Eskrima

Eskrima or Escrima refers to a class of Filipino Martial Arts that emphasize stick and sword fighting. The term and the art most probably originates from the Spanish word "esgrima" which is the term for fencing.

Other terms which have entered into common usage include "Kali" and "Arnis de Máno" ("harness of the hand"); occasionally the abbreviation "FMA" ("Filipino Martial Arts") is used. Eskrima and Arnis are among the many names primarily used in the Philippines today to refer to these arts. The name Kali, although primarily used in the United States and Europe, is seldom used in the Philippines and in most cases is an unknown word. But due to the popularity of the term outside of the Philippines and the influence of foreign practitioners, the term Kali is increasingly being recognized and accepted in the Philippines. Kalis, as used in the Philippines, refers to a sword. It is commonly mistaken as synonymous to or a derivative form of kali (note: suffixation of "s" is not used in Filipino languages or dialects to indicate plurality). However, for all intents and purposes, Eskrima, Arnis, Arnis de Mano, Kali and FMA all refer to the same family of Filipino weapons-based martial arts.

The teaching of the basic skills in FMA are traditionally simplified. With limited time to teach flashy and intricate techniques, only skills that were proven effective in battle and could easily be taught en masse were used. This allowed villagers, generally not professional soldiers, a measure of protection against other villages, as well as foreign invaders. This philosophy of simplicity is still used today and is the underlying base of the FMA. Because of this approach, the FMA are often mistakenly considered to be "simple" fighting arts. However, this refers only to its systematization, not effectiveness. To the contrary, beyond the basic skills lies a very complex structure and a refined skillset that takes years to master.

Many different systems of Eskrima exist and can trace their origins to a single tribe or region. Some of the most famous systems from and in the Philippines are Lightning Scientific Arnis International/Lema Scientific Kali-Arnis System (LSAI/LESKAS), Pekiti-Tirsia Kali, San Miguel Eskrima, Doce Pares, Balintawak, Modern Arnis, Kalis Illustrisimo/Bakbakan, while in the United States the Inayan System of Eskrima, Sayoc Kali, Cabales Serrada Eskrima, Lameco Eskrima and Dog Brothers Martial Art are popular.

Practitioners of these arts are noted for their ability to fight with weapons or empty hands interchangeably. Most Eskrima systems include fighting with a variety of weapons, striking with hands and feet (suntukan, sikaran, tadyakan/tadiyakan), grappling and throwing (dumog), biting and whatever skills needed to complete a warrior's training in the old days of tribal warfare. Perhaps the only major fields that have not been given as much emphasis as in the past in modern eskrima training today are skills needed for fighting effectively in groups and hilot - a Filipino system of first aid, healing, massage, and herbal medicine traditionally taught alongside eskrima but that has now virtually disappeared.

In most systems, skills with weapons and with empty hands (unarmed) are developed concurrently using training methods designed to emphasize their common elements. The most common variations used are single stick (solo bastón), double stick (double bastón) and sword/stick and dagger (espada y daga). Some systems are known to specialise in other weapons such as the whip and staff.

An eskrimador, kalista or mangangali (as some modern practitioners called themselves) is a practitioner of Eskrima, while Arnisador is also used for the variant name Arnis.

The term Eskrima is the Filipino spelling which comes from the Spanish word esgrima, "fencing". Arnis is thought to derive from the phrase arnes de mano, Spanish for "harness of hand". The origin of the name Kali is not certain, although some suggest it is related to the traditional weapon called a bolo knife, keris, kris or kalis where most farmers carry one. Another explanation is that the word is a portmanteau of the Cebuano words kamot, or kamay meaning hand or body, and lihok, meaning motion. This explanation may be a more recent innovation, retroactively fitting an acronym to the existing name. However, historically there was never a mother or parent art form known as Kali in the Philippines, including the Muslim populated Southern Mindanao. In his book "Modern Arnis," Remy Presas states that the art of Arnis or Eskrima may have had its roots in an Indonesian fencing style called tjakalele, from which the name Kali may also have sprung. This may also have influenced the different names of Eskrima, such as kalirongan, kaliradman, or pagkalikali in different regions of the Philippines.

It is also contended that the term Kali did not exist until the 1960s when two well known eskrimadors in the United States popularized the word to distinguish what they taught from the teachings of other eskrimadors. Unfortunately, many came to believe that Kali represented a parent art form of escrima and arnis, and eventually the name, Kali, took on a life of its own. Today, the term Kali, although seldom used and mostly in few areas in the Southern Philippines, is gaining more acceptance and popularity throughout the country thanks in due part to the influence of visiting foreigners who more commonly use this term to describe the art. Several theories claim that the difference in the name either implied the region from which the art originated, the time period when the art was developed or the primary weapon of training, although in reality these claims are groundless. One will find the terms Eskrima and Arnis used interchangeably in the Philippines regardless of region, time period or weapon emphasis.

Filipino Martial Arts have seen an increase in prominence due to several Hollywood movies and the teachings of modern masters such as Dan Inosanto, Atty. Jose Villasin ,Cacoy Canete, Elmer Ybanez, Tony Diego, Teofilo Velez, Richard Bustillo, Gialogo Brothers (Richard and Ryan Gialogo), Edgar Sulite, Leo Gaje, Armando P. Angeles, Leo Giron, Mike Inay, Ernesto Presas, Remy Presas, and Angel Cabales.

Rattan, an inexpensive wood from a type of palm in the Philippines, is the most common material for sticks and staves. Hard and durable, yet light weight, it can be fire hardened. It shreds under only the worst abuse and will not splinter like other woods do - thus making it a safe training tool. This aspect also makes it useful in defending against blades. Kamagong (Ironwood) is also sometimes used, but generally not for sparring, as it is dense enough to cause serious injury, although traditionally sparring does not include weapon to body contact; The participants are skilled enough to parry/counterstrike, showing respect in not intentionally hitting the training partner. Eskrima sticks are made in many sizes depending on the system and the respective ranges being trained. Common lengths range from 6" (15cm) to 96" (2.44m), with the most common ranging from 24" (61cm) to 36" (91cm). Eskrima sticks are a reflection of the artist, their system and methodology.

As with most martial arts, the history of Eskrima is surrounded by legends, making it difficult to pin down facts. This is especially true for Eskrima since a significant amount of its history is anecdotal , oral and promotional. Being a martial art for the common folk, some of its practitioners lacked the scholarly education to create a written history. This confusion is further complicated by the fact that there are actually many different fighting systems with different histories that are called Eskrima (or Arnis de Mano). One explanation for the origin of Eskrima systems is that they were originally the fighting systems possessed by every tribe in the Philippines and used by them to fight and defend against each other. Another explanation is that it evolved from Indian martial arts, as well as other Malay martial arts such as Tjakalele and Silat, brought to the Philippines by people who travelled through the Malay archipelago.

It is historically recorded, though, that when the Spanish conquistadors arrived, some tribes fought them, using native weapons and techniques. Ferdinand Magellan was killed in the Battle of Mactan in 1521 by forces of the Mactan tribal chief Lapu-Lapu when Magellan landed in Cebu - albeit by an arrow as claimed by the spanish side, not a sword or stick as many eskrimadors promote, yet this information is still unknown as many Spaniards and Portuguese exaggerated their stories to impress their Kings. From this point sources differ on the history of Eskrima. Certainly by the time the Spanish reached the Philippines, they were extremely challenged by how the natives had fought, when the natives of the Philippines only had simple weapons such as swords, spears and bow and arrows plus a shield to protect themselves. The experienced conquistadors were able to invade Maharlika (now Philippines). The degree to which this affected the practice of the native fighting arts is a matter of debate, but it seems likely that the Filipinos kept what worked and discarded what didn't. Eskrima had to be hidden from the Spaniards -- they practiced it in their dancing, and pretended they were practicing the Spanish style of fencing to avoid being caught. For this reason, Eskrima has some strong Spanish influences.

Many believe these Philippine fighting systems have strong historical roots from Indonesian martial arts that are Chinese influenced like Kun Tao. Kun Tao (literally the way of the fist) of course finds its roots from Ch'uan Fa (which is a generic word for what westerners would call kung fu, it also literally means way of the fist). Other systems that have similar movements to many Filipino systems also find their roots from Ch'uan Fa. There are even counts of lost Ch'uan and Tai Chi double stick forms that many of the fleeing renegade monks would have trained for in that period. These Chinese-based influences to the martial arts are not as powerful as the direct links to the cultural and political ties found in the Philippines even today. Many even believe the systems are totally intact in the way profound Chinese arts once were before events like the Cultural Revolution.

Others believe that since FMA is weapons-based, this suggests its roots and development are independent and autonomous of most foreign "fist" systems. In fact, it can be said that the inevitable similarities are due to the weaponry components of both Filipino, Indonesian and Chinese martial arts. Any exercises or similar hand movements to that of the Indonesian and Chinese arts were introduced only in recent years to augment the newer Eskrima groups - something which is less apparent in the more traditional and established authentic systems. Filipinos had their own empty hand systems, such as: sikaran (kicking art), Dumog (submission), and all the fist strikes come from weapon fighting techniques, because the Guru's (instructors) believe the hand can strike the same manner with or without a weapon.

Although the turbulent and conflict-wrought history and environment of the Philippines enabled the FMA to develop into an efficient, albeit violent art, this changed recently in the sense that some systematization allowed easier and quicker teaching of the basics. Except for a few older and established systems, before this change it was more common to pass the art from generation to generation in an informal approach. Regardless of teaching methodology, these arts are considered so effective and easy to learn with sufficient practice that the U.S. military teaches it to some varying degree in all of its branches, particularly U.S. groups like the Navy SEALs, Army Special Forces and Delta Force. Many special operations groups were stationed in the Philippines for some period of time during WWII - the period when these arts first became apparent to the America mainstream.

For the last century, the most important practice of Eskrima has been in dueling without any form of protection, which was common in the Philippines and among Filipinos elsewhere (Hawaii pre-annexation). The founders of most of the currently popular Eskrima systems were famous duelists; legends circulate about how many people so-and-so has killed. Certainly duels did happen and deaths did result. However, to reduce legal problems that arose from injury or death, most duels would later often be fought with hardwood sticks instead of blades. Public dueling has been all but eliminated from the Filipino society and is even deemed illegal in the Philippines today. However, one can still find regular gathering of masters in major parks in the Philippines where at a drop of a hat one will not hesitate to prove his point through an unprotected "friendly match". Local folk in the Philippines are much more likely to carry knives than guns, and much more likely to use them when tempers rise, than people in North America or Europe. As a result, knife-fighting (and to a lesser extent, fighting with machetes) is still very much a living skill in the Philippines, particularly in rural areas and especially in areas where insurgents are based.

Attempts to trace the lineage of a practitioner is often difficult. For example, Antonio Illustrisimo (duelist and grandmaster) seemed to have learned to fight while traveling around the Philippines (and the rest of the Pacific) as a sailor, while his nephew and student Floro Villabrille claimed to have been taught by a blind princess in the mountains - a claim later refuted by the older Illustrisimo. Both have since died.

Secrecy was also a large part of this art and teaching it outside of the Filipino community was considered taboo until the 1960s when Eskrima was first brought over to the U.S. by Grandmaster Angel Cabales(1st indication at least). Still instructors of stick fighting classes in the 1960s and 1970s were reprimanded by Filipino elders for publicly teaching what had been traditionally kept secret, a practice which preserved a language and a culture, preventing watering down of the art.

In recent years, there has been an increased interest in martial arts from cultures all over the world, including Eskrima, Capoeira, Savate, Muay Thai and others. Arguably one of the best arts for learning to use or defend against knives, Eskrima has appealed to people not necessarily interested in its cultural aspects. As a consequence, most Eskrima systems have been modified (in varying degrees) to make them more marketable to a worldwide audience. Usually this involves increased emphasis on locking, controls and disarms, as well as focusing on its "self-defense" aspects, along with some influence from Asian martial arts (sometimes in name only). The art of eskrima is actually a defense through offense-based art (the best defense becomes a good offense) rather than just a defense-based art, as it is often depicted. Modern training methods tend to de-emphasize careful footwork and low stances, with more emphasis on learning techniques as opposed to more direct and effective tactics designed to instantly end an encounter (which is generally believed to have lethal results and are, therefore, discouraged).

Eskrima has also begun to be practiced as a sport, although there is as yet little standardization or uniformity. The rules, with their corresponding effect on technique, have yet to be decided upon, although several tournaments have been held with various sets of rules. The oldest and most common set is the WEKAF (World Eskrima Kali Arnis Federation) rules that work on a 10 point must system where participants spar with a body protector and helmet. This format has sometimes been criticized because it emphasizes training in offensive techniques at the expense of defensive "preserving" techniques, giving rise to the impression that combatants are merely bashing at each other in a disorganized way, trying to get in more hits than one's opponent. This is, to some, an anti-thesis to traditional training methods, where training in footwork and arm/weapon movements are intricate and precise as to become like dance (one popular tradition is that eskrima survived during the centuries of Spanish colonial rule because techniques were learned in secret as dance steps). As a consequence, WEKAF tournaments may be seen as not promoting the original art.

There are efforts amongst the Eskrima society to cross train in other tournament competitions where there is noted differences of the rules applied to the contest. For example there are competitions using padded sticks and no body armor. Judges are required to confirm a legitimate target has been struck. The bladed concept using the padded stick and consideration by the judges to the effectiveness of the attack and or defense is often visually seen by the spectator. This is a stop and go point system style.

One other variation of tournament combat is seen with again padded sticks and minimal body armor protection but the competition is continuous similar to the WEKAF 10 point method. One major difference seen in this method is an awareness of the importance of defending oneself, even after scoring a point.

Since it is common to see Eskrima and Chinese martial arts such as Jeet Kune Do or Wing Chun practiced together, there is sometimes confusion between styles, systems and lineage. Some people will cross-train and do not give proper credit to the founding fathers or principles of their arts. Eskrima and Wing Chun cross-training dates back to Bruce Lee and Dan Inosanto. Kenpo cross-training dates back to Hawaii's territorial/pre-statehood days, and is rooted in the cross-training between Chinese and Filipino immigrants settling there. The proponents of such training say the arts are very similar in many aspects and complement each other well. It has also become marketable and fashionable to offer eskrima classes (some FMA proponents say that some of these are "stripped down" versions of real training methods) in other traditional Asian martial arts studios in America. FMA practitioners (usually Filipino eskrimadors) point to an observed tendency of other arts to borrow techniques from eskrima and calling it their own as proof of eskrima's increasing popularity and demand as a practical, effective yet beautiful martial art.

The most obvious feature of an Eskrima class is that it is mostly weapon-based. The student is first taught to work with weapons and only advances to empty-hand techniques once the stick techniques have been learned. Most other well known martial arts start by developing empty hands proficiency, often for years, before being introduced to the weapons component. This feature of Eskrima is justified by the argument that most systems have unified their teaching so that the empty-hand techniques are learned through the same exercises as the weapon techniques, making muscle memory an important aspect of the teaching. Since you may not have a weapon available, or might lose a weapon, the body becomes the weapon. Because the weapon is seen as simply an extension of the body, the same angles and footwork are used either with or without a weapon. This allows weapons to be taught before empty-hand, and by many FMA schools it is referred to as the concept of motion grouping.

The most common weapon used in training is a rattan stick about the length of the practitioner's arm, although the length may vary from about 45cm to 70cm. Some schools prefer sticks of a particular length, while others expect students to learn which techniques are appropriate for a variety of lengths. Most North American and European schools use hand and head protection when sparring with rattan sticks.

Other sticks used for training and for some duels are made of hardwood, such as bahi (heart of the palm), molave or kamagong (ebony), that is burned and hardened. They can also be made out of aluminum or other metals, or modern high-impact plastics. The sticks can also be padded for training purposes, though this practice is usually only used in schools in North America or Europe.

Many systems in fact begin training with two weapons, either a pair of sticks or a stick and a wooden knife (called espada y daga, Spanish for "sword and dagger"). This is sometimes justified by pointing out that warriors would not have gone into battle with an empty hand; another common explanation is that having two weapons forces the practitioner to use both hands, which is valuable even when working with one weapon: the extra hand is used to control the opponent's weapon and to strike when the range is sufficiently close. (Such uses are banned in modern sport fencing, so sport fencers generally hold the unused hand away from danger.) Historically, people all over the world, including Filipino warriors and Renaissance fencers, often trained with a long weapon in one hand and a short weapon in the other.

The stick techniques used in Eskrima fall into two categories: the stick techniques that are training for sword fighting, and the sword techniques that are training for stick fighting. As usual, most systems are designed so that the practitioner can adapt their training to either weapon. Other weapons traditionally included in Eskrima training include spears (bankow), staves (sibat), shields, whips and nunchaku.

Most systems recognize that the technical nature of combat changes drastically as the distance between opponents changes, and generally classify the ranges into at least three categories. Each range has its characteristic techniques and footwork. Of course, some systems place more emphasis on certain ranges than others, but almost all recognize that being able to work in and control any range is essential.

In order to control the range, and for numerous other purposes, good footwork is essential. Most Eskrima systems explain their footwork in terms of triangles: normally when moving in any direction two feet occupy two corners of the triangle and the step is to the third corner such that no leg crosses the other at any time. The shape and size of the triangle must of course be adapted to the particular situation. The style of footwork and the standing position vary greatly from school to school and from practitioner to practitioner. For a very traditional school, very conscious of battlefield necessities, stances will usually be very low, often with one knee on the ground, and footwork will be complex, involving many careful cross-steps to allow practitioners to cope with multiple opponents. The Villabrille and San Miguel systems are usually taught in this way. Systems that have been adapted to duels or sporting matches usually use simpler footwork, focusing on a single opponent. North American schools tend to use much more upright stances, as this is much easier for the legs. There are, of course, many exceptions.

Several classes of exercises, such as sumbrada, contrada, sinawali, hubud-lubud and sequidas initially presented to the public as a set of organized drills by the Inosanto system are expressly designed to allow partners to move quickly and experiment with variations while remaining safe. For example, in a sumbrada drill taken from the Villabrille system, one partner feeds an attack, which the other counters, flowing into a counterattack, which is then countered, flowing into a counterattack, and so on. The hubud-lubud (hubad-lubad is also accepted because, though hubad means "naked" in Tagalog, it means the same as hubud and actually used more often in many Cebuano-derived dialects in the southern portion of the country) taken from the Doce Pares system is frequently used as a type of "generator" drill, where one is forced to act and think while fists are already flying. Initially, students learn a specific series of attacks, counters, and counterattacks. As they advance, they can add minor variations, change the footwork, or switch to completely different attacks; eventually the exercise becomes almost completely free-form. Disarms, take-downs, and other techniques usually break the flow of such a drill, but they are usually practiced beginning from such a sequence of movements in order to force the student to adapt to a variety of situations. A common practice is to begin a drill with each student armed with two weapons; once the drill is flowing, if a student sees an opportunity to disarm their opponent, they will, but the drill will continue until both students are empty-handed. Some drills for practicing disarms use only a single weapon per pair, and the partners take turns taking it from each other. Seguidas drills taken from San Miguel system, are sets of hitting and movement patterns usually involving stick and dagger.

Rhythm, while an essential part of Eskrima drills, is given more emphasis in the United States and Europe where a regular beat serves a guide for students to follow. To ensure the safety of the participants, most drills are done at a constant pace, which is of course increased as the students progress. The rhythm, together with the added effect of a southern Philippine Muslim attire of a vest and sashed pants, is commonly mistaken to be some sort of tradition when practicing eskrima in the Philippines - perhaps either incorrectly derived and linked to other traditional Filipino rhythm based dances or an attempt to gain some authenticity and ethnicity. Eskrima is usually practiced in the Philippines without a rhythm, off-beat or out of rhythm. Although the art existed long before the Spanish influence, the art is "tagged" with the Spanish name for Fencing (Eskrima). Typically, practitioners in the Philippines use their everyday clothes. The more affluent and modernized city practitioners and foreigners practice using their studio uniform, gi or 3/4 length pants, however there is no officially established standardized "uniform".

Many Filipino systems focus on defending against and/or reacting to angles of attack rather than particular strikes. The theory behind this is that virtually all types of hand-to-hand attacks (barehanded or with a weapon) will hit or reach a combatant via these angles of attack and it is reasoned that it is more efficient to learn to defend against angles of attack rather than particular styles, particular techniques or particular weapons. For instance, the technique for defending against an attack angle that comes overhead from the right is very similar whether the attacker uses barefists, a knife, a sword or a spear.

Older Filipino systems gave each angle a name, but more recent systems tend to simply number them. Many systems have twelve standard angles, though some have as few as 5, and others as many as 72. Although the exact angles, the order in which they are numbered "Numerado" and the manner in which they're executed vary from system to system, most are based upon Filipino cosmology. These standard angles are used to describe exercises; to aid memorization, a standard series of strikes from these angles called an abecedario (Spanish for "alphabet") is often practiced.

Some angles of attack and some strikes have characteristic names.

• San Miguel is a forehand strike with the right hand, moving from the striker's right shoulder toward their left hip. It is named after Saint Michael or the Archangel Michael, who is often depicted holding a sword at this angle. This is the most natural strike for most untrained people. It is also referred to as a "#1," in 12 systems which employ 5, 12 or multiple angles.
• A redondo (Spanish for "round") is a strike that whips in a circle to return to its point of origin. Especially useful when using sticks (rather than swords), such a strike allows extremely fast strikes but needs constant practice.
• An abaniko (from the Spanish for "fan") is a strike executed by whipping the stick around the wrist in a fanning motion. Not very forceful and not well suited to swords, this strike can be very quick and arrive from an unexpected angle.
• Hakbang is a general term for footwork. For example, hakbang paiwas is pivoting footwork, while hakbang tatsulok is triangle stepping.
• Punyo is a strike delivered with the butt of the weapon, usually to a nerve point or other soft spot on the opponent, although not necessarily: in skilled hands, the punyo can be used to shatter bones.

Perhaps because of its recent history as an art of duelists, Eskrima techniques are generally based on the assumption that both the student and their opponent are very highly trained and well prepared. For this reason, Eskrima technique tends to favor extreme caution, always considering the possibility of a failed technique or an unexpected knife. On the other hand, the practitioner is assumed to be able to strike very precisely and quickly. The general principle is that an opponent's ability to attack should be destroyed (rather than trying to hurt them to convince them to stop). Thus many strikes are to the hands and arms, hoping to break the hand holding the weapon or cut the nerves or tendons controlling it. Strikes to the eyes and legs are also important.

Jeet Kune Do

Jeet Kune Do (lit. "Way of the Intercepting Fist"), also Jeet Kun Do or JKD, is a martial arts system and philosophy developed by martial artist and actor Bruce Lee.

In 2004, the Bruce Lee Foundation decided to use the name Jun Fan Jeet Kune Do to refer to the martial arts system that Lee founded. "Jun Fan" was Lee's Chinese given name, so the literal translation is "Bruce Lee's Way of the Intercepting Fist".

Jeet Kune Do (JKD) is the name Bruce Lee gave to his combat system and philosophy in 1967. Originally, when Lee began researching various fighting styles, he gave his martial art his own name of Jun Fan Gung Fu. However not wanting to create another style that would share the limitations that all styles have, he instead gave us the process that created it.

Bruce Lee said:
I have not invented a "new style," composite, modified or otherwise that is set within distinct form as apart from "this" method or "that" method. On the contrary, I hope to free my followers from clinging to styles, patterns, or molds. Remember that Jeet Kune Do is merely a name used, a mirror in which to see "ourselves". . . Jeet Kune Do is not an organized institution that one can be a member of. Either you understand or you don't, and that is that. There is no mystery about my style. My movements are simple, direct and non-classical. The extraordinary part of it lies in its simplicity. Every movement in Jeet Kune-Do is being so of itself. There is nothing artificial about it. I always believe that the easy way is the right way. Jeet Kune-Do is simply the direct expression of one's feelings with the minimum of movements and energy. The closer to the true way of Kung Fu, the less wastage of expression there is. Finally, a Jeet Kune Do man who says Jeet Kune Do is exclusively Jeet Kune Do is simply not with it. He is still hung up on his self-closing resistance, in this case anchored down to reactionary pattern, and naturally is still bound by another modified pattern and can move within its limits. He has not digested the simple fact that truth exists outside all molds; pattern and awareness is never exclusive. Again let me remind you Jeet Kune Do is just a name used, a boat to get one across, and once across it is to be discarded and not to be carried on one's back.

JKD as it survives today – if one wants to view it "refined" as a product, not a process – is what was left at the time of Bruce Lee's death. It is the result of the life-long martial arts development process Lee went through. Bruce Lee stated that his concept is not an "adding to" of more and more things on top of each other to form a system, but rather, a winnowing out. The metaphor Lee borrowed from Chan Buddhism was of constantly filling a cup with water, and then emptying it, used for describing Lee's philosophy of "casting off what is useless". He also used the sculptor's mentality of beginning with a lump of clay and hacking away at the "unessentials"; the end result was what he considered to be the bare combat essentials, or JKD.

The core concepts of JKD are derived from Wing Chun (such as center line control, vertical punching, trapping, and forward pressure). Through his research, Lee incorporated the fluidity of European boxing and fencing stances. Lee stated that they allowed him to "flow" rather than being stuck in stances. For instance, instead of using footwork to position the body for maximum fighting position versus the opponent, Bruce Lee used flowing "entries" that do not require "bridges" from Wing Chun. Bruce Lee wanted to create a martial art that was unbounded and free. Later during the development of Jeet Kune Do, he would expand that notion and include the art for personal development, not just to become a better fighter. To illustrate Lee's views, in a 1971 Black Belt Magazine article, Lee said "Let it be understood once and for all that I have NOT invented a new style, composite or modification. I have in no way set Jeet Kune Do within a distinct form governed by laws that distinguish it from 'this' style or 'that' method. On the contrary, I hope to free my comrades from bondage to styles, patterns and doctrines."
One of the theories of JKD is that a fighter should do whatever is necessary to defend himself, regardless of where the techniques come from. One of Lee's goals in Jeet Kune Do was to break down what he claimed were limiting factors in the training of the traditional styles, and seek a fighting thesis which he believed could only be found within the reality of a fight. Jeet Kune Do is currently seen as the genesis of the modern state of hybrid martial arts.

Jeet Kune Do not only advocates the combination of aspects of different styles, it also can change many of those aspects that it adopts to suit the abilities of the practitioner. Additionally, JKD advocates that any practitioner be allowed to interpret techniques for themselves, and change them for their own purposes. For example, Lee almost always chose to put his power hand in the "lead," with his weaker hand back, within this stance he used elements of Boxing, Fencing and Wing Chun. Just like fencing, he labeled this position the "On Guard" position. Lee incorporated this position into his JKD as he felt it provided the best overall mobility. Lee felt that the dominant or strongest hand should be in the lead because it would perform a greater percentage of the work. Lee minimized the use of other stances except when circumstances warranted such actions. Although the On-Guard position is a good overall stance, it is by no means the only one. Lee acknowledged that there were times when other positions should be utilized.

Lee felt the dynamic property of JKD was what enabled its practitioners to adapt to the constant changes and fluctuations of live combat. Lee believed that these decisions should be done within the context of "real combat" and/or "all out sparring". He believed that it was only in this environment that a person could actually deem a technique worthy of adoption.
Bruce Lee did not stress the memorization of solo training forms or "Kata", as most traditional styles do in their beginning-level training. Lee often compared doing forms without an opponent to attempting to learn to swim on dry land. Lee believed that real combat was alive and dynamic. Circumstances in a fight change from millisecond to millisecond, and thus pre-arranged patterns and techniques are not adequate in dealing with such a changing situation. As an anecdote to this thinking, Lee once wrote an epitaph which read: 'In memory of a once fluid man, crammed and distorted by the classical mess.' The "classical mess" in this instance was what Lee thought of classical martial arts.

Bruce Lee's comments and methods were seen as controversial by many in his time, and still are today. Many teachers from traditional schools disagreed with his opinions on these issues.
The notion of cross-training in Jeet Kune Do is similar to the practice of Mixed Martial Arts (MMA) in modern times -- Bruce Lee has been considered by UFC president Dana White as the "father of mixed martial arts". Many consider Jeet Kune Do to be the precursor of MMA because of its synteric nature. This is particularly the case with respect to the JKD "Combat Ranges". A JKD student is expected to learn various combat systems within each combat range, and thus to be effective in all of them, just as in MMA.

The following are principles that Lee incorporated into Jeet Kune Do. He felt these were universal combat truths that were self evident and would lead to combat success if followed. The "4 Combat Ranges" in particular are what he felt were instrumental in becoming a "total" martial artist. This is also the principle most related to mixed martial arts.

JKD practitioners also subscribe to the notion that the best defense is a strong offense, hence the principle of "Intercepting". Lee believed that in order for an opponent to attack someone they had to move towards them. This provided an opportunity to "intercept" that attack or movement. The principle of interception covers more than just intercepting physical attacks. Lee believed that many non-verbals and telegraphs (subtle movements that an opponent is unaware of) could be perceived or "intercepted" and thus be used to one's advantage. The "5 Ways of Attack" are attacking categories that help Jeet Kune Do practitioners organize their fighting repertoire and comprise the offensive portion of JKD. The concepts of Stop hits & stop kicks and simultaneous parrying & punching were borrowed from European Fencing and Wing Chun's theory of simultaneous defending and attacking, and comprise the defensive portion of JKD. These concepts were modified for unarmed combat and implemented into the JKD framework by Lee. These concepts also complement the other principle of interception.

Be like water

Lee believed that martial systems should be as flexible as possible. He often used water as an analogy for describing why flexibility is a desired trait in martial arts. Water is infinitely flexible. It can be seen through, and yet at other times it can obscure things from sight. It can split and go around things, rejoining on the other side, or it can crash through things. It can erode the hardest rocks by gently lapping away at them or it can flow past the tiniest pebble. Lee believed that a martial system should have these attributes. JKD students reject traditional systems of training, fighting styles and the Confucian pedagogy used in traditional kung fu schools because of this lack of flexibility. JKD is claimed to be a dynamic concept that is forever changing, thus being extremely flexible. "Absorb what is useful; Disregard that which is useless" is an often quoted Bruce Lee maxim. JKD students are encouraged to study every form of combat possible. This is believed to expand one's knowledge of other fighting systems; to both add to one's arsenal as well as to know how to defend against such tactics.

Economy of motion

JKD students are told to waste no time or movement. When it comes to combat JKD practitioners believe the simplest things work best. Economy of motion is the principle by which JKD practitioners achieve "efficiency" describe in the three parts of JKD. Utilizing this principle conserves both energy and time. Energy and time are two crucial components in a physical confrontation that often leads to success if employed efficiently. In combat situations maximizing one's energy is beneficial in maintaining physical activity. Likewise minimizing the time to execute techniques because of traveling less distance is beneficial in that the opponent has less time to react.

• Stop hits & stop kicks

This means intercepting an opponent's attack with an attack of your own instead of a simple block. JKD practitioners believe that this is the most difficult defensive skill to develop. This strategy is a feature of some traditional Chinese martial arts, as well as an essential component of European épée fencing (known in fencing terminology as the "counter-attack"). Stop hits & kicks utilizes the principle of economy of motion by combining attack and defense into one movement thus minimizing the "time" element.

• Simultaneous parrying & punching

When confronting an incoming attack, the attack is parried or deflected and a counter attack is delivered at the same time. Not as advanced as a stop hit but more effective than blocking and counter attacking in sequence. This is also practiced by some Chinese martial arts. Simultaneous parrying & punching utilizes the principle of economy of motion by combining attack and defense into two movements thus minimizing the "time" element and maximizing the "energy" element. Efficiency is gained by utilizing a parry rather than a block. By definition a "block" stops an attack whereas a parry merely re-directs an attack. Redirection has two advantages: It requires less energy to execute. It utilizes the opponents energy against them by creating an imbalance. Efficiency is also gained in that the opponent has less time to react to the nullification of their attack while having to worry about defending an incoming attack.

• No high kicks

JKD practitioners believe they should target their kicks to their opponent's shins, knees, thighs, and mid section. These targets are the closest to the foot, provide more stability and are more difficult to defend against. However, as with all other JKD principles nothing is "written in stone". If a target of opportunity presents itself, even a target above the waist, one could take advantage of the situation without feeling hampered by this principle. Maintaining low kicks utilizes the principle of economy of motion by reducing the distance a kick must travel thus minimizing the "time" element. Low kicks are also more difficult to detect and thus guard against.

Learn the 4 ranges of combat

Kicking
Punching
Trapping
Grappling

Jeet Kune Do students train in each of these ranges equally. According to Lee, this range of training serves to differentiate JKD from other martial arts. Lee stated that most but not all traditional martial systems specialize in training at one or two ranges. Bruce Lee's theories have been especially influential and substantiated in the field of Mixed Martial Arts, as the MMA Phases of Combat are essentially the same concept as the JKD combat ranges. As a historical note, the ranges in JKD have evolved over time. Initially the ranges were categorized as short or close, medium, and long range. These terms proved ambiguous and eventually evolved into their more descriptive forms although there may still be others who prefer the three categories.

Five Ways Of Attack

• Single Angular Attack (SAA) and its converse Single Direct Attack (SDA).
• Hand Immobilization Attack (HIA) and its counterpart Foot Immobilization Attack, which make use of trapping to limit the opponent's function with that appendage.
• Progressive Indirect Attack (PIA). Attacking one part of the opponent's body followed by attacking another part as a means of creating an opening.
• Attack By Combinations (ABC). This is using multiple rapid attacks, with volume of attack as a means of overcoming the opponent.
• Attack By Drawing (ABD). This is creating an opening with positioning as a means of counter attacking.

Three Parts of JKD

JKD practitioners believe that techniques should contain the following properties:

• Efficiency - An attack that reaches its mark.
• Directness - Doing what comes naturally in a learned way.
• Simplicity - Thinking in an uncomplicated manner; without ornamentation.
  
  Centerline

The centerline refers to an imaginary line running down the center of one's body. The theory is to exploit, control and dominate your opponent's centerline. All attacks, defenses and footwork are designed to preserve your own centerline and open your opponent's. Lee incorporated this theory into JKD from Wing Chun. This notion is closely related to maintaining control of the center squares in the strategic game chess.

The three guidelines for centerline are:

• The one who controls the centerline will control the fight.
• Protect and maintain your own centerline while you control and exploit your opponent's.
• Control the centerline by occupying it.

Combat Realism

One of the premises that Bruce Lee incorporated in Jeet Kune Do was "combat realism". He insisted that martial arts techniques should be incorporated based upon its effectiveness in real combat situations. This would differentiate JKD from other systems where there was an emphasis on "flowery technique" as Lee would put it. Lee claimed that flashy "flowery techniques" would arguably "look good" but were oftentimes not practical or prove ineffective in street survival and self-defense situations. This premise would also differentiate JKD from other "sport" oriented martial arts systems that were geared towards "tournament" or "point systems". Lee felt that these systems were "artificial" and fooled its practitioners into a false sense of true martial skill. Lee felt that because these systems favored a "sports" approach they incorporated too many rule sets that would ultimately handicap a practitioner in self defense situations. He also felt that this approach to martial arts became a "game of tag" which would lead to bad habits such as pulling punches and other attacks; this would again lead to disastrous consequences in real world situations. Because of this perspective Lee utilized safety gear from various other contact sports to allow him to spar with opponents "full out". This approach to training allowed practitioners to come as close as possible to real combat situations with a high degree of safety. Lee objected to these "sport" versions of martial arts because of this emphasis on combat realism.

Absorbing What Is Useful

This is perhaps the least understood and most confusing principle in Jeet Kune Do. This principle does not mean choosing, collecting, compiling, or assembling the best techniques from various diverse styles and slapping them together to form a new style. To do so is to miss the point of Jeet Kune Do. Absorbing what is useful is about immersing oneself in style or system and learning and grasping its essence. It is only through a holistic approach that one learns techniques in their proper context. Styles provide more than just mere techniques; they offer training methods, theories, and mental attitudes to name a few. Learning all of these factors allows a student to experience a system (in what Lee would call) its "totality". It is only through its totality that one can "absorb what is useful". Applying what is learned in real combat training situations is what allows the student to figure what works or doesn't work for oneself. It is at this point that one can "discard that which is useless". The critical point of this principle is that the choice of what to keep is based on personal experimentation with various opponents over time. It is not based on how a technique may look or feel or how well one can execute it. In the final analysis if the technique is not beneficial in combat it is discarded. Lee believed that only the individual could come to understand what worked for oneself based on critical self analysis and by "honestly expressing oneself; without lying to oneself".

Although Bruce Lee officially closed his martial arts schools two years before his death, he allowed his curriculum to be taught privately. Since his death, Jeet Kune Do is argued to have split into different groups. Allegedly they are:

• The Original (or Jun Fan) JKD branch, whose proponents include Taky Kimura, James Lee, Jerry Poteet, and Ted Wong; these groups claim to teach what was believed to be only what was taught by Bruce Lee, and encourage the student to further develop his or her abilities through those teachings. The inherent training principles of this branch are shaped by the static concept of what was "originally taught", just as the training systems of "traditional" martial arts have been taught for centuries and become recognizable as "styles", except it is referred to as a philosophy of "style without style".
• The JKD Concepts branch, whose proponents include Dan Inosanto, Richard Bustillo, Larry Hartsell; these groups strive to continue the philosophy of individual self-expression through re-interpretation of combat systems through the lens of Jeet Kune Do, under the concept that it was never meant to be a static art but rather an ongoing evolution, and have incorporated elements from many other martial arts into the main fold of its teachings (most notably, grappling and Kali / Escrima material) based on the individual's personal preferences and physical attributes. The entire JKD "system" can be described through a simple diagram, and the concepts can then be applied to a variety of contexts in a "universal" way.

To understand the branches of JKD it is important to understand the difference between the two "types" or viewpoints of Jeet Kune Do:

• JKD framework This type of JKD provides the guiding principles. Bruce Lee experimented with many styles and techniques to reach these conclusions. To Lee these principles were truisms. The JKD framework is not bound or confined by any styles or systems. This type of JKD is a process.
• JKD Personal Systems This type of JKD utilizes the JKD framework along with any techniques from any other style or system to construct a "personal system". This approach utilizes a "building blocks" manner in which to construct a personalized system that is especially tailored to an individual. Lee believed that only an individual could determine for themselves what the usefulness of any technique should be. This type of JKD is thus a product.

Lee believed that this freedom of adoption was a distinguishing property from traditional martial arts.

There are many who confuse the JKD Framework with a JKD Personal System (IE. Bruce Lee's personal JKD) thinking them to be one and the same. The system that Bruce Lee personally expressed was his own personal JKD; tailored for himself. Before he could do this, however, he needed to first develop the "JKD Framework" process. Many of the systems that Bruce Lee studied were not to develop his "Personal JKD" but rather was used to gather the "principles" for incorporation in the JKD Framework approach. The uniqueness of JKD to Lee is that it was a "process" not a "product" and thus not a "style" but a system, concept, or approach. Traditional martial arts styles are essentially a product that is given to a student with little provision for change. These traditional styles are usually fixed and not tailored for individuals. Bruce Lee claimed there were inherent problems with this approach and established a "Process" based system rather than a fixed style which a student could then utilize to make a "tailored" or "Personal" product of their own. To use an analogy; traditional martial arts give students fish to eat (a product). Lee believed that a martial art should just teach the student to fish (a process) and gain the food directly.

The two branches of JKD differ in what should be incorporated or offered within the "JKD Framework". The Original (or Jun Fan) JKD branch believes that the original principles before Bruce Lee died are all that is needed for the construction of personalized systems. The JKD Concepts branch believe that there are further principles that can be added to construct personalized systems. The value of each Branch can be determined by individual practitioners based on whatever merits they deem important.

Original JKD is further divided into two points of view. OJKD and JFJKD both hold Wing Chun, Western Boxing and Fencing as the cornerstones on Bruce's JKD.

• OJKD follows all Bruce's training from early Jun Fan Gung Fu (Seattle period) and focuses on trapping with Wing Chun influence.
• Jun Fan Jeet Kune Do is a signature version of JKD as Bruce taught privately to Ted Wong. This is a later time period and practices a greater emphasis on elusiveness and simplified trapping unique to Bruce's later approach to combat. The focus is with Fencing and Western Boxing.

Bruce Lee studied the martial arts style of Wing Chun and was a student of Yip Man in Hong Kong. Later, he learned other arts as well as the sports of western boxing and European fencing. The term Jeet Kune Do occurred in 1968 while Dan Inosanto and Bruce Lee were driving around in his car. The conversation involved European fencing and Lee commented that; "the most efficient means of countering in fencing was the stop-hit...When the opponent attacks, you intercept his move with a thrust or hit of your own.." Lee then said "We should call our method the 'stop-hitting fist style;, or the 'intercepting fist style". Dan Inosanto then said; "What would that be in Chinese?" in which Lee replied "That would be Jeet Kune Do".

Greco Roman Wrestling

Greco-Roman wrestling is a style of amateur wrestling that is practiced throughout the world. Along with freestyle, it is one of the two styles of wrestling contested in the Olympic games.
Colloquially referred to simply as Greco, this style of wrestling forbids attacks below the waist. As a result, throws are encouraged as the Greco-Roman wrestler cannot avoid being thrown by simply hooking or grabbing his opponent's leg. Otherwise, the sport is similar to freestyle.
Arm drags, bearhugs, and headlocks found in freestyle have greater prominence in Greco-Roman. Throws especially known as a suplex are used, in which the offensive wrestler lifts his opponent in a high arch while falling backward on his own neck to a bridge in order to bring his opponent's shoulders down to the mat. Even on the mat, a Greco-Roman wrestler must still find several ways to turn his opponent's shoulders to the mat for a fall without legs, including (but not limited to) techniques known as the bodylock and the gut-wrench.

According to the International Federation of Associated Wrestling Styles (FILA), Greco-Roman wrestling is one of the four main forms of amateur competitive wrestling practiced internationally today. The other three forms are freestyle wrestling, grappling (also called submission wrestling), and sambo.

Greco-Roman wrestling actually derived from a 19th century French form of show-wrestling popular for its high throws. It is speculated that many styles of European folk wrestling may have spurred the origins of Greco-Roman wrestling. The British wrestling styles that originated in Cumberland and Westmoreland have some holds that are not allowed in Greco-Roman, but restricted arm holds to the upper torso, and was quite similar to Greco-Roman. The styles of Devon and Cornwall also had the wrestlers using their holds above waist level. According to FILA, a Napoleonic soldier named Exbroyat first developed the style. Exbroyat performed in fairs and called his style of wrestling "flat hand wrestling" to distinguish it from other forms of hand-to-hand combat that allowed striking. In 1848, Exbroyat established the rule that no holds below the waist were to be allowed; neither were painful holds or torsions that would hurt the opponent. "Flat hand wrestling" or "French wrestling" (as the style became known) developed all throughout Europe and became a popular sport. The Italian wrestler Basilio Bartoletti first coined the term "Greco-Roman" for the sport to underline the interest in "ancient values." Many others in the 18th and 19th centuries sought to add value to their contemporary athletic practices by finding some connections with ancient counterparts. So, it was widely believed soon enough that Greco-Roman wrestling emerged from a Greek wrestling competition known as "upright wrestling" in which only upper body holds were allowed. The 18th century work Gymnastics for Youth by Johann Friedrich Guts Muths described a form of schoolboy wrestling called "orthopale" (used by Plato to describe the standing part of wrestling) that did not mention any lower-body holds. This was quite different frome ancient Greek wrestling.

The British never really enjoyed Greco-Roman wrestling in comparison to its more unrestrictive counterpart, freestyle, but on the continent, the style was highly promoted. Almost all the continental European capital cities hosted international Greco-Roman tournaments in the 19th century, with much prize money given to the place winners. For example, the Czar of Russia paid 500 francs for wrestlers to train and compete in his tournament, with 5,000 francs awarded as a prize to the tournament winner. Greco-Roman wrestling soon became prestigious in continental Europe and was the first style registered at the modern Olympic games, beginning in Athens in 1896 with one heavyweight bout, and grew in popularity during the 20th century. It has always been featured in the Olympic games, except during the Paris Olympic Games in 1900 and the St. Louis Olympic Games of 1904, when freestyle first emerged as an Olympic sport.

Greco-Roman wrestling never really caught on in the English-speaking world, despite its connection in style to many British styles of folk wrestling and the efforts of William Muldoon (a successful New York barroom freestyle wrestler who served in the Franco-Prussian War and learned the style in France) to promote it in the United States after the Civil War. Muldoon's matches in particular drew large crowds but failed to gain a foothold among Americans. Instead, freestyle became the wrestling of choice in Great Britain and the United States, where it later influenced the development of collegiate wrestling. Perhaps, the most well-known of Greco-Roman wrestlers in the nineteenth century was Georg Hackenschmidt born in Estonia and nicknamed "The Russian Lion." Hackenschmidt in 1898 at the age of 21 and with 15 months of training defeated the experienced Paul Pons in a match in St. Petersburg, Russia. In 1900, he won professional tournaments in Moscow and St. Petersburg and a series of international tournaments after that. After defeating Tom Jenkins (from the United States) in both freestyle and Greco-Roman matches in England, Georg Hackenschmidt wrestled exclusively freestyle in order to compete better against English, Australian, and American opponents. Winning more than 2,000 victories in Greco-Roman and freestyle, Hackenschmidt served as the physical education adviser to the House of Lords after his retirement.

Professional matches in Greco-Roman wrestling were known for their great brutality. Body slams, choke-holds, and head-butting was allowed, and even caustic substances were used to weaken the opponent. By the end of the nineteenth century, gouging with the nails, punching, and violently slamming the arms together around the opponent's stomach were forbidden. Greco-Roman matches were also famous for their length. Professionally, it was not uncommon for there to be matches lasting two or three hours. William Muldoon's bout with Clarence Whistler at the Terrace Garden Theater in New York lasted eight hours before ending in a draw. Even in the 1912 Olympics, a match between Anders Ahlgren of Sweden and Ivar Boehling of Finland lasted for nine hours before a draw was called and both wrestlers awarded the silver medal. The International Amateur Wrestling Federation (IAWF) took over the regulation of Greco-Roman wrestling in 1921. Since then matches have been dramatically cut short, and today all movements that put the life or limb of the wrestler in jeopardy are forbidden.

In terms of Olympic competition, countries of the former Soviet Union, Bulgaria, Romania, Japan, Sweden, and Finland have had great success. Carl Westergren of Sweden won three Greco-Roman gold medals in 1920, 1924, and 1932, and was the first Greco-Roman wrestler to do so. Alexander Karelin did the same in 1988, 1992, and 1996. Ivar Johansson of Sweden won gold medals in Greco-Roman in 1932 and 1936 and also a gold medal in freestyle in 1932. The United States Olympic delegation (exclusively wrestling freestyle before) first entered Greco-Roman wrestling in 1952 and has taken three gold medals, won by Steve Fraser and Jeffrey Blatnick in the 1984 Los Angeles Olympic Games, and by Rulon Gardner at the 2000 Olympic Games in Sydney, Australia.

Sambo

Sambo is a modern martial art, combat sport and self-defense system developed in the Soviet Union and recognized as an official sport by the USSR All-Union Sports Committee in 1938, presented by Anatoly Kharlampiev.

The word Sambo is an acronym meaning "self-defense without weapons" in Russian. Sambo has its roots in Chinese Shuaijiao, Japanese judo and traditional folk styles of wrestling such as Armenian Koch, Georgian Chidaoba, Moldovan Trîntǎ, Uzbek Kurash, Mongolian Khapsagay and Azerbaijani Gulesh.

The founders of Sambo were Vasili Oshchepkov (who died during the political purges of 1937 for refusing to deny his education in judo under its founder Kano Jigoro) and Viktor Spiridonov. They independently developed two different styles, both with the same name. Spiridonov's style was a soft, aikido-like system developed after he was maimed during World War I. Anatoly Kharlampiev, a student of Victor Spiridonov, is often officially recognized as the founder of Sport Sambo.

Although it was originally a single system, there are now five generally recognized styles of Sambo:

• Sport Sambo is stylistically similar to amateur wrestling or judo. The competition is similar to judo, but with some differences in rules, protocol, and uniform. For example, in contrast with judo, Sambo allows all types of leg locks, while not allowing chokeholds and focuses on throwing, ground work and submissions.
• Self-defense Sambo, which is similar to aikijutsu, jujutsu or aikido and is based on self-defense application, such as defending against attacks by both armed and unarmed attackers. Many practitioners consider Self-Defense Sambo as part of Combat Sambo and not a system unto itself.
• Combat Sambo - Utilized and developed for the military, Combat Sambo includes practice with weapons, including disarming techniques. Competition in Combat Sambo resembles older forms of judo and modern mixed martial arts, including extensive forms of striking and grappling. The first FIAS World Sambo Championships were held in 2001.
• Special Sambo - developed for Army Special Forces and Rapid Reaction Police (Militsija) teams and other law enforcement formations. The Special Sambo style differs from team to team due to different tasks and aims; however, the base of any special system developed in that field is of course Sambo. The term "Special Sambo" is a relatively new term which refers to specialized versions of combat Sambo.
• Freestyle Sambo - uniquely American set of competitive Sambo rules created by the American Sambo Association (ASA) in 2004. These rules differ from traditional Sport Sambo in that they allow choke holds and other submissions from Combat Sambo that are not permitted in Sport Sambo. Freestyle Sambo, like all Sambo, focuses on throwing skills and fast ground work. No strikes are permitted in Freestyle Sambo. The ASA created this rule set in order to encourage non-Sambo practitioners from judo and jujitsu to participate in Sambo events.

The founders of Sambo deliberately sifted through all of the world's martial arts available to them to augment their military's hand-to-hand combat system. One of these men, Vasili Oschepkov, taught judo and karate to elite Red Army forces at the Central Red Army House. He had earned his nidan (second degree black belt out of then five) from judo's founder, Kano Jigoro, and he was one of the first foreigners who learned Judo in Japan and he used some of Kano's philosophy in formulating the early development of the new Soviet art.

Sambo was in part born of native Russian and other regional styles of grappling and combative wrestling, bolstered with the most useful and adaptable concepts and techniques from the rest of the world.

As the buffer between Europe and Asia, Russia had more than ample opportunity to evaluate the martial skills of various invaders. Earlier Russians had experienced threats from the Vikings in the West and the Tatars and Genghis Khan's Golden Horde from Mongolia in the East. The regional, native combat systems included in Sambo's genesis are Tuvan Khuresh, Yakuts khapsagai, Chuvash akatuy, Georgian chidaoba, Moldavian trinta, Armenian kokh, and Uzbek Kurash to name a few.

The foreign influences included various styles of European wrestling, Japanese jujutsu, French Savate and other martial arts of the day plus the classical Olympic sports of amateur boxing and Greco-Roman and freestyle wrestling. Sambo even derived lunging and parrying techniques from the Italian school of swordsmanship.

Sambo's early development stemmed from the independent efforts of Oschepkov and another Russian, Victor Spiridonov, to integrate the techniques of judo into native wrestling styles. Spiridonov's background involved indigenous styles of Russian martial art. His "soft-style" was based on the fact that he received a bayonet wound during the Russo-Japanese War which left his left arm lame. Both Oschepkov and Spiridonov hoped that the Russian styles could be improved by an infusion of the techniques distilled from jujutsu by Kano Jigoro into his new style of jacket wrestling. Contrary to common lore, Oschepkov and Spiridonov did not cooperate on the development of their hand-to-hand systems. Rather, their independent notions of hand-to-hand combat merged through cross-training between students and formulative efforts by their students and military staff. While Oschepkov and Spiridonov did have occasion to collaborate, their efforts were not completely united.

Each technique was carefully dissected and considered for its merits, and if found acceptable in unarmed combat, refined to reach Sambo's ultimate goal: to stop an armed or unarmed adversary in the least time possible. Thus, the best techniques of jujutsu and its cousin, judo, entered the Sambo repertoire. When the techniques were perfected, they were woven into Sambo applications for personal self-defense, police, crowd control, border guards, secret police, dignitary protection, psychiatric hospital staff, military, and commandos.

In 1918, Lenin created Vseobuch (or General Military Training) under the leadership of N.I. Podovoyskiy to train the Red Army. The task of developing and organizing Russian military hand-to-hand combat training fell to K. Voroshilov, who in turn, created the NKVD physical training center Dinamo.

Spiridonov was a combat veteran of World War I and one of the first wrestling and self-defense instructors hired for Dinamo. His background included Greco-Roman wrestling, freestyle wrestling, many Slavic wrestling styles, and Japanese jujutsu. As a combatives investigator for Dinamo, he traveled to Mongolia and China to observe their native fighting styles.

In 1923, Oschepkov and Spiridinov collaborated (independently) with a team of other experts on a grant from the Soviet government to improve the Red Army's hand-to-hand combat system. Spiridonov had envisioned integrating all of the world's fighting systems into one comprehensive style that could adapt to any threat. Oschepkov had observed Kano's distillation of Tenjin Shin’yo Ryu jujutsu and Kito Ryu jujutsu into judo, and he had developed the insight required to evaluate and integrate combative techniques into a new system. Their development team was supplemented by Anatoly Kharlampiev and I.V. Vasiliev who also traveled the globe to study the native fighting arts of the world. Ten years in the making, their catalogue of techniques was instrumental in formulating the early framework of the art to be eventually referred to as Sambo. Here, Oschepkov and Spiridonov's improvements in Russian wrestling slipped into the military's hand-to-hand-combat system.

Kharlampiev is often called the father of Sambo. This may be largely semantics, since only he had the longevity and political connections to remain with the art while the new system was named "Sambo". However, Kharlampiev's political maneuvering is single-handedly responsible for the USSR Committee of Sport accepting Sambo as the official combat sport of the Soviet Union in 1938—decidedly the "birth" of Sambo. So, more accurately, Kharlampiev could be considered the father of "sport" Sambo.

Spiridonov was the first to actually begin referring to the new system as one of the "S" variations cited above. He eventually developed a softer, more aikido-like system called Samoz that could be used by smaller, weaker practitioners or even wounded soldiers and secret agents. Spiridonov's inspiration to develop Samoz stemmed from his injury that he suffered that greatly restricted his ability to practice Sambo or wrestling. Refined versions of Sambo are still used today or fused with specific Sambo applications to meet the needs of Russian commandos today.

Krav Maga

Krav Maga (Lit. contact combat) is a military hand-to-hand combat system developed in Israel, which assumes no quarter will be given, and emphasizes threat neutralization. Krav Maga originated in Czechoslovakia in the 1930s. The primary founder, Imi Lichtenfeld, moved to the British Palestinean Mandate, now known as Israel, when circumstances for Jews in Europe took a turn for the worse. From Israel, Krav Maga spread to the rest of the world. There have since been splits and there are now several organisations teaching variations of Krav Maga. It came to prominence following its adoption by various Israeli Security Forces.

In Krav Maga, there are no hard-and-fast rules, and no distinction in training for men and women. It is not a sport, and there are no specific uniforms, attire or competitions, although some organizations recognise progress through training with rank badges and different levels. All the techniques focus on maximum efficiency in real-life conditions. Krav Maga generally assumes that the individual attacking will give no quarter; therefore, as a response the attacks and defenses are intended only for use in potentially lethal threat situations with the aim to neutralize and escape as rapidly and safely as possible. Crippling attacks to vulnerable body parts, including groin and eye strikes, headbutts, and other efficient and potentially brutal attacks, improvised use of any objects available, and maximizing personal safety in a fight, are emphasized. However, it must be stressed that instructors can and do demonstrate how to moderate the techniques to fit the circumstances. While no limits are placed on techniques to be used in life-threatening situations, the legal need to inflict the appropriate minimal damage in other circumstances is recognized and stressed.

The guiding principles for those performing Krav Maga techniques are as follows:

• Do not get hurt
• Quickly neutralize the attacker
• Quickly transition from defensive to offensive techniques
• Exploit the natural reflexes of the body
• Exploit all vulnerable points on the body
• Use any available objects as aids

These premises were developed in the context of life-threatening situations. Krav Maga Instructors constantly stress the need to match the response to the danger or risk.

In general, Krav Maga requires the user to deal first with the immediate threat, prevent further attacks, and then neutralize the attacker. Actions are carried out in a methodical manner. Krav Maga emphasizes preventing further attack from the attacker. As such, some circumstances may require action in anticipation of being attacked, in order to avoid the development of dangerous situations.

Although Krav Maga shares many techniques with other martial arts and is itself a blend of boxing, Muay Thai, Aikido, Judo, and Jujutsu, the training is often quite different. It stresses fighting under worst-case conditions or from disadvantaged positions, for example: against several opponents, when protecting someone else, with one arm unusable, when dizzy or against armed opponents. Krav Maga emphasizes rapid learning and the retzev (pronounced ret-zef and meaning "continuous motion" presumably in combat), with the imperative being effectiveness, for either attack or defensive situations.

Most instructors emphasize two training rules: (1) there are no rules in a fight and (2) partner preservation - which means one must not injure oneself or one's partner when training. Training is an intense mixed aerobic and anaerobic workout, relying heavily on the use of pads in order to experience both delivery and defense of strikes at full force. This is important because it allows the student to practice the technique at full strength, and the student holding the pad learns a little of the impact they would feel when they get hit. It can be almost as taxing to hold a pad as to practice against one. Students will also wear head guards, gum shields, groin protectors, shin and forearm guards, etc. during practice of attack/defense techniques, so that a realistic level of violence may be used without injury. Some schools incorporate "Strike and Fight," which consists of full-contact sparring intended to familiarize the student with the stresses of a violent situation.

Training may employ a speaker system blasting loud music, stroboscope and/or fog machine, meant to train the student to ignore peripheral distractions and focus on the needs of the situation. Other training methods to increase realism might include exercising the student to near exhaustion before having to defend, training outdoors on a variety of surfaces and restrictive situations, wearing a blindfold before being attacked, etc. The emphasis is on attempting to simulate real fight/attack situations as realistically as possible within the safety limitations of training.

Training will usually also cover situational awareness, to develop an understanding of one's surroundings and potentially threatening circumstances before an attack is launched. It may also cover "Self Protection": ways to deal with situations which could end in fights, and physical and verbal methods to avoid violence whenever possible.

A typical session in a civilian school is about an hour long and mixes conditioning with self-defense teaching. As levels increase, the instructors focus a little more on complicated and less common types of attacks, such as knife attacks, hostage situations and defense under extreme duress. First, the instructor will run a very intense drill to get the class's heart rates up. Then, after stretching, the instructor will teach two or three self-defense techniques. In the beginning the techniques will either be combative (punches, hammer-fists, elbows, and knees) or grappling (breaking out of chokes or wrist-grabs, getting out from under an opponent while on one's back). After that, the class usually moves to a drill that combines the techniques just taught with an aerobic technique. Lastly, there is the final drill intended to burn out the students. Depending on the class, this drill may be at the very beginning or at the end of the class.

Krav Maga was developed in Hungary and Czechoslovakia in the 1930s by Imi Lichtenfeld, also known as Imi Sde-Or. He first taught his fighting system in Bratislava in order to help protect the local Jewish community from Nazi militia. Upon arriving in the British Mandate of Palestine prior to the establishment of the Jewish state, Imi began teaching hand-to-hand combat to the Haganah, the Jewish underground army. With the establishment of the State of Israel in 1948, Imi became the Chief Instructor of Physical Fitness and Krav Maga at the Israel Defense Forces (IDF) School of Combat Fitness. He served in the IDF for 15 years, during which time he continued to develop and refine his hand-to-hand combat method. In 1978, Imi founded the non-profit Israeli Krav Maga Association with several senior instructors. He died in January 1998 in Netanya, Israel.

Prior to 1980, all experts in Krav Maga lived in Israel and trained under the Israeli Krav Maga Association. That year marks the beginning of contact between Israeli Krav Maga experts and interested students in the United States. In 1981, a group of six Krav Maga instructors traveled to the US to offer demonstrations of the system, primarily at local Jewish Community Centers. This, in turn, led to demonstrations at the New York Field Office of the FBI and the FBI's Main Training Center at Quantico, Virginia. The result was a visit by 22 people from the US to Israel in the summer of 1981 to attend a basic Krav Maga instructor course. The graduates from this course returned to the US and began to establish training facilities in their local areas. Additional students traveled to Israel in 1984 and again in 1986 to become instructors. At the same time, instructors from Israel continued to visit the US. Law Enforcement training in the US began in 1985

Krav Maga is the official system of self defense and unarmed combat for the Israeli Defense Forces. Every Israeli soldier learns Krav Maga as part of their training; including all Special Forces units, such as the Sayeret Duvdevan. Further, Krav Maga is the defensive tactics system used to train the Israeli Police, Israeli Intelligence and all Security Divisions. Krav Maga is also taught to civilians, military, law enforcement and security agencies around the world.

There has also been many spin-offs to Krav Maga, such as Tactical Krav Maga (founder Itay Gil), Commando Krav Maga (founder Moni Aizak) and Special Forces Krav Maga (founder Michal Cernohorsky).

Marine Corps Martial Arts Program

The Marine Corps Martial Arts Program (MCMAP) is a combat system developed by the United States Marine Corps to combine existing and new hand-to-hand and close quarter combat (CQC) techniques with morale and team-building functions and instruction in what the Marine Corps calls the "Warrior Ethos". The program, which began in 2001, trains Marines (and U.S. Navy personnel attached to Marine Units) in unarmed combat, edged weapons, weapons of opportunity, and rifle and bayonet techniques. It also stresses mental and character development, including the responsible use of force, leadership, and teamwork. The MCMAP has several nicknames, including semper fu (a play on the Marine Corps motto semper fi and kung fu), MCSlap, and new bushido. In speech, the acronym is often pronounced "mick-map."

The Marine Corps Martial Arts Program (MCMAP) was officially created by MCO 1550.54 as a "revolutionary step in the development of martial arts skills for Marines and replaces all other close-combat related systems preceding its introduction." MCMAP comes from an evolution dating back to the creation of the Marine Corps, beginning with the martial abilities of Marine boarding parties, who often had to rely on bayonet and cutlass techniques.

During World War I these bayonet techniques were supplemented with unarmed combat techniques, which often proved useful in trench warfare. Between World Wars I and World War II, Colonel Anthony J. Biddle began the creation of standardized bayonet and close combat techniques based on boxing, wrestling, and fencing. Also during this period, Captains W. M. Greene and Samuel B. Griffith learned martial arts techniques from Chinese American Marines and brought this knowledge to other Marines throughout the Marine Corps.

In 1956, at Marine Corps Recruit Depot San Diego, Lieutenant Colonel Ralph Hayward (captain of the judo team at MCRD) made Gunnery Sergeant Bill Miller the new Non-Commissioned Officer in Charge of Hand-To-Hand Combat. Miller was ordered to develop a new curriculum that a 110- or a 210-pound Marine could use to quickly kill the enemy. Miller created the program from various martial arts styles such as Okinawan karate, judo, and jujutsu. Every Marine recruit that went through MCRD was instructed in Miller's Combat Curriculum. This also included Special Forces from all branches of the military and civilian entities. Later in 2001, retired Bill Miller was awarded the Black Belt Emeritus "for pioneering Martial Arts in the United States Marine Corps."

Eventually these different techniques evolved into the LINE System in the early 1980s. Later, the system was found to be lacking in flexibility and techniques for use in situations that did not require lethal force, such as peacekeeping operations. The Marine Corps began searching for a more effective system. The result was the Marine Corps Close Combat training Program implemented in 1997–1999. MCMAP, which was finally implemented as part of a Commandant of the Marine Corps initiative in summer 2000. General Jones assigned Lieutenant Colonel George Bristol and Master Gunnery Sergeant Cardo Urso, with almost 70 years of martial arts experience between them, to establish the MCMAP curriculum to be taught at the Martial Arts Center of Excellence (MACE)

The program uses an advancement system of colored belts similar to that of most martial arts. The different levels of belts are:

• Tan belt, the lowest color belt and conducted during entry level training, signifies the basic understanding of the mental, physical, and character disciplines. It is the minimum requirement of all Marines with a training time of 27.5 hours and has no prerequisites. Recruits receive these belts after completion of a practical application test on all of the basic techniques of the Tan Belt.
• Gray belt is the second belt attained after 39 hours of training. It signifies an intermediate understanding of the basic disciplines. The prerequisites for this belt are as follows: The Marine must complete Leading Marines MCI, and most instructors will require a report be completed on The Marine Raiders.
• Green belt is the third belt, requiring 44 hours of training. This belt signifies understanding of the intermediate fundamentals of the different disciplines. This is the first belt level in which one can be a MAI (Martial Arts Instructor) and can teach tan through green techniques with the power to award the appropriate belt. The prerequisites for this belt include a recommendation from reporting senior, and to be an instructor requires the Marine to be a Lance Corporal or higher.
• Brown Belt is the fourth belt level requiring 56.5 hours of training. It introduces Marines to the advanced fundamentals of each discipline. In addition, as with green belts, they may be certified as MAIs and teach tan through green techniques. Prerequisites for this belt include recommendation of reporting senior, rank of Corporal or higher (able to waiver to LCpl), and appropriate PMEs completed for rank (Such as Corporal's Course).

• Black belt 1st degree is the highest belt color and requires 62.5 hours of supervised training. It signifies knowledge of the advanced fundamentals of the different disciplines. A 1st degree black belt may teach fundamentals from tan to brown belt, and a MAI may award the appropriate belt. In addition, they can also be a MAIT (Martial arts Instructor Trainer) which authorizes them to teach tan through black belt 1st degree and award the appropriate belt. Prerequisites include recommendation of reporting senior, rank of Sergeant or above, and appropriate level of PME completed (Such as Sergeant's Course.)

There are an additional 5 degrees of black belt, with several of the same common prerequisites, including recommendation of reporting senior, appropriate level of PME completed, must be a current MAIT. Black belt 2nd degree to 6th degree signify that the holder is an authority in the Marine Corps Martial arts Program. In addition to the above prerequisite, each belt also has its own rank requirements.

• Black belt 2nd degree requires the rank of Sgt or above.
• Black belt 3rd degree requires the rank of SSgt or above.
• Black belt 4th degree requires the rank of GySgt for enlisted and Major or higher for officers.
• Black belt 5th degree requires the rank of MSgt/1stSgt for enlisted and Major or higher for officers.
• Black belt 6th degree requires the rank of MGySgt/SgtMaj for enlisted and LtCol or higher for officers.

Because the belts are worn with the Marine's Utility Uniform, the complete range of belt colors such as red, yellow or purple are excluded as a practical consideration. Once a Marine obtains his gray belt, he can attend additional training to become a martial arts instructor (secondary MOS 0916, formerly 8551). MCMAP instructors can train other Marines up to their current belt level, and certify Marines at one level below their current belt level. A green belt instructor can therefore certify others for tan and gray belts, a brown belt instructor can certify tan, gray, and green. The instructor status is signified by one vertical tan stripe on the MCMAP belt. A Marine must have attended at least the Martial arts Instructor (MAI) course to advance beyond first degree black belt. The only one who can train a Marine to be an instructor are black belt Martial arts Instructor-Trainers (MAIT). An MAIT's status is signified by a vertical red stripe on the MCMAP belt and a secondary MOS of 0917 (formerly 8552). To become an MAIT, a Marine must have already completed a local MAI course. The Marine then attends the MAIT course at the Martial arts Center of Excellence in Quantico, Virginia.

MCMAP techniques can be taught to other services and to foreign military members, and belts awarded to those who complete the course.

"MCMAP is a synergy of mental, character, and physical disciplines with application across the full spectrum of violence." The disciplines are the foundation of the MCMAP system, as it serves a dual purpose. MCMAP was implemented to increase the combat efficiency, as well as to increase the confidence and leadership abilities of Marines. As stated above, the three disciplines of MCMAP are mental, character, and physical. Marines are required to develop the mind, body and spirit simultaneously and equally. Safety is also of importance, so equipment such as mouthguards and pads are used in conjunction with techniques such as half-speed practice and break-falls to prevent injury.

The Commandant of the Marine Corps has recently determined that the disciplines studied in MCMAP are integral to the function of Marines, and had ordered that all Marines will attain a tan belt qualification by the end of 2007. Additionally, all infantry Marines are required to attain a green belt qualification, and other combat arms must qualify for a gray belt by the end of 2008.

Mental

Warrior Studies focus on individuals that have shown exemplary service on the battlefield, as well as discussion and analysis of combat citations. Martial Culture Studies focus on societies that produce warriors either primarily or exclusively. Some of the martial cultures that are studied are the Marine Raiders, Spartans, Zulu and Apache. By studying these cultures, Marines learn fundamental tactics and methods of the past and reconnect themselves with the warrior ethos of the Marine Corps. Combative Behavior studies interpersonal violence, as well as Rules of Engagement and the Force Continuum (which dictates when and how much force can be used in response to the mission, up to and including lethal force). For some belts, Professional Military Education (PME) courses are prerequisites. The development of this discipline also stresses situational awareness, tactical and strategic decision-making, and Operational Risk Management (ORM).

Character

Development of this discipline involves discussion on Marine Corps core values, ethics, and good citizenship. An instructor can fail a Marine if he or she feels that the student does not adequately possess honor, courage, and commitment. Some belts also require the approval of the commanding officer before awarded. The force continuum is discussed, allowing a Marine to responsibly use the minimum amount of force necessary, including lethal force. Leadership qualities are also stressed.

Physical

In MCMAP, only a third of the training involves techniques and physical development. The physical discipline includes the training of fighting techniques, strength, and endurance. This discipline also includes sustainment of skills and techniques already taught, in order to improve skill as well as develop weak-side proficiency. Ground fighting, grappling, pugil bouts, bayonet dummies, and other techniques are used to familiarize Marines with the application of the techniques used. In addition, physical strength and endurance are tested and improved with various techniques that often require teamwork or competition, such as calisthenics, running with full gear, log carries, and boxing matches. Techniques can also be practiced in water or in low-light conditions to simulate combat stress.

The techniques used by MCMAP vary in degrees of lethality, allowing the user to select the most appropriate (usually the least) amount of force. For example, a Marine facing a nonviolent but noncompliant subject can use an unarmed restraint to force compliance with minimal damage and pain. A more aggressive subject could be met with a choke, hold, or a strike. Lethal force can be used on a subject as a last resort. The majority of techniques can be defensive or offensive in use, with or without a weapon; allowing Marines flexibility in combat and operations other than war (such as civil control or humanitarian missions, as well as self-defense). An instructor can augment the circumstances of training to better fit the unit's mission, such as military police practicing after being exposed to pepper spray.

Tan Belt

The tan belt syllabus focuses on the development of the basics of armed and unarmed combat. Students start with the Basic Warrior Stance and break-falls are taught for safety, then move to:

• basic punches, uppercuts, and hooks
• basic upper-body strikes, including the eye gouge, hammer fists, and elbow strikes
• basic lower-body strikes, including kicks, knee strikes, and stomps
• bayonet techniques
• basic chokes and throws
• counters to strikes, chokes, and holds
• basic unarmed restraints and armed manipulations
• basic knife techniques
• basic weapons of opportunity

Students must prove proficiency with 80% of 50 techniques to pass and earn their belt. The tan belt syllabus is part of The Basic School and recruit training curriculum.

Gray Belt

The gray belt syllabus expands on the basic techniques with:

• intermediate bayonet techniques
• intermediate upper-body strikes including knife-hands (karate chops) and elbow strikes
• intermediate lower-body strikes including kicks, knee strikes, and stomps
• intermediate chokes and throws
• counters to strikes, chokes, and holds
• intermediate unarmed restraints and armed manipulations
• intermediate knife techniques
• basic ground fighting
• basic nonlethal baton techniques
• intermediate weapons of opportunity

Green Belt

The Green belt technique shifts focus from defensive to offensive techniques with:

• intermediate bayonet techniques
• muscle gouging
• intermediate chokes and throws
• counters to strikes
• intermediate unarmed manipulation
• intermediate ground fighting
• intermediate nonlethal baton techniques
• advanced weapons of opportunity

Brown Belt

• advanced bayonet techniques
• advanced ground fighting and chokes
• advanced throws
• unarmed vs. hand held weapons
• firearm retention
• firearm disarmament
• advanced knife techniques
• advanced nonlethal baton techniques

Black Belt 1st Degree

• advanced bayonet techniques
• advanced chokes, holds, and throws
• advanced ground fighting
• basic counter firearm techniques
• advanced upper-body strikes, including strikes and smashes
• advanced knife techniques
• pressure points
• improvised weapons

Black Belt 2nd Degree

• rifle vs. rifle
• short weapon vs. rifle
• unarmed vs. rifle

Qigong

Qigong (or ch'i kung) refers to a wide variety of traditional cultivation practices that involve methods of accumulating, circulating, and working with qi, breathing or energy within the body. Qigong is practiced for health maintenance purposes, as a therapeutic intervention, as a medical profession, a spiritual path and/or component of Chinese martial arts.

The qi in qigong means air in Chinese, and, by extension, life force, dynamic energy or even cosmic breath. Gong means work applied to a discipline or the resultant level of skill, so qigong is thus breath work or energy work. The term was coined in the twentieth-century and its currency, David Ownby suggests, speaks of a cultural desire to separate cultivation from superstition, to secularize and preserve valuable aspects of traditional Chinese practices.

Attitudes toward the scientific basis for qigong vary markedly. Most Western medical practitioners and many practitioners of traditional Chinese medicine, as well as the Chinese government, view qigong as a set of breathing and movement exercises, with possible benefits to health through stress reduction and exercise. Others see qigong in more metaphysical terms, claiming that qi can be circulated through channels called meridians.

Although the roots of qigong can be traced back millennia, Montréal scholar David Ownby understands qigong as a development of post-Mao China, contending that with the end of the Cultural Revolution came an implicit admission in China that Marxist ideology was useless, and that the 'totalitarian state' wherein the party leader was 'god' was all but defunct. A spiritual crisis thus ensued. Because the 'big religions' were desecrated and banned during the Cultural Revolution, to many Chinese they no longer held the attraction they once did. Qigong is said to have evolved within this historical context, as a “spiritual, slightly mystical branch of Chinese medicine". Ownby gives a similar account of the history of qigong in China. Qigong was promoted in post-Mao China for both practical and ideological reasons, and in this period it took on "unprecedented importance". On a practical level, it was hoped that qigong would improve the general health of the populace and thus curtail government healthcare expenditure.
Ideologically, Ownby contends that many within the Communist government were 'quite taken' with the idea of qigong being a specifically 'Chinese science', a part of the PRC's "new nationalism, a frequently chauvinistic claim to cultural greatness and superpower status". Qigong was not considered religious either by the authorities or by qigong practitioners, which immensely helped its growth. Eventually the state-administered China Qigong Scientific Research Association was formed, supposed to register qigong groups and conduct 'scientific' research. By the time the association was established, there were already 2000 qigong organizations and between 60 and 200 million practitioners across China.

Qigong quickly became a social phenomenon of 'considerable importance'; the topic was also explored by novelists and journalists, and qigong newspapers and magazines appeared in abundance to cater for the public's interest in the subject. The original small-group, master-disciple pattern was transformed into a mass experience, with qigong 'masters' organising 'mass rallies' to demonstrate to paying customers a range of qigong specific phenomena such as trance, possession, and a variety of otherworldly states. Qigong was practised widely in public parks and on university campuses. Demographics included both the 'old and suffering' as well as the 'young and curious'. Ownby suggests that the profile of qigong practitioners during this period fit that of the Chinese population in general, “men and women, rich and poor, educated and uneducated, powerful and powerless, urban and rural, Party and non-Party”.

Johnson writes that the early 1990s saw a 'qigong craze', with qigong being a widely accepted part of society. Qigong was able to adapt itself to a scientific discourse, which allowed it to survive the suspicions of the atheist state. It was heralded as a form of physical therapy, to be supervised by doctors. Experiments were conducted which purported to show that qigong could cure chronic health problems. Claims that qigong could have some role in developing latent 'supernatural powers' also emerged, such as the ability to levitate, heal illness, telekinesis through emissions of qi, the ability to 'read via the ear', and a “host of other remarkable talents, many of which would fall under our category of extrasensory perception”.

Johnson opines that the Party was to some degree still distrustful of qigong. Qigong remained a private exercise, as opposed to formal religions which center on temples, churches and mosques. These can be run by government officials and are ensured to remain loyal to the state. Johnson's analysis here coincides with that of Chan. While qigong is focused inwardly, outside the state's control, it is performed publicly in groups: “To a government that is used to controlling all aspects of public life, this is perplexing: qigong practitioners are in public and doing something en masse, so by rights they should be formed in an organisation and this organisation should in some way be run by the government. But what they are doing together is meditating, an inner discipline that the party can't monitor”. Ownby suspects that qigong's ostensible autonomy from the state is in fact partly what contributed to its great popularity. Johnson writes that the 1990s saw an 'uneasy standoff'; the 'Three Nos' policy was adopted: No Promoting, No Criticizing, No Debating.

Ownby comments that the emergence of qigong coincided at a historic moment where technology and means of communication—such as books, tapes, television and Internet—were greatly advanced, allowing such groups to become aware of their size and geographical reach. Ownby suggests that this is a paradoxical situation of a deeply rooted Chinese tradition now adapting to a modern setting.