YMAA recently provided me with a review copy of their two DVD set entitled “Shaolin Long Fist Advanced Kung Fu”, presented by Nicholas Yang. The review copy does not require a positive review…just honest impressions.
Here’s the interesting thing about this particular review – I am not an advanced Kung Fu practitioner. In fact, I’m not a beginner Kung Fu practitioner. That’s why I decided to take a different approach than usual. I’ll be assessing the basic value of the DVDs (production quality, amount of information, cost value, etc), then I’ll be handing it off to a friend of mine, Gary Choi, who is indeed a long time Kung Fu practitioner. He will provide more detailed analysis on the quality of the content.
With that being said, let’s jump right in!
Overview of Shaolin Long Fist Advanced Kung Fu
The first and most important question when dealing with a product like this is…what do you get out of it? As two separate DVD sets, this product provides a wide breadth of information designed to give insight to advanced practitioners. Some of the drills and methods included in the DVDs are as follows:
Part 1 (2 DVD Set)
* History of San Lu Pao
* Basic Training of San Lu Pao (stepping, kicking, hand forms, training routines)
* San Lu Pao Form Sequence (sectional, slow speed, high speed, applications)
* History of Taizu Changquan
* Basic Training of Taizu Changquan (stepping, kicking, hand forms, training routines)
* Taizu Changquan Form Sequence (sectional, slow speed, high speed, applications)
Part 2 (2 DVD Set)
* History of Si Lu Cha Quan
* Basic Training of Si Lu Cha Quan (stepping, kicking, hand forms, training routines)
* Si Lu Cha Quan Form Sequence (sectional, slow speed, high speed, applications)
* History of Si Lu Ben Za
* Basic Training of Si Lu Ben Za (stepping, kicking, hand forms, training routines)
* Si Lu Ben Za Form Sequence (sectional, slow speed, high speed, applications)
DVD Quality Analysis
As I mentioned earlier, I am not qualified to comment on the content of these DVDs. However, I have seen quite a few training resources in my day so I can do a comparative quality analysis of it’s production.
First of all, YMAA simply does not skimp on content. I have paid upwards of $30-40 for DVDs which contain little more than an hour of footage. These DVD sets, while in that same price range, provide 8 hours of content. Eight hours is a lot. If you are a details-oriented person, you will not be disappointed by the depth of investigation provided in this resource.
As for quality of production, I have to say that I did not find myself distracted at all from the material at hand. That’s a notable achievement as low budget symptoms have hampered many resources in the past (and still today). The camera work was well done, the training environment was stark but appropriately so, and the instructors seemed prepared with their material.
The primary instructor, Nicholas Yang, is the son of well-known Kung Fu practitioner and author Yang Jwing-Ming. From an outsiders perspective, Nicholas Yang’s execution of technique seemed very well done (but we’ll dive more into that in a bit). As an instructor, I would describe him as the informative type. He did not seem overly concerned about joke telling, entertainment, or things of that nature. He stuck to the material and described it quite competently. Some people prefer this straight-up presentation style while others enjoy a highly charismatic speaker. That’s simple matter of taste.
Let’s move on to the main course – the content analysis.
DVD Content Analysis
This portion of the review is provided by Gary Choi who carries on his family Kung Fu style near Denver, CO.
Intro and History
The video starts off very fast paced and goes straight into explanations and a brief history lesson on the form that they are doing. This is very much appreciated but I would have to say that the speed they talk at is very fast and at times almost overwhelming in terms of on how much info they are throwing at you. The history lesson is spoken in English but all the text is in Chinese and it’s a bit confusing if you don’t understand Chinese.
The beginning techniques the DVD shows us is the simple steps. It’s still very fast paced but at the same time shows good instruction. Nicholas Yang provides a very good explanation on taking care of the body and how to use it in a practical sense and where to build from. The stepping is very much designed for intermediate and advanced practitioners mainly due to the speed and integration of different stepping and foot techniques. There are also a lot of references to past teachings, but very little on what the actual practice consisted of.
The adjoined partner drill is very good in both showing and explaining on what and how it can work, though there are some areas where he could use either better angles for the camera or explanation. The stepping drills are also based very much in sparring and fighting verse traditional form and how to merge different hand techniques. As the video goes on it becomes more and more complex in both technique and in actual speed.
There is very little review and takes again a very fast pace teaching. All the kicks are used in conjunction with the previous steps used. Throughout the kicking portion basic safety is not addressed, assuming that you will already know what to do. An example of this would be on how to jump or on how to shift the hips during the actual kick.
Yang shows excellent motion and goes at a much slower pace for people to see. I would say that he doesn’t give a good explanation on how to use the power or body but rather on how it should look. This is still very much for advanced or intermediate students due to complexity and speed. You would also need much prior knowledge of other DVDs or training to understand some of the terminology and concepts. If you do understand or have that experience from the DVDs it provides a very good level of progression.
His explanation on the form is very good, clear and concise. It shows a very good use of everything that was covered earlier on throughout the DVD. It shows different people doing the same form to show how it operates and also ranges in different speeds.
As the instructions go on Yang begins to show the way the form is used for attack and defense and the purpose of the movements. From how to use combination of punches and kicks to different joint locks and throws, he even shows the ways it can be used as defense against weapons and different attacks.
Overall the DVDs are very good but they draw heavily on previous knowledge of the system. They are very fast paced but they do show good examples and drills of the different techniques and how they can be used in conjunction with each other. This particular style is a very northern based kung fu so many of the theories they explain and show are based for more mobile style of fighting. The applications they use are very much based on traditional ideas and theories that are from form. Nicholas Yang does an amazing job of bridging the content over to practical fighting application.
Acquiring the DVDs
If you think these DVDs may benefit your training, you can acquire them via the following links:
|Price: $39.95||Price: $44.95|
|Click to Learn More||Click to Learn More|
This is a great question about the relationship between hard and soft styles:
“Recently I started training in Old Yang Style T’ai Chi Ch’uan in order to add to my Okinawan Kenpo Karate background. I was wondering if there is any particular relation between hard and soft styles. Do they compliment/take away from each other, is there any historical relationship between the two, etc?”
Here’s my take on it:
Diversifying training is a very natural and organic part of martial arts growth. Being exposed to a wider variety of methods and mindset can not only fill in skillset gaps but can actually provide fresh perspective on the core art of a practitioner. It’s like seeing a sculpture from one angle for years, and then being allowed to view it from the reverse angle. Certainly you’ll gain new appreciation for the artwork.
Of course, cross training comes with inherent risks. When done sloppily, lazily, or hastily it can prohibit the practitioner from learning the new art well and negatively effect the core art.
With that in mind, let’s look at the particular situation presented by this question – mixing Yang Style Taijiquan with Okinawa Kenpo Karate.
It’s generally accepted that karate is a hard art. Hard arts are characterized by a propensity for striking, solid stancework, impact blocking, hard body development, externally focused breathing, and muscular tension for power generation. Conversely, soft arts like taijiquan feature flowing movement, soft hands, internal based breathing, and energetic striking.
The key to understanding if a “hard art” like Okinawa Kenpo and “soft art” like taijiquan has historical connection and can possibly co-mingle rests on the question: which versions are you talking about?
Dual Tracks for Taijiquan and Okinawa Kenpo
When thinking of taijiquan, most people picture the modern fitness studio version that focuses almost entirely on the meditative aspects of the practice. The movements are very slow and deliberate with a body that is as relaxed as possible throughout. This version of taijiquan is certainly healthful and can teach a person about body awareness, but it is not the complete art of taijiquan as established by it’s creators. Back in “the day”, taiji was an explosive and complex method of body development, energy transmission, and fighting technique as well as meditative practice.
For a look at more complete taijiquan, please watch this video of Dr. Yang Jwing-Ming. He provides a quick encapsulation of what taiji and external kung fu are, and at the 2:20 mark demonstrates an energetic and impactful taiji form:
As you can see, what Dr. Yang is able to do is quite a bit different than typical meditative taiji forms. His older, more complete understanding of the art begins to mix fighting technique with internal concepts.
Let’s switch gears now for a moment and look at Okinawa Kenpo, a form of karate with direct lineage from Okinawa. The founder of the style, Nakamura Shigeru, followed an interesting path throughout his karate career. He began his training while in middle school. At that time innovators like Itosu Anko and Higashionna Kanryo were just starting to bring karate out of obscurity and into mainstream Okinawan and Japanese culture. One of their objectives, inspired and supported by the Japanese government, was to integrate karate training into the Okinawan school systems. The goal was to create fitter youth with a better sense of duty, military preparedness, and Japanese organization.
Karate, as it had been done in prior generations, was not well suited for young children in large groups with limited training time. So Itosu and a handful of others set out to simplify, organize, and Japanize the process. What happened as a result was a stronger focus on linear striking, group forms, hard blocks, etc (the things we now recognize as modern karate).
After coming up through that system and gaining reputation as a skilled karateka, Nakamura decided to seek out more of his roots and learn about the classical karate that existed outside of the school system. One of his primary influences for this older style learning was a gentleman named Kuniyoshi Shinkichi, an Okinawan who had spent a significant amount of time in China learning about chuanfa and the Chinese ways. As a result, Nakamura’s karate became an interesting mix of school-era and pre-school-era karate. This dichotomy still exists in the style and is visible today when analyzing Okinawa Kenpo practitioners.
The Key to Historical Connection
When observing modern styles of karate and taijiquan it’s easy to see that the two have more differences than similarities. However, when digging deeply into the past of both styles you’ll find they come closer and closer together both in terms of execution and historical interaction. Karate’s history is speckled with Chinese influence, getting more Chinese the further back you go. While karate has always been less internal focused than taijiquan and execution of the two arts has never been identical, they do have more shared focus and technical execution than most people realize.
The Key to Technical Connection
This all begs the question: is it impossible to cross-train modern styles of karate with modern styles of taijiquan?
No. In fact, I know a number of individuals who have really benefited from experiencing the drastic difference between the two. Going from extremely hard to extremely soft (or vice-versa) can generate serious aha! moments that improve the practitioner greatly. However, large hard-soft gaps can also create confusion in both body and mind and can potentially degrade a person’s overall ability to perform when it counts. It’s a similar problem to having 100 decent self defense techniques vs 10 great ones. The body/mind/spirit never get a chance to transcend in any one particular way.
Is it possible to cross-train modern hard and soft? Yes. Is it time intensive with potential problems? Yes.
By focusing on the older methods of taijiquan and karate, a practitioner can put themselves ahead of the game by working off of connections built by generations of practitioners who shared the same goals – to create a functional system that is capable of learning from new resources while not degrading the core foundation of the art. In fact, some arts considered this pursuit of Hard+Soft central to their methodology (think Goju Ryu).
Odo Seikichi, inheritor of Okinawa Kenpo from Nakamura Shigeru, was a brilliant proponent of this method of martial development.
You wouldn’t confuse Odo Sensei’s performance for taijiquan, but you wouldn’t mistake it for a tournament karate kata either. There is a patient, energetic cadence to his movements.
Sometimes my ideas on this subject can seem counter-intuitive. I believe cross-training is extremely valuable and necessary for martial growth, while at the same time I don’t believe the foundation of a classical art should be compromised. It sounds impossible or impractical on the surface, but once a practitioner studies a core art for long enough they understand what makes it tick and can use outside arts to unlock new perspectives on the same foundational material. That’s why beginning cross-training too soon can be dangerous, while never exploring new ideas can be equally dangerous.
It’s a delicate balance that requires the utmost thought and respect. The trick is to continuously keep ego out of the equation. Resist the urge to believe that studying two or three arts has let you transcend your original art, because that mindset often means you didn’t understand your core art to begin with.
This is a continuation of the interview with Kimo Wall, Kyoshi. Wall Sensei is a senior Goju Ryu and Kingai Ryu practitioner, studying directly under some of the great masters of Okinawa while stationed on Okinawa as a marine. In part 1 Wall Sensei discussed his early training and experiences with Higa Seiko Sensei. In part 2 presented here Wall Sensei will discuss Matayoshi Sensei, bringing karate to Western cultures, and more.
MA: Could you discuss your relationship with Matayoshi Shinpo Sensei, the great White Crane and Kobudo luminary?
KW: Master Matayoshi was quite a unique Master. He was very sharp and disciplined, but he had a most pleasant and comical personality. When I was in the Marine Corps my duties usually required me to be on post at night, so I spent my days with him. Master Matayoshi taught me all the Kobudo that I know except Chizi-kun-bo (aka tekkos) and two training Bo kata that I developed. Plus, he taught me his Kingai Ryu kata that he learned from Gokenki.
Wall Sensei performing Chizi-kun-bo:
I spent many wonderful years with the Matayoshi family. For 10 years the family lived at Higa Sensei’s dojo in Yogi Machi. Then Matayoshi bought land on Sobe hill in Naha and built his beautiful dojo and home. When he moved, it was only a few miles from Yogi Machi, I went to both dojos to continue my training in Kobudo, usually training in the daytime. Like in the Marine Corps, most work I got in Okinawa was night work. When I became a civilian, Sensei helped me get jobs when I was on the island, like teaching English, unloading ships, working at Naha city market, etc.
Master Matayoshi and family visited me and my wife in California. Sensei came to the States several times and my students and I hosted him. Sensei and I took a round trip tour of all America and Puerto Rico from LAX back to LAX in my Plymouth Voyager van, except flying to PR.
Wall Sensei performing Matayoshi kata Hakutsuru no Mai:
In 1992 Sensei and I were invited to participate at the Butokukai in Kyoto, Japan, with demos from all of Japan’s top martial arts.
MA: What was the butokukai demonstration like in 1992? Did you demonstrate anything yourself?
KW: The Butokukai, in Kyoto, Japan, happens once a year. The top Martial Arts Masters of Japan and students get a chance to demonstrate in the Great Hall of the Butokukai. That year I was given the honor of demonstrating with Master Matayoshi. He did White Crane kata from Gokenki and I did Pichurin and Kama.
|Butokukai with Master Matayoshi, 1992||Wall & Matayoshi at Butokukai|
I’m sure you are familiar with Master Wally Jay, from Hawaii. He did his Small Circle jiujitsu and Sensei Patrick McCarthy, did Tonfa and Sai. I think we were the only foreigners there. It was a great honor for me. I will never forget how amazing Master Matayoshi’s Kingai Ryu kata was and how much he was respected by the whole group of demonstrators and the government officials.
MA: Where did Matayoshi Sensei collect his extensive kobudo and white crane repertoire?
KW: Master Matayoshi’s extensive repertoire of Okinawan Martial arts was taught to him by his father, Shinko. He learned Shorin Ryu Karate from his father. The Kingai Ryu was taught to him by Gokenki, a Chinese immigrant from Fuchou, Fukien, China. He learned Goju Ryu from Master Higa Seiko and Grand Master Miyagi Chojun.
MA: The Matayoshi Kingai Ryu has very well preserved elements of white crane. Was Matayoshi Shinko (father to Shinpo) the senior student of Gokenki? Also, did the Matayoshi White Crane System involve Kyusho vital point striking as well as seizing and gripping techniques?
KW: Yes, Matayoshi Kin Gai Ryu is a very powerful and complete system. Gokenki taught several people his system, especially Matayoshi Shinko. I know Shinko Sensei was a top student of Gokenki. Gokenki was a tea merchant from Fuchou and Shinko Sensei was a customer of his. In the beginning, Gokenki was a guest at the Matayoshi home. Eventually, Gokenki stayed in Okinawa, married and had a family. He has many family members there today.
Matayoshi Shinpo performing Kingai Ryu kata Hakkucho:
The vital point, Kyusho, was taught only after you reached a high level of proficiency. Not many people reached that point. But, it is very similar to what we are taught in Goju Ryu. Like Goju Ryu, it came from Fuchou and some things are the same.
MA: You mentioned eariler (in part 1) that Odo Seikichi Sensei was at the Sho Do Kan with Matayoshi Sensei on your first day there, and you got to know Odo Sensei more over time. Did you train directly with Odo Sensei at any point, and if so what was that training like?
KW: Yes, I met Odo Seikichi Sensei on my first trip to Sho Do Kan dojo. It was one week after I was on the Island. I was a Lance Corporal in the Marine Corps and was new on the Island. You had to stay on base in those days for one week taking indoctrination course about Okinawa.
I took a bus to Naha bus station. Almost nothing had been rebuilt. Homes, highways, big buildings, stores and banks were very quickly built after WWII. Kokusai Dori was mostly dirt road in those days. From the station I took a “sukoshi cab”. The driver knew exactly where the dojo was.
Right after my first meeting with Matayoshi and Odo Sensei I became a member of the dojo. Odo Sensei came once in a while to train the Sanchin and Tensho kata with the karate class. This was after 9 PM, when older men trained with Seiko Sensei. On the weekends Odo Sensei came to train Kobudo with Master Matayoshi and that is when we became friends. His dojo was on the way to my Marine base so I gave him a ride home many times.
I was a beginner in Kobudo at that time and Master Odo was a very high level student. He had even trained before the war with Master Matayoshi’s father, Shinko. I trained, usually in the day time, with Master Matayoshi, but on the weekends Odo Sensei came and he and I both studied together. His kata was higher than mine as he was a very advanced student. Often, he would get information from Master Matayoshi and train by himself. I always had the chance to watch his training. I was amazed at his skill and power. He could make the Bo quiver with power at the end of each technique. After a few years I was studying the Kama and he was studying it with me. He knew another Kama kata but this one was a new one for him, so we shared the time together. I could always remember, he was what I would aspire to be like.
Odo Sensei was a very confident martial artist. He had trained with Master Nakamura up in Nago for many years who was a very respected leader in Okinawa Kenpo. Until he passed away, every time I went to Okinawa, Mr. Nakasone from SHUREIDO would call Odo Sensei and he would come to Naha to meet me. Sometimes we went to Nakasone’s home or to eat soki soba at a restaurant. Mr Nakasone is another wonderful person who became very close to me. I will make this story a little quick.
Mr. Nakasone trained karate and at that time he had a sports store (this was around 1967). His store sold general sports equipment, baseball stuff mostly, but he had someone who could make gis. So I had one made through him. I suggested that he should concentrate on martial arts equipment. There was a growing amount of karate students, mostly GIs. Finally he did give up regular sports and did only martial arts equipment. A friend of mine, Toshio Tamano Sensei, made the first SHUREIDO emblem and I made the first ad, in English, for his store. If you have been to Naha, Okinawa, you must have gone to SHUREIDO. You will see what a great businessman he is.
MA: What were the early days like starting a program in the USA? Did people understand what you were trying to teach?
KW: In the States, at first, I only taught in the Marine Corps. I began teaching in Puerto Rico in 1965 while stationed at the Marine Barracks, San Juan, Puerto Rico. A lot of Marines and Sailors trained but I had a few civilians in the dojo and some are still training today. Then when I got out of the Marine Corps, 1970, I returned to the University of Puerto Rico to teach again. In 1965 I think true karate was very much unknown in PR, but from my dojo we developed a large group of very strong and talented followers.
MA: What was your primary objective in establishing Kodokan Goju Ryu?
KW: It was to help promote Okinawan Goju Ryu Karate and Kobudo outside of Okinawa. KODOKAN means “Home of the Ancient Ways”.
MA: What inspired you to investigate Thai style massage and physical therapy?
KW: In the Sho Do Kan dojo there was a teacher who taught acupuncture and herbology on Saturdays. I took advantage of this and studied until he passed away. Many teachers in the old days practiced some type of healing. It was the dojo responsibility to help anyone who might get injured in training. That inspired me to study more about ways to heal people in my dojo. I studied Thai Massage in Chiang Mai, Thailand and received a teaching diploma from The Traditional Medicine Hospital and The International Thai Massage Center. It is used in Thailand by Mauy Thai fighters at all boxing camps for healing and therapy. It is a proven and effective means of healing and conditioning. In Thailand it is known as THE FAMILY HEALTH SYSTEM.
MA: How has your training changed as you have gotten older? Are there any forms or training methods which you have come to prefer? Is there anything you did as a youth which you would warn others against?
KW: I am almost 70 so I don’t put as much time on rigorous training. Kata and meaning is important. Just grow old gracefully. Don’t smoke, don’t drink, have faith and believe in God.
Train hard train often. Always practice kata with Sanchin/Tensho. Replace fear and doubt with knowledge and understanding. Open mind, joyful training. Train everyday. Really LOVE what you are doing.
All our katas were developed by Grand Master Miyagi Chojun. Unfortunately, there was WWII that destroyed Okinawa and set it back several years. He passed away before he finished his development of Goju Ryu. Now, we who love Goju Ryu must find our way through the kata. I don’t think there is any ‘Superior Kata’. All have their importance and meaning. Grand Master Miyagi said, “The secrets of Goju Ryu are in the kata”. So, we must always study kata…even the simple kata. Gekisai Sho has a whole system within itself.
MA: Wall Sensei, thank you very much for giving us some insight into your training and personal history. We thank you for your continued efforts in preserving the old ways of karate and kobudo!
To learn more about Kimo Wall Sensei visit “Tales From the Western Generation”. This book contains extended interview content as well as extensive Q&A with other senior karateka.