The Tai Chi Debate : MMA vs. Tai Chi

Lately Taijiquan (Tai Chi Chuan) has come under fire and is now (as if it hasn’t always been) labelled as “The Flowery Art” – one without much practicality or effectiveness in the ring or the streets.  As an avid listener to Joe Rogan’s Podcast, The JRE, I am often in agreement to many of the discussions.  In this recent episode (#962) with retired Navy Seal officer Jocko Willink, there was much that I was in disagreement with (see video clip below). There are several factors Joe (and many others) must understand…

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First… the video that everyone is talking about! [warning: violent content]

The 3 Tenets

• Any “fight” does not a “street fight” make
• Whether a fighter wins or loses has more to do with his/her training over any “style” or “discipline”
• The training of any effective fighter must be directed towards common street attacks and (hard-to-predict) changes in such things as: social and environmental cues, level of aggressiveness/intensity, and opportunities of “unfair play” (i.e. eye gouging, groin strikes, etc).

It should be obvious that martial arts (including Taijiquan) came from a more violent time and its movements were designed to protect, subdue or kill.  Over the years (some may argue) as we evolved into a more civilized society, we (in the Taijiquan world) re-directed our focus to health and wellness.

Who is going to argue, especially if you live in a non-violent area, that martial arts training is best (or more beneficial) if you train it for health? Therefore it comes down to the need (for survival) and/or personal preference.  Can you do both?  Absolutely.

We’ve all seen Tai Chi for health.

But what is Tai Chi for “the streets?”

Does it exist? And if so, what does it look like?

First off, while some people DO “Choose to believe that there are secrets/magic” (as Joe Rogan mentions), there are many experienced Tai Chi practitioners that understand that fighting works on the same plane of existence as everything else.  “Rooting” is not magic, nor is “directing ones Chi”…but I digress.

I don’t want to fall into the trap of saying “It all can be boiled down to 5 simple steps”… however, for the benefit of time simplicity and brevity, I want to make these points known – especially to those that don’t understand the (internal) martial arts.

Intent

• You must have intent.  You must have intent to do damage.  This is the main thing that the traditional martial artists of Taijiquan will likely object to, because the singular practice of a combative form may (depending on the person) develop a propensity towards violence.  This quickly brings to mind a not-so-old saying that is grounded in truth- “What we think about, we bring about.”  The often peaceful intent of a Taijiquan brings a sense of inner calm, a harmonizing of mind and body and enhances the likelihood to resist the urge to make altercations physical.  This important point of “intention” training, and devising a “go or no-go” plan to initiate leaves a lot to think about on a personal level.

Hitting (Explosively)

• You must have the ability to hit explosively…what we in the internal arts call “Fajin.” In order to do this, internal arts excel, because it is rooted in “sung,” the ability of the body to release energy from a soft, relaxed state.  This was what I believe Bruce Lee was talking about when he described the “Gongfu punch.” It’s less mechanical, like many strikes you see in Karate and Tae kwon do… it’s more elastic – applying a snapping, yet penetrating power.  Anyone with a high skill in fajin (and obviously finding an open line of attack) will easily dominate in a one-on-one encounter.  One key note on training is that structure is essential and one shouldn’t practice moving explosively without understanding and finding the proper structure from which to release the strike.  This is one of the main reasons that Taijiquan is performed and often seen as a “slow, ineffectual, flowery” art form.  Remember, learn structure and technique before you concentrate on “fighting.”

Multiple Attackers

• Today’s street fight is seldom mano-a-mano.  If you are not sucker-punched or thrown off balance suddenly without you first knowing, I’d be surprised.  Going back to intent…part of our trying should be directed in fighting and maneuvering tactically in a multiple attacker situation.  Forms or katas should include practical movements and practitioners need to practice individual drills that replicate this type of environment and chaos.

Calm through Chaos

• It’s a great label, but most of us will never “calm” in a street fight.  However, all arts (if we are to call them “martial” arts) should be pressure tested.  These pressure tests can and should be done quite safely at first with a steadily growing intensity.  If one only does forms and katas, there will never exist a true understanding of fight dynamics and your level of skill in dealing with them.  As our experience, confidence and skill level grows…the more likely we will be able to deal with adversity.  As in the “controversial” video (posted above), China should not be upset with the conclusion.  Clearly the taijiquan “master” was unfamiliar with dealing with chaos.  Personally, I’d choose Ren Guang Yi to represent the combatively-capable taijiquan fighter.

True Grit

• Lastly, if one intends to survive a street fight (all luck aside), one needs grit.  “Grit” is the emotional and physical fortitude that presses on when confronted by an obstacle.  Grit is courage and resolve and without it.. you are frail and destined to lose.  Can some train grit?  In my opinion, yes.  I believe grit can be built with a combination of training using: violence-prevention drills, gradual pressure-testing of these drills, physical techniques, and sparring.  The experience that we accumulate will produce confidence (not blind faith), and confidence in ourselves will be transferable to ourselves on and off the streets.

Joe Rogan talking about MMA vs. Tai Chi

Ultimately, in regard to the martial arts we choose to study, we have to make up our own mind.  I’m more apt to say “Train wisely” over “Choose wisely.”  After this article, I hope you are.

LET US KNOW WHAT YOU THINK!

COMMENT BELOW

 

The Evolution of Metamoris

June 9th

Metamoris II, wrapped up over the weekend and although an amazing and prestigious venue with incredibly talented athletes, many viewers (and certainly many tournament-goers) were left in a state of melancholy.  While I believe most people felt this, I believe that even those people that held the greatest of sadness still feel the same;

The no points, “submission-or-decision” version is a platform to showcase jiu-jitsu skill at the highest level – and we are all glad to have the opportunity to experience it.

Does the ‘Bad’ Overshadow the ‘Good’?

There were some great jiu-jitsu matches: Rafeal Lovato Jr vs. Andre Galvao, Brualio Estima vs. Rodolfo Vieira, and Kron Gracie vs. Shinya Aoki (despite a prolonged “feeling out” process in the beginning).  Things took a turn for the worst in the highly-talked-about match between Roberto “Cyborg” Abreu and Brendan Schaub (video).

Abeu, who did just about everything he could to engage in the fight, was highly disappointed afterwards (despite winning by decision).  Athletes come to an event like this to both test and showcase their skill in grappling.  Abreu wasn’t truly given the opportunity, and Schaub’s “nullification” of Abreu’s jiu-jitsu was borderline disrespectful and his strategy, confusing.

The Will To Survive

Ralek Gracie said, “I founded Metamoris to create a tournament where submissions are the only goal, not points.  With the introduction of judges, we will avoid judges… Someone in a fight is always sharper (link).”

As a student of Gracie Jiujitsu (Joyce) and who has had the opportunity to speak and train with both Ryron & Rener Gracie (Schaub’s jiujitsu trainers), I can say I understand what the Gracie system is all about.  Obviously Gracie Jiujitsu works and is a highly-refined martial art, however when you put a brown belt (Schaub) up against a 12-time Grappler’s quest, 3-time World Nogi Champion (and many more accolades) back belt (Abreu), you can only hope for one thing in my opinion, to survive.

In addition, the thought somewhere in Schaub’s brain, were UFC President Dana White’s one condition for taking this contest, “Don’t get hurt.”  Fortunately or unfortunately for Schaub, it was just his reputation that got hurt.

What Needs To Be Done

The only problem that I see in the Metamoris Tournament is in casting.  I believe that the matches should only be performed by players of black belt level or higher.  Furthermore, the black belt must be in a grappling-based system of martial art.  Metamoris does not need to be in the game to bring in “big names” (such as those in the UFC).  Audiences around the world wish to be riveted by high-level, submission-only grappling and while some competitors can be found in the UFC, Pride, etc, the focus should remain on those whose grappling game holds a high degree of depth and intelligence.

In that light, I am very pleased of the announcement of:

Royler Gracie vs. Eddie Bravo for Metamoris III

Eddie Bravo: “..they want to find out if I got lucky that time.” (Full 1st Fight video)

Royler Gracie: “He got lucky.”

Combative Corner: “We shall see won’t we? Either way, it should be a best outta 3, don’tcha think?”

MICHAEL JOYCE

FightStoppers – Looking at the “One Strike Stop”

Let’s look objectively at the material & analyze the good, bad, & in-between.

Everyone, or I should say, anyone with a brain should know that in self-defense we are not looking to ‘win’ but to survive.  Our ego is the least of our worries.  In certain circumstances a pre-emptive strike is the only chance between escaping danger and being caught in ‘a fight.’

Paladin Press brings 6 self-defense professionals together to give us their “Go-To” technique.  You may click on the thumbnail to see the video.  Let us know what you think by commenting below.

Lee Morrison – I’ve always enjoyed what Lee brings to the table & consider this to be the best of the 6 videos.  His “One-Stop” strike resembles a Wing Chun chain punch straight to the jaw –  making sure that it is quick & linear, non-telegraphed and with “enough juice to shake the brain.” I certainly can’t disagree with that!

Mark Hatmaker – Mark’s video gave us a different feel to the confrontation.  Whereas Lee’s “One-Stop” focused on ending a fight, Mark’s emphasized more of a hit & run element using a back-hand (“eye-whip”) followed by a quick palm-heel combo.  He notes that in a true self-defense situation, use “anything around you as a weapon.”  And while this is certainly a valid, Bas Rutten-style scene escape – one would certainly hope that the attacker doesn’t run you down and make you pay for the preemptive assault.  If you choose to rely on this method, make sure the follow-up strikes do some damage.

Wim Demeere – Demeere’s choice is a classic one-two combo in quick succession (lead hand-to-downward hooking punch).  While I like the distraction-punch combo, I don’t find that it works well for most people.  Ideally, it’s a shot to neck (or side of the head) that can render someone unconscious in a blink of an eye – on the other hand, most fights do not start with the attacker as a stationary target.  Also, it is harder, if not impossible, for a smaller guy to follow-up and (quite importantly) find his mark with his “fight-stopping shot.”  Lastly, you have to be very careful that your initial strike doesn’t back up or create too much movement in your opponent, thus reducing your chances to hit with the “fight-stopper.”

Dan Shreiber – While many YouTubers have said that they disapprove of Dan’s headbutt and body-slam method, I think that it is an interesting and effective way of dispatching someone QUICK.  If you honestly ask yourself, “Where do men fight most often,” you’ll come to the answer that it’s usually at a club, bar, sporting event or somewhere where alcohol is served.  It’s usually loud and people have to get close or lean in to the other person to hear what the other is saying.  The only fault that I find with this technique is being able to accurately hit with the head and causing enough trauma that the fight ends there.  More than likely, you’ll have the advantage of being on top but the disadvantage is that you’ll likely be pulled into an exchange.

Joseph Simonet – Simonet’s method of dealing with an attacker is simple, direct and I respect it highly.  In my opinion, Simonet is ‘spot-on’ when he says that the hands should be open in order “to be seen as the defensive dude.”  The technique is a one-shot-blast straight through your opponent [striking to the chin].  The image that springs to my mind is like a football “stiff arm” but given with massive speed, power and attitude.  He also goes to say that if caught on tape or viewed by others, the strike could be explained as something else [e.g. a quick shove] Brilliant!

Bill Kipp – Kipp’s (of Fast Defense) method of stopping a fight with one blow was a bit “hit AND miss” for me.  His delivery system is a horizontal elbow direct to side of the face.  And although he says, “I wouldn’t use this as a preemptive strike, only if I wanted to take the guy out”… it automatically misses the point by drawing you into a fight whereby a punch exchange is almost certain to occur.  The other problem with this delivery (especially the way Bill Kipp does it) is that he steps in, telegraphing the elbow strike.  What I like about the technique is that the elbow IS utilized.  Elbows are strong, reliable, and deals a great deal of damage.  But while it certainly is a “Fight Stopper,” it isn’t deployed in the fashion that I find reliable.

– Michael Joyce

Golden Thread Workshops

Kennedy on “What is Martial Art” : RTD 018

Bruce Lee said in his infamous television interview with Pierre Burton, that martial art is the expression of self. That, in my opinion, is what “art” is. When applied in a combative context, what component of the “self” is one expressing, exactly?

It is my opinion, that martial art can be defined as the following:

The articulation of one’s combative intent through the medium of human movement.

To have an objective in mind, and to achieve this objective using the only instrument one has – his or her body (and weapons, if present, as an extension of the body).

Each individual will articulate his or her movements differently, and will indeed choose different tools to perform different tasks. This is where individuality comes into play. Where the expression of self is seen. The differences in articulation are the result of differences in physiology, culture, personal ethics, etc.

The more one practices using their body to articulate combative intent, the more prolific and efficient they will become in their art. There will be a singularity – a cohesion of techniques and increased fluidity of movement.

That is the denotative meaning. However, there is a significant connotative interpretation of martial art that I’d like to discuss.

That is, the more one engages their mind to act in tandem with their body, the more centered and aware they can become. This union of mind and body can lead to expanded consciousness.

There is an ineffable quality to martial art. A difference in intent. A fighter will fight for status, for resources, etc. A true martial artist…..or warrior…..will fight to protect that which he or she values. Their motives may be love, justice, compassion, etc.

A “fighter” is a role, whereas “martial artist” is a way of life;

a state of being.

These are my thoughts on what “martial art” is. 

I welcome any comments.

T.J. Kennedy

Founder of the Hybrid Fighting Method

MORE ON ‘WHAT A MARTIAL ART‘ IS COMING SOON

Kuo on “What is Martial Art” : RTD 018

“Art” is one of those hard-to-define words which means different things to different people. Most people tend to think of the fine arts (painting, sculpture, dance, theater, etc) when “art” is brought up in conversation. In my opinion, art encompasses any endeavor which requires skill and is an expression of the artist. Both the fine arts and the martial arts require refined skills and are a creative expression of the artists.

Human nature has violent and physical aspects, so it only natural that there are art forms set in the context of fighting. What separates the martial “art” from mindless brawling is the systematization of the fighting such that the movements and principles of fighting can be trained without violence necessarily being the end goal. When such a systematization is present, the martial artists can train the craft of fighting and express the principles of a martial arts style in their movements. Watching martial artists who have mastered their craft is similar to watching the skillful movements of a dancer or an athlete competing at peak performance. By blending with an opponent’s attacks and weaving offense and defense, the martial artist is demonstrating a beautiful display of body movement and force interplay.

The practice of martial arts is a physical expression of the practitioner’s self. You can perceive actors performing with feeling, athletes competing with heart, and painters creating with vision. You can also tell the difference between martial practitioners moving with rote, reflexive patterns and the skillful artists moving with intent and dynamically adapting to their opponents. With skilled martial artists, the hours of deliberate practice shine through with efficient movements, powerful attacks, solid defense, clear perception of an opponent’s attacks, and an exquisite sense of timing and distance. The martial artist elevates fighting to a skilled craft.

Coming from a primarily Chinese martial arts background, I also believe another defining characteristic of martial arts is that they are a path to self-improvement. At the most basic level, martial arts training develops focus, discipline, physical conditioning, and camaraderie. However, the self-improvement to which I am referring is the (perhaps cliched) life-altering, fundamental truth-realizing types of change. To pursue a martial art to a high level–or any serious endeavor for that matter–one has to devote a lot of time and effort. That in and of itself cuts off a lot of other life possibilities since time and energy and unfortunately limited resources. While on the path to mastery, martial artists must ask themselves if the art is something they truly wish to pursue and what sacrifices they are willing to make to achieve their goal. They must determine who they are, who they want to be, and what they want out of life before they can commit to pursuing mastery of an art.

To reach high levels of proficiency with a martial art, the practitioner’s mental acuity must be elevated. Even in high level athletics, physical training is rarely the limiting factor; rather it is the mental game that defines the elite. The martial artist’s mind must be trained to maintain focus, develop a keen kinesthetic feel, and perceive the conditions in a fight. Martial artists must develop mental fortitude to deal with the inevitable roadblocks and setbacks on the path to mastery. To reach their full potential, martial artists need to delve into their own psyches to conquer the mental blocks that hold them back and remove the mental clutter that cloud the understanding of fundamental principles. It is in this process of looking inward that the martial artists realize themselves and grow as people.

A martial art is just like any other art form in that a martial art is a skilled pursuit which expresses aspects of life and humanity. The art can form bonds of friendship, help a person grow, and express beauty through skill. It just happens that the “art” is expressed in the context of fighting instead of the more traditional fine arts media.

Johnny Kuo

Mind Body Kungfu

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