised paths between rice paddies limited the options. The escrimador could not make very heavy strikes because the ground would be slippery, so the style focused on blocking techniques and middle-range measured blows. The styles that developed in open areas or on plantations were able to take advantage of the terrain and use more aggressive slashing and striking attacks, along with more complicated footwork. These practitioners would have begun an encounter at long range, looked for openings and then closed to middle or close range to strike. If they were still able, they would have immediately moved back out to long range to prepare a new attack. The systems that now claim to be close range developed within the cities. Fighting in doorways, alleys and small open areas determined the length of the weapon and the most effective techniques. The increased use of the stick instead of the blade also dictated a closer range because now one could grab the stick. If these escrimadors were taken out of the city to one of the other types of terrain mentioned above, their fighting style would have quickly adapted because a close-range urban style in heavy jungle or wide-open fields would have been disadvantageous if the practitioner had no closing or other long-range skills. The opposite is also true: The jungle fighter would have quickly shifted to a more effective style after moving to the city. The point is that escrima is a style of fighting that takes whatever the environment gives — and makes it work. To call oneself an escrimador means not limiting oneself to a single fighting range or a particular weapon, and any system that makes that distinction is doing a disservice to its practitioners. Real fights constantly flow back and forth between all the ranges, and one must be prepared to handle whatever happens wherever it happens. About the author: Steven C. Drape has practiced escrima for more than 17 years. He is the U.S. representative of the Institute of Filipino Martial Arts in Cebu, Republic of the Philippines.

Just like royalty has dynastic families that rule over nations, martial arts have dynasties that rule over the world of combat. So here's a list of our top five family dynasties in martial arts... 5. The Machado Family While often considered just an extension of the Gracie family, the Machado's do not actually descend from the Gracies, though they are cousins to the sprawling Brazilian clan and did originally learn their jiu-jitsu from them. But they've since branched off making their own important mark in the martial arts world. The family of five brothers - Carlos, Roger, Rigan, Jean Jacques and John have garnered a plethora of national and international championships between them. 4. The Canete Family While Brazil has the Gracie and Machado families, the Philippines have the Canete family. Their pedigree dates back to at least the 1930s when Eulogio "Yoling" Canete, Filemon "Momoy" Canete and a number of their brothers helped form the Doce Pares Fencing Club, which eventually turned into one of the world's most widely practiced styles of Filipino martial arts. They were soon joined in the family business by youngest brother Ciriaco "Cacoy" Canete who became, perhaps, the best known of all the Canetes. The family dynasty has continued into the second and third generations with renowned practitioners like Eulogio's son, Dionisio "Diony" Canete. 3. The Chen Family A sprawling family clan that originally founded China's Chen Village in the 14th century, they're often credited as the creative force behind what became tai chi chuan in the 17th century. Family member Chen Wangting is considered by many the original founder of tai chi. The system was kept strictly within the clan until Yang Luchan was able to learn it in the 19th century before going on to popularize tai chi in other parts of China. Famed family member Chen Fake drew renown when he began teaching the style in Beijing during the 20th century. The family, and its brand of tai chi, continues into the 21st century with martial artists from around the world regularly making pilgrimages to the Chen Village to learn tai chi direct from the source. 2. The Gracie Family Probably the most famous family in martial arts history, the Gracies started their association with jiu-jitsu in the 1920s when Carlos Gracie began his training. He was soon joined by his younger brothers Oswaldo, Gastao Jr., George and Helio. The brothers drew attention competing on the local fighting and wrestling circuit and eventually produced offspring, like Carlos's son Carlson, who made their own reputations in Brazil. But their brand of jiu-jitsu became an international phenomenon when Helio's son Rorion moved to the United States and began teaching the art there, eventually leading to the creation of the first UFC event, won by Rorion's younger brother Royce. With the continued success of family members like Roger Gracie and Carlos's great granddaughter Kyra Gracie in the 21st century, the clan remains synonymous with high level jiu jitsu across the world. 1. The Yagyu Family There's no family that has a more illustrious or longer verifiable martial arts lineage than Japan's Yagyu clan. The family's association with Japanese swordsmanship dates back to at least the mid-16th century when Munetoshi Yagyu learned a method called shinkage-ryu. Becoming a master of the style, Yagyu's name was added to the system creating the famed Yagyu shinkage-ryu, one of the most well known brands of swordsmanship in Japanese history. Munetoshi's son, Munenori, would go on to become the official fencing instructor to the Tokugawa shoguns who ruled Japan. a position the family would maintain for more than 250 years. Meanwhile, the alleged exploits of Munenori's own son, Jubei Mitsuyoshi, are still celebrated in modern movies and TV shows. And while Munenori and his descendants headed the Edo branch of the style, the main line of Yagyu shinkage-ryu remained under the care of other family members in the province of Owari. It continues to be lead, more than 400 years after its founding, by the Yagyu family.

Brazilian jiu-jitsu is a martial art that teaches not only ways to control and submit your opponent but also ways to live your life. The lessons and values you learn from BJJ include patience, persistence, humility, respect and loyalty. Below is a deeper dive into each of them. Patience Jiu-jitsu puts your patience to the test. To start, it takes an average of eight to 12 years to earn a black belt. In other arts, you can receive a black belt in three to four years. For this reason, it’s important to set the right expectations when it comes to jiu-jitsu. Many beginners come into the art thinking they’ll get a new belt every six months. They are surprised when it takes two years to go from white belt to blue belt. You also have to be patient when it comes to developing actual skill. Sometimes you can watch others do a technique and think it looks easy, but when it comes time to apply it yourself, you realize there are many moving parts. Jiu-jitsu is not just about technique but also about timing, weight distribution and tactics. These aspects of the art are more difficult to teach and often developed through trial and error. Being patient on the mat with respect to promotions and skill acquisition directly correlates to the patience you need to achieve any worthy goal in life. Persistence Jiu-jitsu also teaches persistence. It’s a very challenging martial art, and even the most accomplished champions have failed time and time again. What sets the champions apart is their ability to dust themselves off and try again with a renewed vigor. In order to add new techniques to your repertoire, you must not only practice them but also test them in a live setting with resistance. In these attempts, you often fail. Some of the best techniques in your game will be ones you’ve refined for years and years, so it’s important to stick with them for as long as necessary. Developing persistence in jiu-jitsu shows you that if you stick with something long enough and correct your mistakes along the way, you can achieve much more than you thought possible. Humility Because jiu-jitsu is such a challenging martial art to learn, you have to set your ego aside from day one and focus on learning as much as you can. This means you often lose to people who are smaller and weaker than you. When you lose a training round, it’s easy to become frustrated, but in order to progress, you must understand how and why you’re losing those rounds. Once you have the humility to embrace the losses and look at them as learning experiences, you’ll be on the path to correcting your mistakes and not dwelling on prior failures. This will help you on the mat and whenever you need to set aside preconceived ideas and focus on improving an area of your life. Respect Respect is one of the most important lessons you learn in jiu-jitsu. To be successful, you must respect your coach, training partners and opponents. To respect your coach, you should listen to his or her advice about your jiu-jitsu game and try to implement it. Sometimes you feel that you know what is best, but having someone on the outside looking in gives you a different perspective and helps you achieve more than you could alone. Respecting your teammates means helping them improve, being there for them when they’re struggling and looking out for their safety when training. Respecting your opponents means giving them your best effort and shaking hands after the match, regardless of the result. Loyalty Although jiu-jitsu is largely an individual martial art, having a strong team is undeniably important. Your team will be there for you through all your ups and downs throughout your jiu-jitsu journey. The bonds you build with your teammates and the loyalty that comes with all of it helps you realize that you’re stronger as a team than you are alone. This applies not only to BJJ but also to every meaningful endeavor in life.

There are few types of action films that I enjoy more than the historical epic. Drunken Master II, Gladiator and 300— all are sweeping, emotional roller coasters packed with flawed heroes, grandiose visuals and beautiful violence. Sadly, many critics love to complain about historical movies, saying they’re wildly inaccurate and only distort the past. What the naysayers fail to remember is that films “loosely based on a true story” aim to be fun distractions, not documentaries. If you want a history lesson, pick up a textbook or buy a time machine. That said, Tai-Chi Master has little concern for maintaining any sort of historical integrity regarding its title character, Zhang San Feng, founder of tai chi chuan. But like I said, it’s all about the entertainment value. And Jet Li provides plenty of that as the star of the movie, which has been given a pristine North American DVD re-release thanks to Dragon Dynasty. Learn more about the most influential martial arts movie star of all time with our FREE guide— Our Bruce Lee Movies List: Little-Known Trivia From Bruce Lee's Pictures . Jet Li plays the eponymous character who learns chuan fa at the storied Shaolin Temple. There, he befriends a fellow child monk, Tian Bao, whose aggression, arrogance and disobedience get them both booted before they reach adulthood. Soon, their paths split, with the conniving Tian joining the corrupt imperial army and the pious Zhang teaming up with a secret society of rebels, including Siu Lin (played by Michelle Yeoh). Eventually, Zhang and Tian reunite—but as enemies on the battlefield. The betrayal of his Shaolin brother sends Zhang into a drunken downward spiral that’s topped with a bit of psychosis. Combining his Shaolin upbringing with Taoist principles, Zhang breaks out of his mental funk when he starts tossing a ball, slapping some water and twirling some leaves. Reaching a sort of martial arts nirvana, Zhang takes on his archrival with renewed vigor and a revolutionary fighting style he dubs tai chi. So is this the true account of how Zhang invented tai chi chuan? Hardly. But screenwriter Ip Kwong Kim and director Yuen Woo-ping take some creative license because—as is the case with many Chinese folk heroes—it’s difficult to separate fact from fiction when it comes to Zhang. Who he was and when he lived aren’t clear and probably won’t ever be, although I’m willing to bet that he didn’t create tai chi by playing with toys or foliage. As silly as its script sounds, Tai-Chi Master— called Twin Warriors in the West—is a fun if lightweight wuxia movie. It’s a small step above the 1990s glut of “ponytail” actioners that Hong Kong churned out. Much of the credit for that goes to Yuen Woo-ping, who, along with his brother Yuen Cheung Yan and Ku Huen Chiu, did the fight choreography. Together with Jet Li, the four of them craft what’s become known as Yuen Woo-ping’s trademark “wire fu” screen-fighting style: hyper-athletic wushu combined with nimble gymnastics and a whole lot of wire work. In one of the movie’s best set pieces, Jet Li, Michelle Yeoh and some rebels square off against 100 soldiers in a smorgasbord of action. The freedom fighters wield poles, broadswords, a three-sectional staff and even a cudgel to beat back the troops’ spears in a whirling display of chaotic violence. Yuen Woo-ping gives each fighter a distinctive style depending on his or her weapon, and he adds plenty of wire flash for good measure. Unfortunately, his penchant for over-the-top action undoes some of the brilliance of his combat choreography. Witness exhibit A: In one sequence, Jet Li uses only head butts to take out a squad of imperial troops. Pretty innovative, right? Yep, until the scene devolves into Family Guy territory when Jet Li leaps 10 feet into the air, drops headfirst like a bomb onto the belly of a fallen soldier—only to rebound up and onto another prone soldier like a human pogo stick. Cartoony combat aside, Yuen Woo-ping is a genius at filming fight scenes tailored to the star. In Tai-Chi Master, he uses wide angles to capture Jet Li’s speed and agility while opting for the occasional slow-motion angle to show off Yeoh’s gracefulness and flexibility. It’s no wonder Rush Hour director Brett Ratner calls Yuen Woo-ping “the greatest martial arts director of all time” in Meditations on the Master, a bonus featurette in which Brett Ratner and critic Elvis Mitchell explain why Yuen Woo-ping is a filmmaking demigod. The DVD has other noteworthy extras, including an informative 20-minute interview with co-star Chin Siu Ho, who reveals his own kung fu training as a youngster and tells how he broke into the industry. And The Birthplace of Tai Chi is a 15-minute documentary about the Chen family village, where the Chen style of the art blossomed. In truth, the movie features very little tai chi chuan. The only authentic moves shown in the 1993 flick come as bookends, with Jet Li and his students performing the yang -style long form in unison at the beginning and end of the movie. Still, I can’t complain because whenever I watch it, I’m not expecting an accurate chronicle of history; I’m looking for a dynamic cinematic retelling of history. (Patrick Vuong is a freelance journalist, screenwriter and martial artist based in Orange County, California.)

Recently One Championship has seen a few high profile Thais losing to Westerners. Superbon lost to Chingiz Allazov and Nong-O lost to Jonathan Haggerty. The strange cult of martial arts fans on the internet cheered the idea that Muay Thai was slipping and in fact, not so great after all, ignoring that Allazov and Haggerty are both themselves, Muay Thai fighters, who just happen to be European. The real question is are Thai fighters declining? Is the rest of the world finally catching up to Thailand? The answer is quite simple, no. What we are actually seeing is fighters in their 30s, who have been competing since they were literal pre-pubescent boys losing to young 20-somethings with nowhere near the amount of mileage on them. So lets take a closer look at these fights. Chingiz Allazov has become something of a specialist when it comes to defeating top level Thai opponents. Taking the Tekken approach to combat, Allazov makes his money by throwing rapid fire punching combinations and then bizarrely finishing them with head kicks. This is something I can only really say I’ve seen Allazov do with such frequency. He’s able to get away with this by virtue of being so damn fast with high kicks. At the time of writing he has three consecutive victories against Thai opponents, a KO win over Jo Nattawut, a decision victory against the great Sittichai Sitsongpeenong, who scarcely loses a fight to someone not named Superbon, and then finally Superbon himself, who he again beat via KO. So what happened in these fights? Quite simply, he caught them out. Allazov has fast hands and he caught his Thai opponents the same way he catches all of his opponents, with blinding hand speed and great set ups. There really is no magic being done here, Allazov just did what he always does, and it paid off. We’re very quick to point at Thai boxers losing and suggest that it means we’re catching up in some way, yet younger fighters like Rodtang, Tawanchai and Petchmorrakot still have yet to lose in One to a non-Thai opponent. In the case of Rodtang the only loss to a non-Thai at all, came against Tenshin Nasukawa in a decision that the entire kickboxing community rightfully cried as a blatant robbery. Indeed Superbon had not long defeated the top ranked Marat Grigorian, who has done just about everything you could have hoped for in kickboxing, before losing to Allazov. For any one loss these Thai boxers may pick up, there are several victories against top ranked opponents. There’s also an issue of fight fans simply conflating the rules of the sports they’re watching. One Championship has this love affair with trying to showcase every striking sport they can, showing kickboxing, Muay Thai in four ounce gloves and MMA, each in both a ring or a cage depending on what they currently have to hand at any given time. As a result, we see fans talking about two different sports as though they are essentially the same thing. The real question is, will the rest of the world ever catch up to Thailand? The answer to that is again, probably not. There simply isn’t the economy to back development in kickboxing and Muay Thai. Both sports are in part parasitic in MMA and have grown in popularity as a result of MMA’s growth over the last 30 years. In Thailand however the sport is a way of life, it is the single most popular sport in the country and fighters train and compete as children, well into adulthood. This is why the talent pool is so strong. There’s a reason that it’s Thailand vs The Rest of the World, as opposed to Thailand vs The UK or France. The talent pool in nearly every other country is simply too small with no financial incentive to grow in order to ever compete with any country where Muay Thai is an institution. We’d be better served appreciating the accomplishments of great farang fighters like Allazov and Haggerty, as opposed to trying to link them to some greater picture.

Martial art movies are not just about flamboyant kicks, rapid-fire punching, and great one-liners. I love a good slugfest and a furious kick showdown as much as the next person, but the fights that really make me sit up and take notice are done with swords. In a previous article, How Do You Make Combat Beautiful? I talked about the art of Tate, which is the art of on-screen sword fighting. While that is an art specific to samurai movies, and some of them are on my list, sword fights in films are not limited to just an irritated ronin flashing a blade. Whether the film features actors fighting with a katana or a sabre, these are five of the best martial arts sword fights in movies…Well, to me, anyway. Sword of Doom (1966) If you are a fan of Akira Kurosawa’s samurai epics, then you will love director Kihachi Oka moto ’s Sword of Doom . The film is rife with blazing swordwork and stars Tatsuya Nakadai as the brooding and ruthless samurai, Ryunosuke Tsukue . There are so many great sword battles in this movie that it is hard to choose just one, but to me, the most unusual and interesting one is the ambush on the walking path. After defeating his opponent in a duel, Nakadai walks calmly and meditatively down a path cloaked in lingering mist, slaying all the avenging challengers that were waiting in ambush for him. Attackers come from every conceivable angle and are defeated in nothing short of a poetic bit of fight choreography. Check it out, you won’t be sorry. Sanjuro (1962) Sanjuro is a Kurosawa film and is the sequel to Yojimbo (1961). The scene to check out is between Toshiro Mifune and the previously mentioned Tatsuya Nakadai, who frequently played the villain to Mifune’s heroes. Viewers familiar with Western films will immediately see the similarity to gunslingers having a duel in the middle of town. The two samurai face each other for so long, that if it weren’t for the swaying fabric of the costumes in the background, you would swear that your movie’s stream was locked and you need to reset your WiFi. But then, with lightning speed, the two warriors draw. There is enough blood to fill half the elevator in Kubrick’s The Shining (1980) . Although it is the shortest of all the fights listed, it has great suspense and makes a lasting impression. (Watch Yojimbo too.) The Octagon (1980) My favorite Chuck Norris movie is The Octagon . The action is excellent, (It’s Chuck Norris, after all) and it is the first time I remember seeing ninjas. The entire last quarter of the movie has Norris fighting an endless number of black-masked warriors, and he dispatches them all with an entertaining variety of techniques that still hold up today. The last fight is with masked villain Kyo played by the always-excellent Richard Norton. Both Norris and Norton start with katanas and then Kyo/Norton switches to Sais. Ultimately, the fight progresses to kicks, punches, and some well-executed throws. It should satisfy any martial arts fan. It’s got it all. Conan the Barbarian (1982) Why Conan ? you may ask. Although it’s not a martial arts film per se, Arnold Schwarzenegger exhibits some great sword technique no matter what you call it. Conan the Barbarian has many great fight scenes with bladed weapons, and the cast trained extensively with Karate Master, Kiyoshi Yamasaki. The fight in the palace, with Conan and his band of thieves camouflaged in dramatic black and white body paint, is a thrilling piece of sword-swinging action. Arnold/Conan squares off with sword-wielding guards, as well as axe-swinging and war hammer-smashing henchmen of the evil Thulsa Doom. The action is solid and the sword work will not disappoint. Take note, no CGI. The Mark of Zorro (1940) Aside from being in the lore of Batman as the movie that Bruce Wayne and his parents saw the night his parents were killed, some may not know of The Mark of Zorro . When viewers think of fencing, they may not immediately regard it as a martial art, but aside from it originating in the West, I don’t see why not. In The Mark of Zorro , starring Tyrone Power, the climactic duel between Power and frequent Errol Flynn adversary, Basil Rathbone is a stunner of technique and great choreography. The parries, lunges, and ripostes are exquisitely performed. While there is no fountain of gore, the action is well done and one can easily see the influence that western fencing has had on other martial arts. There is no doubt that the primal energy of a hero and villain fighting with swords on film will always be exciting. Whether it is Toshiro Mifune and Tatsuya Nakadai or even Obi-Wan and Darth Vader, t he clash of weapons, done with precision, energy, and drama, will always be a cinematic winner.