MMA Pro Fighter

Boxing Guards

2011-02-06T22:47:00.000-08:00

There are several defensive positions (guards or styles) used in boxing. Within each style, there is considerable variation among fighters, as some fighters may have their guard higher for more head protection while others have their guard lower to provide better protection against body punches. Many fighters vary their defensive style throughout a bout in order to adapt to the situation of the moment, choosing the position best suited to protect them.

Boxers who use an upright stance protect their chin with the rear hand in either the low or mixed guard styles depicted below. Crouch fighters tend to use the "peek-a-boo" style, discussed below.

Low guard

Mixed guard

Peek-a-boo

Peek-a-boo – Sometimes known as the "earmuffs", the hands are placed next to each other in front of the face (fighters tend to vary the exact positioning) and elbows are brought in tight to the body (this position can be achieved by bringing the elbows as close together while not straining yourself to do so). This defensive style is what a boxer is taught to do when he begins to box, after he gains experience he can decide to change or vary the guard. This style is middle-of-the-road style in terms of counterpunching and damage reduction. A boxer can counter punch from this stance, but it is difficult. However, there have been boxers who can do this very well. This defense covers up a fighter well, but there are holes. Hooks do damage by going around the hands and by hitting just behind the elbows. Winky Wright uses this style very well from a damage reduction stand point. Another famous example is Mike Tyson, who in his early career used the Peek-a-Boo with great success.

Mike Tyson

Cross-armed – The forearms are placed on top of each other horizontally in front of the face with the glove of one arm being on the top of the elbow of the other arm. This style is greatly varied when the back hand rises vertically. This style is the most effective for reducing head damage. The only head punch that a fighter is susceptible to is a jab to the top of the head. The body is open, but most fighters who use this style bend and lean to protect the body, but while upright and unaltered the body is there to be hit. This position is very difficult to counterpunch from, but virtually eliminates all head damage.

Philly Shell, hitman or crab – The lead arm is placed across the torso usually somewhere in between the belly button and chest and the lead hand rests on the opposite side of the fighter's torso. The back hand is placed on the side of the face. The lead shoulder is brought in tight against the side of the face. This style is used by fighters who like to counterpunch. To execute this guard a fighter must be very athletic and experienced. This style is so effective for counterpunching because it allows fighters to slip punches by rotating and dipping their upper body and causing blows to glance off the fighter. After the punch glances off, the fighter's back hand is in perfect position to hit his out-of-positioned opponent. The shoulder lean is used in this stance. To execute the shoulder lean a fighter rotates and ducks when his opponent's punch is coming towards him and then rotates back towards his opponent while his opponent is bringing his hand back. The fighter will throw a punch with his back hand as he is rotating towards his undefended opponent. The weakness to this style is that when a fighter is stationary and not rotating he is open to be hit, so a fighter must be athletic and well conditioned to effectively execute this style. To beat this style fighters like to jab their opponent's shoulder causing the shoulder and arm to be in pain and to demobilize that arm.

Boxers generally attempt to land high, fast combination and then quickly shift position to avoid a possible response by their opponent. Strategically, the ring's centre is generally the desired position since a boxer is able to conserve movement by forcing the opponent to circle around them. When in the centre, the boxer is also less likely to be knocked backwards against the ropes surrounding the ring and cornered. Depending on the boxer's style, the centre is the desired location as cornering opponents is always a good strategy. Most fighters, though, will not move around the boxer in the center because doing so makes them vulnerable to shots thrown at good angles. Movement is the most important tool in the ring and allows the fighter to avoid punches that were not telegraphed. If a boxer is standing still, his opponent has a better chance of hitting him. A fighter anticipating a shot while stationary is less likely to be able to evade the shot than a fighter already in motion.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Defense

2011-01-06T22:06:00.000-08:00

There are several basic maneuvers a boxer can use in order to evade or block punches, depicted and discussed below.

Slipping

Bobbing

Cover-Up (with the gloves)

Blocking (with the arms)

Clinching

Footwork

Pulling away

Slip – Slipping rotates the body slightly so that an incoming punch passes harmlessly next to the head. As the opponent's punch arrives, the boxer sharply rotates the hips and shoulders. This turns the chin sideways and allows the punch to "slip" past. Muhammad Ali was famous for extremely fast and close slips, as was an early Mike Tyson.

Muhammad Ali

Sway or fade – To anticipate a punch and move the upper body or head back so that it misses or has its force appreciably lessened. Also called "rolling with the punch" or " Riding The Punch"

Duck or break – To drop down with the back straight so that a punch aimed at the head glances or misses entirely.

Bob and weave – Bobbing moves the head laterally and beneath an incoming punch. As the opponent's punch arrives, the boxer bends the legs quickly and simultaneously shifts the body either slightly right or left. Once the punch has been evaded, the boxer "weaves" back to an upright position, emerging on either the outside or inside of the opponent's still-extended arm. To move outside the opponent's extended arm is called "bobbing to the outside". To move inside the opponent's extended arm is called "bobbing to the inside". Joe Frazier, Jack Dempsey, Mike Tyson and Rocky Marciano were masters of bobbing and weaving.

Parry/block – Parrying or blocking uses the boxer's shoulder, hands or arms as defensive tools to protect against incoming attacks. A block generally receives a punch while a parry tends to deflect it. A "palm" or "cuff" is a block which intentionally takes the incoming punch on that portion of the defender's glove.

The cover-Up – Covering up is the last opportunity (other than rolling with a punch) to avoid an incoming strike to an unprotected face or body. Generally speaking, the hands are held high to protect the head and chin and the forearms are tucked against the torso to impede body shots. When protecting the body, the boxer rotates the hips and lets incoming punches "roll" off the guard. To protect the head, the boxer presses both fists against the front of the face with the forearms parallel and facing outwards. This type of guard is weak against attacks from below.

The clinch – Clinching is a rough form of grappling and occurs when the distance between both fighters has closed and straight punches cannot be employed. In this situation, the boxer attempts to hold or "tie up" the opponent's hands so he is unable to throw hooks or uppercuts. To perform a clinch, the boxer loops both hands around the outside of the opponent's shoulders, scooping back under the forearms to grasp the opponent's arms tightly against his own body. In this position, the opponent's arms are pinned and cannot be used to attack. Clinching is a temporary match state and is quickly dissipated by the referee. Clinching is technically against the rules, and in amateur fights points are deducted fairly quickly for it. It is unlikely, however, to see points deducted for a clinch in professional boxing.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Punches

2010-12-06T21:12:00.000-08:00

There are four basic punches in boxing: the jab, straight right/left hand, hook and uppercut. If a boxer is right-handed (orthodox), his left hand is the lead hand and his right hand is the rear hand. For a left-handed boxer or southpaw, the hand positions are reversed. For clarity, the following discussion will assume a right-handed boxer.

Jab

Uppercut

Cross - in counter-punch with a looping

hook

Short straight-punch – in short range and close range

Cross-counter (counter punch)

Half uppercut - a combination of a wide Uppercut/straight punch

Jab – A quick, straight punch thrown with the lead hand from the guard position. The jab is accompanied by a small, clockwise rotation of the torso and hips, while the fist rotates 90 degrees, becoming horizontal upon impact. As the punch reaches full extension, the lead shoulder can be brought up to guard the chin. The rear hand remains next to the face to guard the jaw. After making contact with the target, the lead hand is retracted quickly to resume a guard position in front of the face. The jab is recognised as the most important punch in a boxer's arsenal because it provides a fair amount of its own cover and it leaves the least amount of space for a counter punch from the opponent. It has the longest reach of any punch and does not require commitment or large weight transfers. Due to its relatively weak power, the jab is often used as a tool to gauge distances, probe an opponent's defenses, harass an opponent, and set up heavier, more powerful punches. A half-step may be added, moving the entire body into the punch, for additional power. Some notable boxers who have been able to develop relative power in their jabs and use it to punish or 'wear down' their opponents to some effect include Larry Holmes and Wladimir Klitschko.

Larry Holmes

Wladimir Klitschko

Cross – A powerful, straight punch thrown with the rear hand. From the guard position, the rear hand is thrown from the chin, crossing the body and traveling towards the target in a straight line. The rear shoulder is thrust forward and finishes just touching the outside of the chin. At the same time, the lead hand is retracted and tucked against the face to protect the inside of the chin. For additional power, the torso and hips are rotated counter-clockwise as the cross is thrown. Weight is also transferred from the rear foot to the lead foot, resulting in the rear heel turning outwards as it acts as a fulcrum for the transfer of weight. Body rotation and the sudden weight transfer is what gives the cross its power. Like the jab, a half-step forward may be added. After the cross is thrown, the hand is retracted quickly and the guard position resumed. It can be used to counter punch a jab, aiming for the opponent's head (or a counter to a cross aimed at the body) or to set up a hook. The cross can also follow a jab, creating the classic "one-two" combination. The cross is also called a "straight" or "right", especially if it does not cross the opponent's outstretched jab.

Hook – A semi-circular punch thrown with the lead hand to the side of the opponent's head. From the guard position, the elbow is drawn back with a horizontal fist (knuckles pointing forward) and the elbow bent. The rear hand is tucked firmly against the jaw to protect the chin. The torso and hips are rotated clockwise, propelling the fist through a tight, clockwise arc across the front of the body and connecting with the target. At the same time, the lead foot pivots clockwise, turning the left heel outwards. Upon contact, the hook's circular path ends abruptly and the lead hand is pulled quickly back into the guard position. A hook may also target the lower body and this technique is sometimes called the "rip" to distinguish it from the conventional hook to the head. The hook may also be thrown with the rear hand.Notable left hookers include:Joe Frazier and Mike Tyson.

Joe Frazier and Mike Tyson

Uppercut – A vertical, rising punch thrown with the rear hand. From the guard position, the torso shifts slightly to the right, the rear hand drops below the level of the opponent's chest and the knees are bent slightly. From this position, the rear hand is thrust upwards in a rising arc towards the opponent's chin or torso. At the same time, the knees push upwards quickly and the torso and hips rotate anti-clockwise and the rear heel turns outward, mimicking the body movement of the cross. The strategic utility of the uppercut depends on its ability to "lift" the opponent's body, setting it off-balance for successive attacks. The right uppercut followed by a left hook is a deadly combination employing the uppercut to lift the opponent's chin into a vulnerable position, then the hook to knock the opponent out.

These different punch types can be thrown in rapid succession to form combinations or "combos". The most common is the jab and cross combination, nicknamed the "one-two combo". This is usually an effective combination, because the jab blocks the opponent's view of the cross, making it easier to land cleanly and forcefully.

A large, swinging circular punch starting from a cocked-back position with the arm at a longer extension than the hook and all of the fighter's weight behind it is sometimes referred to as a "roundhouse", "haymaker", or sucker-punch. Relying on body weight and centripetal force within a wide arc, the roundhouse can be a powerful blow, but it is often a wild and uncontrolled punch that leaves the fighter delivering it off balance and with an open guard. Wide, looping punches have the further disadvantage of taking more time to deliver, giving the opponent ample warning to react and counter. For this reason, the haymaker or roundhouse is not a conventional punch, and is regarded by trainers as a mark of poor technique or desperation. Sometimes it has been used, because of its immense potential power, to finish off an already staggering opponent who seems unable or unlikely to take advantage of the poor position it leaves the puncher in.

Another unconventional punch is the rarely used "bolo punch", in which the opponent swings an arm out several times in a wide arc, usually as a distraction, before delivering with either that or the other arm.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Technique Stances

2010-11-15T20:35:00.000-08:00

Boxing Stance

The modern boxing stance differs substantially from the typical boxing stances of the 19th and early 20th centuries. The modern stance has a more upright vertical-armed guard, as opposed to the more horizontal, knuckles-facing-forward guard adopted by early 20th century hook users such as Jack Johnson.

Jack Johnson Boxer

Upright stance

Semi-crouch

Full crouch

In a fully upright stance, the boxer stands with the legs shoulder-width apart and the rear foot a half-step behind the lead foot. Right-handed or orthodox boxers lead with the left foot and fist. Both feet are parallel, and the right heel is off the ground. The lead (left) fist is held vertically about six inches in front of the face at eye level. The rear (right) fist is held beside the chin and the elbow tucked against the ribcage to protect the body. The chin is tucked into the chest to avoid punches to the jaw which commonly cause knock-outs and is often kept slightly offcenter. Wrists are slightly bent to avoid damage when punching and the elbows are kept tucked in to protect the ribcage. Some boxers fight from a crouch, leaning forward and keeping their feet closer together. The stance described is considered the "textbook" stance and fighters are encouraged to change it around once its been mastered as a base. Case in point, many fast fighters have their hands down and have almost exaggerated footwork, while brawlers or bully fighters tend to slowly stalk their opponents.

Left-handed or southpaw fighters use a mirror image of the orthodox stance, which can create problems for orthodox fighters unaccustomed to receiving jabs, hooks, or crosses from the opposite side. The southpaw stance, conversely, is vulnerable to a straight right hand.

North American fighters tend to favor a more balanced stance, facing the opponent almost squarely, while many European fighters stand with their torso turned more to the side. The positioning of the hands may also vary, as some fighters prefer to have both hands raised in front of the face, risking exposure to body shots.

Modern boxers can sometimes be seen tapping their cheeks or foreheads with their fists in order to remind themselves to keep their hands up (which becomes difficult during long bouts). Boxers are taught to push off with their feet in order to move effectively. Forward motion involves lifting the lead leg and pushing with the rear leg. Rearward motion involves lifting the rear leg and pushing with the lead leg. During lateral motion the leg in the direction of the movement moves first while the opposite leg provides the force needed to move the body.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Style Matchups

2010-11-09T19:27:00.000-08:00

There is a generally accepted rule of thumb about the success each of these boxing styles has against the others. In general, an in-fighter has an advantage over an out-fighter, an out-fighter has an advantage over a puncher, and a puncher has an advantage over an in-fighter; these form a cycle with each style being stronger relative to one, and weaker relative to another, with none dominating, as in rock-paper-scissors. Naturally, many other factors, such as the skill level and training of the combatants, determine the outcome of a fight, but the widely held belief in this relationship among the styles is embodied in the cliché amongst boxing fans and writers that "styles make fights."

Brawlers tend to overcome swarmers or in-fighters because, in trying to get close to the slugger, the in-fighter will invariably have to walk straight into the guns of the much harder-hitting brawler, so, unless the former has a very good chin and the latter's stamina is poor, the brawler's superior power will carry the day. A famous example of this type of match-up advantage would be George Foreman's knockout victory over Joe Frazier.

Joe Frazier

George Foreman

George Foreman vs Joe Frazier

Although in-fighters struggle against heavy sluggers, they typically enjoy more success against out-fighters or boxers. Out-fighters prefer a slower fight, with some distance between themselves and the opponent. The in-fighter tries to close that gap and unleash furious flurries. On the inside, the out-fighter loses a lot of his combat effectiveness, because he cannot throw the hard punches. The in-fighter is generally successful in this case, due to his intensity in advancing on his opponent and his good agility, which makes him difficult to evade. For example, the swarming Joe Frazier, though easily dominated by the slugger George Foreman, was able to create many more problems for the boxer Muhammad Ali in their three fights. Joe Louis, after retirement, admitted that he hated being crowded, and that swarmers like untied/undefeated champ Rocky Marciano would have caused him style problems even in his prime.

Joe Frazier vs Muhammad Ali

Joe Louis vs Rocky Marciano

The boxer or out-fighter tends to be most successful against a brawler, whose slow speed (both hand and foot) and poor technique makes him an easy target to hit for the faster out-fighter. The out-fighter's main concern is to stay alert, as the brawler only needs to land one good punch to finish the fight. If the out-fighter can avoid those power punches, he can often wear the brawler down with fast jabs, tiring him out. If he is successful enough, he may even apply extra pressure in the later rounds in an attempt to achieve a knockout. Most classic boxers, such as Muhammad Ali, enjoyed their best successes against sluggers.

An example of a style matchup was the historical fight of Julio César Chávez, a swarmer or in-fighter, against Meldrick Taylor, the boxer or out-fighter (see Chavez versus Taylor). The match was nicknamed "Thunder Meets Lightning" as an allusion to tremendous punching power of Chávez and blinding speed of Taylor. Chávez was the epitome of the "Mexican" style of boxing. He relentlessly stalked and closed in on the other fighter, ignoring whatever punishment he took for the chance to dish out his own at close range, particularly in the form of a crunching body attack that would either wear down his opponents until they collapsed in pain and exhaustion, or became too tired to defend as Chávez shifted his attack to the head and went for a knockout. During the fight, Taylor's brilliant hand and foot speed and boxing abilities gave him the early advantage, allowing him to begin building a large lead on points, but in the end, Chavez's punishment wore down Taylor and knocked him down with a tremendous right hand in the last round.

Julio César Chávez vs Meldrick Taylor

Source: http://en.wikipedia.org/wiki/Boxing
MMA Pro Fighter

Boxing Styles - Counter Puncher

2010-10-29T20:45:00.000-07:00

Counter punchers are slippery, defensive style fighters who often rely on their opponent's mistakes in order to gain the advantage whether it be on the score cards or more preferably a knockout. They use their well rounded defense to avoid or block shots and then immediately catch the opponent off guard with a well placed and timed punch. Thus, fighting against counter punchers requires constant feinting and never telegraphing a punch for the counter puncher to generate a good offense from. To be successful using this style they must have good reflexes, intelligence, punch accuracy, and good hand speed.

Floyd Mayweather Jr vs Juan Manuel Márquez

Pernell Whitaker

Max Schmeling

Notable counter punchers include Salvador Sánchez, Jerry Quarry, Ricardo Lopez, Bernard Hopkins, Vitali Klitschko, James Toney, Marvin Hagler, Evander Holyfield, Juan Manuel Márquez, Floyd Mayweather Jr, Pernell Whitaker and Max Schmeling.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Styles 3

2010-10-28T22:01:00.000-07:00

Swarmers / In-fighter

In-fighters/swarmers (sometimes called "pressure fighters") attempt to stay close to an opponent, throwing intense flurries and combinations of hooks and uppercuts. A successful in-fighter often needs a good "chin" because swarming usually involves being hit with many jabs before they can maneuver inside where they are more effective. In-fighters operate best at close range because they are generally shorter and have less reach than their opponents and thus are more effective at a short distance where the longer arms of their opponents make punching awkward. However, several fighters tall for their division have been relatively adept at in-fighting as well as out-fighting. The essence of a swarmer is non-stop aggression. Many short in-fighters utilize their stature to their advantage, employing a bob-and-weave defense by bending at the waist to slip underneath or to the sides of incoming punches. Unlike blocking, causing an opponent to miss a punch disrupts his balance, permits forward movement past the opponent's extended arm and keeps the hands free to counter. A distinct advantage that in-fighters have is when throwing uppercuts where they can channel their entire bodyweight behind the punch; Mike Tyson was famous for throwing devastating uppercuts. Julio César Chávez was known for his hard "chin", punching power, body attack and the stalking of his opponents. Some in-fighters have been known for being notoriously hard to hit. The key to a swarmer is aggression, endurance, chin, and bobbing-and-weaving.

Mike Tyson a.k.a Iron Mike

Harry Greb

Jack Dempsey

Rocky Marciano

Joe Frazier

Jake LaMotta

Julio César Chávez

Notable in-fighters include Mike Tyson, Harry Greb, Jack Dempsey, Rocky Marciano, Joe Frazier, Jake LaMotta, and Julio César Chávez.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Styles 2

2010-10-28T20:44:00.000-07:00

Boxer-puncher

A boxer-puncher is a well-rounded boxer who is able to fight at close range with a combination of technique and power, often with the ability to knock opponents out with a combination and in some instances a single shot. Their movement and tactics are similar to that of an out-fighter (although they are generally not as mobile as an out-fighter), but instead of winning by decision, they tend to wear their opponents down using combinations and then move in to score the knockout. A boxer must be well rounded to be effective using this style.

Manny Pacquiao a.k.a Pacman

Sam Langford

Henry Armstrong

Joe Louis

Sugar Ray Robinson

Tony Zale

Archie Moore

Carlos Monzón

Alexis Argüello

Erik Morales

Lennox Lewis

Wladimir Klitschko

Terry Norris

Thomas Hearns

Notable punchers include Manny Pacquiao, Sam Langford, Henry Armstrong, Joe Louis, Sugar Ray Robinson, Tony Zale, Archie Moore, Carlos Monzón, Alexis Argüello, Erik Morales, Lennox Lewis, Wladimir Klitschko, Terry Norris and Thomas Hearns.

Brawler / Slugger

A brawler is a fighter who generally lacks finesse and footwork in the ring, but makes up for it through sheer punching power. Many brawlers tend to lack mobility, preferring a less mobile, more stable platform and have difficulty pursuing fighters who are fast on their feet. They may also have a tendency to ignore combination punching in favour of continuous beat-downs with one hand and by throwing slower, more powerful single punches (such as hooks and uppercuts). Their slowness and predictable punching pattern (single punches with obvious leads) often leaves them open to counter punches, so successful brawlers must be able to absorb substantial amounts of punishment. A brawler's most important assets are power and chin (the ability to absorb punishment while remaining able to continue boxing).

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Styles 1

2010-10-28T00:11:00.000-07:00

Boxer / Out-fighter

Muhammad Ali - Legendary Heavyweight Champion

A classic "boxer" or stylist (also known as an "out-fighter") seeks to maintain distance between himself and his opponent, fighting with faster, longer range punches, most notably the jab, and gradually wearing his opponent down. Due to this reliance on weaker punches, out-fighters tend to win by point decisions rather than by knockout, though some out-fighters have notable knockout records. They are often regarded as the best boxing strategists due to their ability to control the pace of the fight and lead their opponent, methodically wearing him down and exhibiting more skill and finesse than a brawler. Out-fighters need reach, hand speed, reflexes, and footwork.

Gene Tunney 1926 Stamp

Ezzard Charles Stamp 1949

Willie Pep - Real Name Guglielmo Papaleo

Meldrick Taylor

Larry Holmes

Roy Jones Jr.

Sugar Ray Leonard

Pernell Whitaker

Oscar De La Hoya

Floyd Mayweather

Joe Calzaghe

Notable out-fighters include Muhammad Ali, Gene Tunney, Ezzard Charles, Willie Pep, Meldrick Taylor, Larry Holmes, Roy Jones Jr., Sugar Ray Leonard, Pernell Whitaker, Oscar de la Hoya, Floyd Mayweather and Joe Calzaghe.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Gear, Clothing , Equipment

2010-10-06T05:45:00.000-07:00

All boxers, regardless of their weight class, have certain kinds of clothing that are essential for bouts. Professional boxers wear different clothes from amateur ones but there is a basic idea or sense in them. All boxers in sanctioned fights are required to have handwraps, gloves, groin protectors, mouth guards and soft soled shoes.

Boxing Shorts

In amateur boxing, each boxer wears shorts approved by the sanctioning body in the color of their corner. In professional boxing, the color and design of the shorts is left up to each fighter and is not regulated. Many types of shorts are striped with bright colours. Many boxers have their name or nickname embroidered on the waistband of the shorts, along with sponsor logos and even the sanctioning bodies which have awarded them belts. Many boxers, such as Prince Naseem Hamed, have very elaborate shorts, while others such as Mike Tyson prefer plain ones. Shorts in the modern era are much looser fitting than those of previous generations for improved movement, comfort and style.

Prince Naseem

Mike Tyson

Boxing Tank tops

Amateur boxers wear tank top shirts, as do female professional boxers. Some female boxers choose to wear sports bras rather than tank tops. Upper body cover varies from boxer to boxer due to preference. Professional male boxers always compete bare-chested, i.e. without any upper-body clothing.

Female Boxer - Laila Ali

Boxing Protective equipment

Amateur boxers are required to have headgear and a sleeveless shirt in the color of their corner, while professionals fight bare-chested and without headgear. Female boxers in amateur ranks are allowed a short sleeved shirt, where as professionals wear a sleeveless shirt. All female boxers are allowed a chest protector. All boxers are required a mouthpiece, the construction of which is up to the sanctioning body and the fighters. All boxers in sanctioned bouts are required to have a foul protector, which protects the groin and lower abdomen. Female foul protectors have less padding in the groin, but are still required in sanctioned bouts. All boxers also wear gloves, ranging in weight from 8-16oz in amateur bouts and 6-12oz in professional bouts. Amateurs are bound by an approved glove, whereas professional boxers have only a minimum weight of glove, the exact weight and even brand can be determined in the negotiations prior to the fight. Gloves are subject to inspection both by the representatives of the sanctioning body and the opposing fighter's corner prior to a fight. They are then taped on the laces to prevent them from coming loose, and are usually signed by the representative of the sanctioning body to assure no tampering has taken place. Boxers are also required to have handwraps. USA Boxing allows re-usable cotton handwraps with a hook and loop closure, whereas most professional fights require adhesive, one time use wraps. Wraps are also subject to inspection, a notable example being the fight between Shane Mosley and Antonio Margarito, where a plaster like substance was found in the wraps of Margarito, resulting in his suspension for "at least a year." In modern-day professional boxing, it is mandatory for males to wear a waistband wrapped around their upper thighs and the lower waist. This waistband is usually black or red and is made of rubber (sometimes leather) in order to cushion the body from deadly shots towards the male's most vulnerable body part—the pelvis. However, it is still possible to suffer from a blow to the pelvis despite having the waistband; depending on the strength of the punch. The waistband gets bent and twisted during fights and often sticks out of the boxer's shorts which causes the boxer's belly to be slightly squeezed. Before the 1980s, the waistband was much smaller and therefore; allows more damage onto the boxer's pelvis.

Boxing Footwear

All boxers are required to have soft soled shoes, which minimizes the damage from accidental or intentional stepping on feet. The construction of the shoe is up to the fighter, with many inside fighters preferring textured rubber soles for increased traction, and many outside fighters preferring smooth soles for decreased friction and easier movement.

Boxing Equipment

Since boxing involves forceful, repetitive punching, precautions must be taken to prevent damage to bones in the hand. Most trainers do not allow boxers to train and spar without hand/wrist wraps and boxing gloves. Hand wraps are used to secure the bones in the hand, and the gloves are used to protect the hands from blunt injury, allowing boxers to throw punches with more force than if they did not utilize them. Gloves have been required in competition since the late nineteenth century, though modern boxing gloves are much heavier than those worn by early twentieth-century fighters. Prior to a bout, both boxers agree upon the weight of gloves to be used in the bout, with the understanding that lighter gloves allow heavy punchers to inflict more damage. The brand of gloves can also affect the impact of punches, so this too is usually stipulated before a bout. A mouth guard is important to protect the teeth and gums from injury, and to cushion the jaw, resulting in a decreased chance of knockout.

Boxers practice their skills on two basic types of punching bags. A small, tear-drop-shaped "speed bag" is used to hone reflexes and repetitive punching skills, while a large cylindrical "heavy bag" filled with sand, a synthetic substitute, or water is used to practice power punching and body blows. In addition to these distinctive pieces of equipment, boxers also utilize more general use training equipment to build strength, speed, and agility. Common training equipment includes free weights, rowing machines, jump rope, and medicine balls.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Professional Boxing vs. Amateur Boxing

2010-09-27T22:53:00.000-07:00

Throughout the 17th through 19th centuries, boxing bouts were motivated by money, as the fighters competed for prize money, promoters controlled the gate, and spectators bet on the result. The modern Olympic movement revived interest in amateur sports, and amateur boxing became an Olympic sport in 1908. In their current form, Olympic and other amateur bouts are typically limited to three or four rounds, scoring is computed by points based on the number of clean blows landed, regardless of impact, and fighters wear protective headgear, reducing the number of injuries, knockdowns, and knockouts. Currently scoring blows in amateur boxing are subjectively counted by ringside judges, but the Australian Institute for Sport has demonstrated a prototype of an Automated Boxing Scoring System, which introduces scoring objectivity, improves safety, and arguably makes the sport more interesting to spectators. Professional boxing remains by far the most popular form of the sport globally, though amateur boxing is dominant in Cuba and some former Soviet republics. For most fighters, an amateur career, especially at the Olympics, serves to develop skills and gain experience in preparation for a professional career.

Amateur boxing

Amateur boxing may be found at the collegiate level, at the Olympic Games and Commonwealth Games, and in many other venues sanctioned by amateur boxing associations. Amateur boxing has a point scoring system that measures the number of clean blows landed rather than physical damage. Bouts consist of three rounds of three minutes in the Olympic and Commonwealth Games, and three rounds of three minutes in a national ABA (Amateur Boxing Association) bout, each with a one-minute interval between rounds.

Competitors wear protective headgear and gloves with a white strip across the knuckle. A punch is considered a scoring punch only when the boxers connect with the white portion of the gloves. Each punch that lands cleanly on the head or torso with sufficient force is awarded a point. A referee monitors the fight to ensure that competitors use only legal blows. A belt worn over the torso represents the lower limit of punches – any boxer repeatedly landing low blows (below the belt) is disqualified. Referees also ensure that the boxers don't use holding tactics to prevent the opponent from swinging. If this occurs, the referee separates the opponents and orders them to continue boxing. Repeated holding can result in a boxer being penalized or ultimately disqualified. Referees will stop the bout if a boxer is seriously injured, if one boxer is significantly dominating the other or if the score is severely imbalanced. Amateur bouts which end this way may be noted as "RSC" (referee stopped contest) with notations for an outclassed opponent (RSCO), outscored opponent (RSCOS), injury (RSCI) or head injury (RSCH).

Professional boxing

Professional bouts are usually much longer than amateur bouts, typically ranging from ten to twelve rounds, though four round fights are common for less experienced fighters or club fighters. There are also some two- and three-round professional bouts, especially in Australia. Through the early twentieth century, it was common for fights to have unlimited rounds, ending only when one fighter quit, benefiting high-energy fighters like Jack Dempsey. Fifteen rounds remained the internationally recognized limit for championship fights for most of the twentieth century until the early 1980s, when the death of boxer Duk Koo Kim reduced the limit to twelve.

Headgear is not permitted in professional bouts, and boxers are generally allowed to take much more punishment before a fight is halted. At any time, however, the referee may stop the contest if he believes that one participant cannot defend himself due to injury. In that case, the other participant is awarded a technical knockout win. A technical knockout would also be awarded if a fighter lands a punch that opens a cut on the opponent, and the opponent is later deemed not fit to continue by a doctor because of the cut. For this reason, fighters often employ cutmen, whose job is to treat cuts between rounds so that the boxer is able to continue despite the cut. If a boxer simply quits fighting, or if his corner stops the fight, then the winning boxer is also awarded a technical knockout victory. In contrast with amateur boxing, professional male boxers have to be bare chested.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing Rules

2010-09-22T00:44:00.000-07:00

The Marquess of Queensberry rules have been the general rules governing modern boxing since their publication in 1867.

A boxing match typically consists of a determined number of three-minute rounds, a total of up to 12 rounds (formerly 15). A minute is typically spent between each round with the fighters in their assigned corners receiving advice and attention from their coach and staff. The fight is controlled by a referee who works within the ring to judge and control the conduct of the fighters, rule on their ability to fight safely, count knocked-down fighters, and rule on fouls. Up to three judges are typically present at ringside to score the bout and assign points to the boxers, based on punches that connect, defense, knockdowns, and other, more subjective, measures. Because of the open-ended style of boxing judging, many fights have controversial results, in which one (Or both) fighters believe they have been "robbed" or unfairly denied a victory. Each fighter has an assigned corner of the ring, where his or her coach, as well as one or more "seconds" may administer to the fighter at the beginning of the fight and between rounds. Each boxer enters into the ring from their assigned corners at the beginning of each round and must cease fighting and return to their corner at the signaled end of each round.

A bout in which the predetermined number of rounds passes is decided by the judges, and is said to "go the distance". The fighter with the higher score at the end of the fight is ruled the winner. With three judges, unanimous and split decisions are possible, as are draws. A boxer may win the bout before a decision is reached through a knockout; such bouts are said to have ended "inside the distance". If a fighter is knocked down during the fight, determined by whether the boxer touches the canvas floor of the ring with any part of their body other than the feet as a result of the opponent's punch and not a slip, as determined by the referee, the referee begins counting until the fighter returns to his or her feet and can continue. Should the referee count to ten, then the knocked-down boxer is ruled "knocked out" (whether unconscious or not) and the other boxer is ruled the winner by knockout (KO). A "technical knockout" (TKO) is possible as well, and is ruled by the referee, fight doctor, or a fighter's corner if a fighter is unable to safely continue to fight, based upon injuries or being judged unable to effectively defend themselves. Many jurisdictions and sanctioning agencies also have a "three-knockdown rule", in which three knockdowns in a given round result in a TKO. A TKO is considered a knockout in a fighter's record. A "standing eight" count rule may also be in effect. This gives the referee the right to step in and administer a count of eight to a fighter that he feels may be in danger, even if no knockdown has taken place. After counting the referee will observe the fighter, and decide if he is fit to continue. For scoring purposes, a standing eight count is treated as a knockdown.

In general, boxers are prohibited from hitting below the belt, holding, tripping, pushing, biting, spitting or wrestling. The boxer's shorts are raised so the opponent is not allowed to hit to the groin area. They also are prohibited from kicking, head-butting, or hitting with any part of the arm other than the knuckles of a closed fist (including hitting with the elbow, shoulder or forearm, as well as with open gloves, the wrist, the inside, back or side of the hand). They are prohibited as well from hitting the back, back of the neck or head (called a "rabbit-punch") or the kidneys. They are prohibited from holding the ropes for support when punching, holding an opponent while punching, or ducking below the belt of their opponent (dropping below the waist of your opponent, no matter the distance between). If a "clinch" – a defensive move in which a boxer wraps his or her opponents arms and holds on to create a pause – is broken by the referee, each fighter must take a full step back before punching again (alternatively, the referee may direct the fighters to "punch out" of the clinch). When a boxer is knocked down, the other boxer must immediately cease fighting and move to the furthest neutral corner of the ring until the referee has either ruled a knockout or called for the fight to continue.

Violations of these rules may be ruled "fouls" by the referee, who may issue warnings, deduct points, or disqualify an offending boxer, causing an automatic loss, depending on the seriousness and intentionality of the foul. An intentional foul that causes injury that prevents a fight from continuing usually causes the boxer who committed it to be disqualified. A fighter who suffers an accidental low-blow may be given up to five minutes to recover, after which they may be ruled knocked out if they are unable to continue. Accidental fouls that cause injury ending a bout may lead to a "no contest" result, or else cause the fight to go to a decision if enough rounds (typically four or more, or at least three in a four-round fight) have passed.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Modern boxing

2010-09-19T22:28:00.000-07:00

Broughton's rules (1743)

Records of Classical boxing activity disappeared after the fall of the Roman Empire. However, there are detailed records of various fist-fighting sports that were maintained in different cities and provinces of Italy between the 12th and 17th centuries. There was also a sport in ancient Rus called Fistfight. The sport would later resurface in England during the early 18th century in the form of bare-knuckle boxing sometimes referred to as prizefighting. The first documented account of a bare-knuckle fight in England appeared in 1681 in the London Protestant Mercury, and the first English bare-knuckle champion was James Figg in 1719. This is also the time when the word "boxing" first came to be used. It should be noted, that this earliest form of modern boxing was very different. Contests in Mr. Figg's time, in addition to fistfighting, also contained fencing and cudgeling.

Early fighting had no written rules. There were no weight divisions or round limits, and no referee. In general, it was extremely chaotic. The first boxing rules, called the Broughton's rules, were introduced by heavyweight champion Jack Broughton in 1743 to protect fighters in the ring where deaths sometimes occurred. Under these rules, if a man went down and could not continue after a count of 30 seconds, the fight was over. Hitting a downed fighter and grasping below the waist were prohibited. Broughton also invented and encouraged the use of "mufflers", a form of padded gloves, which were used in training and exhibitions. The first paper on boxing was published in the late 18th century by successful Birmingham boxer 'William Futrell' who remained undefeated until his one hour and seventeen minute fight at Smitham Bottom, Croydon, on July 9, 1788 against a much younger "Gentleman" John Jackson which was attended by the Prince of Wales.

These rules did allow the fighters an advantage not enjoyed by today's boxers: They permitted the fighter to drop to one knee to begin a 30-second count at any time. Thus a fighter realizing he was in trouble had an opportunity to recover. However, this was considered "unmanly" and was frequently disallowed by additional rules negotiated by the Seconds of the Boxers. Intentionally going down in modern boxing will cause the recovering fighter to lose points in the scoring system. Furthermore, as the contestants did not have heavy leather gloves and wristwraps to protect their hands, a certain amount of restraint was required when striking the head.

London Prize Ring rules (1838)

In 1838, the London Prize Ring rules were codified. Later revised in 1853, they stipulated the following:

Fights occurred in a 24 feet (7.3 m)-square ring surrounded by ropes.
If a fighter was knocked down, he had to rise within 30 seconds under his own power to be allowed to continue.
Biting, headbutting and hitting below the belt were declared fouls.

Through the late nineteenth century, boxing or prizefighting was primarily a sport of dubious legitimacy. Outlawed in England and much of the United States, prizefights were often held at gambling venues and broken up by police. Brawling and wrestling tactics continued, and riots at prizefights were common occurrences. Still, throughout this period, there arose some notable bare knuckle champions who developed fairly sophisticated fighting tactics.

Marquess of Queensberry rules (1867)

In 1867, the Marquess of Queensberry rules were drafted by John Chambers for amateur championships held at Lillie Bridge in London for Lightweights, Middleweights and Heavyweights. The rules were published under the patronage of the Marquess of Queensberry, whose name has always been associated with them.

There were twelve rules in all, and they specified that fights should be "a fair stand-up boxing match" in a 24-foot-square or similar ring. Rounds were three minutes long with one minute rest intervals between rounds. Each fighter was given a ten-second count if he was knocked down and wrestling was banned.

The introduction of gloves of "fair-size" also changed the nature of the bouts. An average pair of boxing gloves resembles a bloated pair of mittens and are laced up around the wrists. The gloves can be used to block an opponent's blows. As a result of their introduction, bouts became longer and more strategic with greater importance attached to defensive maneuvers such as slipping, bobbing, countering and angling. Because less defensive emphasis was placed on the use of the forearms and more on the gloves, the classical forearms outwards, torso leaning back stance of the bare knuckle boxer was modified to more modern stance in which the torso is tilted forward and the hands are held closer to the face.

The English case of R v. Coney in 1882 found that a bare-knuckle fight was an assault occasioning actual bodily harm, despite the consent of the participants. This marked the end of widespread public bare-knuckle contests in England.

The first world heavyweight champion under the Queensberry Rules was "Gentleman Jim" Corbett, who defeated John L. Sullivan in 1892 at the Pelican Athletic Club in New Orleans.

Throughout the early twentieth century, boxers struggled to achieve legitimacy, aided by the influence of promoters like Tex Rickard and the popularity of great champions from John L. Sullivan to Jack Dempsey. Shortly after this era, boxing commissions and other sanctioning bodies were established to regulate the sport and establish universally recognized champions.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Boxing History - Ancient Boxing

2010-09-17T01:36:00.000-07:00

Fist fighting depicted in Sumerian relief carvings from the 3rd millennium BC, while an ancient Egyptian relief from the 2nd millennium BC depicts both fist-fighters and spectators. Both depictions show bare-fisted contests. In 1927 Dr. E. A. Speiser, an archaeologist, discovered a Mesopotamian stone tablet in Baghdad, Iraq depicting two men getting ready for a prize fight. The tablet is believed to be 7,000 years old. The earliest evidence for fist fighting with any kind of gloves can be found on Minoan Crete (c. 1500–900 BC), and on Sardinia, if we consider the boxing statues of Prama mountains (c. 2000–1000 BC).

From Art of Ancient Greece

Ancient Greek Boxing

Homer's Iliad (ca. 675 BC) contains the first detailed account of a boxing fight (Book XXIII). According to the Iliad, Mycenaean warriors included boxing among their competitions honoring the fallen with great ceremonies (ca. 1200 BC), though it is possible that the Homeric epics reflect later culture. Another legend holds that the heroic ruler Theseus, said to have lived around the 9th century BC, invented a form of boxing in which two men sat face to face and beat each other with their fists until one of them was killed. In time, the boxers began to fight while standing and wearing gloves (with spikes) and wrappings on their arms below the elbows, although otherwise they were completely naked.

Boxing was first accepted as an Olympic sport in 688 BC, being called Pygme or Pygmachia. Participants trained on punching bags (called a korykos). Fighters wore leather straps (called himantes) over their hands, wrists, and sometimes breast, to protect them from injury. The straps left their fingers free. Legend had it that the Spartans were the first to box as a way to prepare for sword and shield fighting.

Ancient Roman Boxing

In ancient Rome, there were two forms of boxing both coming from Etruscan boxing. The athletic form of boxing remained popular throughout the Roman world. The other form of boxing was gladiatorial. Fighters were usually criminals and slaves who hoped to become champions and gain their freedom; however, free men, women, and even aristocrats also fought. Gladiators wore lead "cestae" over their knuckles and heavy leather straps on their forearms to protect against blows. The deeply scarred and cauliflower eared figure of the Boxer of Quirinal show what a brutal sport it could be (matches often ending in the death or maiming of an opponent).

Eventually, fist fighting became so popular that even emperors started fighting, and the practice was promoted by Caesar Neronis. A fight between the agile Dares and the towering Entellus is described at length in the Roman national epic Aeneid (1st century BC).

In 393 A.D., the Olympics were banned by the Christian emperor Theodosius, and in 500 A.D., boxing was banned altogether by Emperor Theodoric the Great as boxing being an insult to God because it disfigures the face, the image of God. However, this edict had little effect outside the major cities of the Eastern Empire. By this time, western Europe was no longer part of the Roman Empire. Boxing remained popular in Europe throughout the Middle Ages and beyond. Wrestling, fencing and racing (both chariot and foot) were never banned by the late Romans, as they did not cause disfigurement.

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

What is Boxing

2010-09-17T01:08:00.000-07:00

Boxing is a combat sport and martial art in which two people fight using their fists. Boxing is typically supervised by a referee engaged in during a series of one- to three-minute intervals called rounds, and boxers generally of similar weight. There are three ways to win; if the opponent is knocked out and unable to get up before the referee counts to ten seconds (a Knockout, or KO) or if the opponent is deemed too injured to continue (a Technical Knockout, or TKO). If there is no stoppage of the fight before an agreed number of rounds, a winner is determined either by the referee's decision or by judges' scorecards.

Muhammad Ali standing

Source: http://en.wikipedia.org/wiki/Boxing

MMA Pro Fighter

Steven Seagal Youtube Videos

2010-08-09T00:07:00.000-07:00

I was browsing youtube, searching for Steven Seagal and I've found some hilarious videos which I think worth sharing for a good laugh.

Steven Seagal and Jean Claude Van Damme

Steven Seagal And Chuck Norris

Steven Seagal tells a joke

Steven Seagal Letterboxing

Steven Seagal and David Carradine

I hope you've enjoy the 5 Steven Seagal youtube videos. =)

Hard To Kill

2010-08-04T13:44:00.000-07:00

While I was admiring Steven Seagal aikido, I thought of watching one of his early movies "Hard to Kill" but I don't plan to watch it alone. So, here I am, sharing the movie with you.

Here's the plot or what the movie is about.

Mason Storm (Steven Seagal) is a police detective who is investigating a mob meeting taking place by a pier. He spies on them with a video camera, and captures on tape a shadowy figure telling the other people that they can rely on his political support, emphasizing this by saying "And you can take that to the bank!" Storm is spotted, but manages to get away. Driving home, Mason informs first his partner then his friend Lt. O'Malley (Frederick Coffin) that he has evidence of corruption (unaware of another pair of cops listening in), and will be bringing the tape to them soon. He goes into a store to get drink and a teddy bear to give to his son. The store gets robbed by men, one of them shooting the clerk. Mason manages to stop them; afterwards, he goes home, intent on celebrating with his wife Felicia (Bonnie Burroughs). Before he does anything, Mason hides the tape in a small hole in his kitchen wall. When he goes upstairs, though, corrupt policemen, including Jack Axel (Boswell) and Max Quentero (Branscombe Richmond), working for the politician break in and proceed to murder Mason's wife and shoot him. Mason's young son Sonny, (Rosencrantz) manages to hide until the danger passes (at the same time, Storm's partner is shot by a masked assassin whilst seated beside his window). At the hospital, Mason is found to be alive, but in a coma. Lieutenant O'Malley informs the medics to tell people that Mason died, to prevent anyone from coming back for him later. Mason is set up by the corrupt policemen as having murdered his wife and committed suicide.

Seven years later, Mason wakes up from his coma, having spent all this time in the hospital. Andy (Kelly LeBrock), one of the two nurses monitoring him makes a phone call, which is intercepted by one of the corrupt police officers who want to see Mason dead. They send Jack Axel to the hospital to finish the job and kill the nurses whom Mason might have talked to. Mason realizes that he's still in danger, but his muscles have atrophied to where he can barely use his arms. He manages to get himself to an elevator, and when Andy sees her colleagues killed, helps Mason escape from the hospital.

Needing time to recuperate, Andy brings Mason to a friend's house, where Mason uses his knowledge of acupuncture, moxibustion and other meditation techniques to bring back his strength and train himself again. While training, Mason hears a commercial for Senator Vernon Trent (William Sadler) on television, who caps his commercial with the phrase, "And you can take that to the bank!" Recognizing the voice, Mason now knows who he has to go after to get his revenge and even mocks Trent's phrase by saying "I'm gonna take you to the bank. To the blood bank!". Mason contacts O'Malley, who comes over with some weapons for Mason. O'Malley tells Mason that his son is still alive - O'Malley took Mason's son in and raised him, sending him to a private school so that he'd be out of danger. O'Malley then leaves. However, Senator Trent's men find the house where Mason and Andy are, and attempt to kill them, but Mason manages to get them both out again.

Mason then goes back to his old house. Posing as realtors looking to see if the house is one that can be put on the market, Mason breaks through the plaster in the kitchen to get the tape he hid. Mason then goes to meet O'Malley in a train station, where O'Malley brings Mason's now teenage son. They don't see each other, because as Mason arrives, O'Malley is already dead having been shot (by Max) while providing a distraction for Sonny to get away. When Mason arrives, he sees his son running away from two of the corrupt officers (recognising one as Max, who helped murder his wife). Mason catches up, kills Max and saves his son. Mason gives the tape to Andy for safe-keeping, and decides to go after Senator Trent at his home.

At the Senator's mansion, Mason sneaks in and manages to take the Senator's men down one by one. Mason fights with Axel in the billiard room, ending with him jamming a pool stick into his jugular. Mason finally manages to confront Senator Trent, and holds him at gunpoint when the police storm the mansion. However, rather than arresting Mason, the police arrest Senator Trent and take him away. Mason is then reunited with Andy and his son, and walk off as the image from the video-tape is played, showing Trent coming out of the shadows briefly, wondering who it is that's taping him.

Watch Hard To Kill online free.

Above are 2 parts video of Hard To Kill, some of you might need to wait for the video movie to do buffering.

I hope you enjoy the "Hard To Kill" free movie online.

Article source: http://en.wikipedia.org/wiki/Hard_to_Kill

Steven Seagal Aikido

2010-08-03T22:26:00.000-07:00

When asked to relate a celebrity to Aikido, the only person I could think of is the actor and Aikido master, Steven Seagal. Some people would misspelled his name as "Steven Seagull" or "Steven Seagul" or "Steven Segal".

Born in Lansing, Michigan on April 10, 1952, Steven Seagal is a man of diverse character whose spiritual beliefs and humanity are woven into every aspect of his life. A son of a Math teacher and a Medical Technician, Steven's humble childhood was underscored by a fascination with the Martial Arts and the blues. Some would say that this is a strange combination, but ask any Martial Arts expert or blues legend and they will both tell you that it is the spirit that reaches deep within your soul that drives the artistry. Call it an obsession or a calling, Steven Seagal mastered Martial Arts at an early age, becoming a 7th degree black belt and Aikido master, while at the same time, has become an accomplished blues musician, releasing his second album in 2005, the critically acclaimed Mojo Priest.

Most of us know Steven for his roles as an action hero with an acting career that was launched from his Los Angeles Dojo in the late 80's where he taught Aikido to the likes of Sean Connery, James Coburn and the famed talent agent, Michael Ovitz. It was Mr. Ovitz who paved the way for Steven to co-write and star in his first and hugely successful action film "Above the Law" in 1988 and from there it launched a career of over 20 movies and $2 billion in box office receipts. Steven immerses himself in his work on the screen, writing, producing, directing and acting. His films include box office successes such as Hard to Kill, Marked for Death, Under Siege, Executive Decision, Glimmer Man, and Exit Wounds to name a few, all are well regarded for their storylines and fast paced action.

Today, Steven Seagal continues to put out movies, but one of the most treasured aspects of this diversely talented man is his music. He is a proficient blues artist and has honed his guitar skills, playing his music with some of the greatest blues legends to walk this earth. BB King, Bo Diddley, John Lee Hooker and his greatest influence, Clarence "Gatemouth" Brown, who recently was taken from us as a result of injuries suffered in Hurricane Katrina, are all among those who Steven has jammed with and also shares a common bond - the blues. Steven is a purist when it comes to the blues and he remains true to its roots which is evident in his latest release, "Mojo Priest", recognized as one of the best blues albums to surface in many years. Steven's first album, Songs from the Crystal Cave, was a top seller in European markets and features a combination of styles including blues, pop, jazz and reggae, with a classic harmonica solo by Mr. Stevie Wonder.

At the core of what drives Steven Seagal with all he does - his music, his Martial Arts and his acting - is his commitment to Asian philosophies and religion. As a Buddhist, Zen teacher, and healer, Steven lives by the principles that the development of the physical self is essential to protect the spiritual man. He believes that what he does in his life is about leading people into contemplation to wake them up and enlighten them in some manner. He lived and learned Japanese culture for over 15 years and his spiritual beliefs play a big role in his life. It is what has guided him to not only become a Aikido expert but, also a beloved actor, and distinguished musician. Most importantly, it is his genuine care for others that drives him to give unselfishly of his time and financial support to many charities across the world. His support of environmental causes, animal rights, children in need and HIV/AIDS efforts is undeniable and an important part of his daily schedule. Even in his acting, Steven finds a way to fuel his philanthropic side with plans to film his next movie in New Orleans as his way to help bring the City back to its former luster.

Steven Seagal is a versatile talent and an intricate human being, whose passion, selflessness, integrity and character are embodied in his work. To those that know Steven, they will tell you he is a deeply caring and giving individual who is driven to reaching the top of his game in every aspect of his life. To all of us who have enjoyed his movies, listened to his music, seen Steven Seagal Aikido expertise and learned about him as a person, we consider ourselves fortunate and are excited about what the future holds.

The above is a youtube video - a short movies compilation of Steven Seagal aikido in action.

Also, I thought you might also want to watch Anderson Silva learning some of Steven Seagal aikido moves.

Steven Seagul Official Site: http://www.stevenseagal.com

Article source: http://www.youtube.com/user/sseagalmojopriest

Aikido Uniforms and Ranking

2010-08-02T23:44:00.000-07:00

Aikido practitioners (commonly called aikidōka outside of Japan) generally progress by promotion through a series of "grades" (kyū), followed by a series of "degrees" (dan), pursuant to formal testing procedures. Most aikido organizations use only white and black belts to distinguish rank, but some use various belt colors. Testing requirements vary, so a particular rank in one organization is not always comparable or interchangeable with the rank of another. Some dojos do not allow students to take the test to obtain a dan unless they are 16 or older.

The uniform worn for practicing aikido (aikidōgi) is similar to the training uniform (keikogi) used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick ("judo-style"), and thin ("karate-style") cotton tops are used. Aikido-specific tops are also available with shorter sleeves which reach to just below the elbow.

Most aikido systems also add a pair of wide pleated black or indigo trousers called a hakama. In many styles, its use is reserved for practitioners with black belt (dan) ranks or for instructors, while others allow all practitioners or female practitioners to wear a hakama regardless of rank.

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido Criticisms

2010-08-02T22:50:00.000-07:00

The most common criticism of aikido is that it suffers from a lack of realism in training. The attacks initiated by uke (and which nage must defend against) have been criticized as being "weak," "sloppy," and "little more than caricatures of an attack." Weak attacks from uke cause a conditioned response from nage, and result in underdevelopment of the strength and conditioning needed for the safe and effective practice of both partners. To counteract this, some styles allow students to become less compliant over time but, in keeping with the core philosophies, this is after having demonstrated proficiency in being able to protect themselves and their training partners. Shodokan Aikido addresses the issue by practising in a competitive format. Such adaptations are debated between styles, with some maintaining that there is no need to adjust their methods because either the criticisms are unjustified, or that they are not training for self-defence or combat effectiveness, but spiritual, fitness or other reasons.

Another criticism is that after the end of Ueshiba's seclusion in Iwama from 1942 to the mid 1950s, he increasingly emphasized the spiritual and philosophical aspects of aikido. As a result, strikes to vital points by nage, entering (irimi) and initiation of techniques by nage, the distinction between omote (front side) and ura (back side) techniques, and the practice of weapons, were all deemphasized or eliminated from practice. Lack of training in these areas is thought to lead to an overall loss of effectiveness by some aikido practitioners.

Alternately, there are some who criticize aikido practitioners for not placing enough importance on the spiritual practices emphasized by Ueshiba. The premise of this criticism is that "O-Sensei’s aikido was not a continuation and extension of the old and has a distinct discontinuity with past martial and philosophical concepts." That is, that aikido practitioners who focus on aikido's roots in traditional jujutsu or kenjutsu are diverging from what Ueshiba taught. Such critics urge practitioners to embrace the assertion that "[Ueshiba's] transcendence to the spiritual and universal reality was the fundamentals [sic] of the paradigm that he demonstrated."

Article Source: http://en.wikipedia.org/wiki/Aikido

Aikido Multiple Attackers and Randori

2010-08-02T22:37:00.000-07:00

One feature of aikido is training to defend against multiple attackers, often called taninzudori, or taninzugake. Freestyle (randori, or jiyūwaza) practice with multiple attackers is a key part of most curricula and is required for the higher level ranks. Randori exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in randori training. For instance, an ura technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.

In Shodokan Aikido, randori differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo randori.

Injuries

In applying a technique during training, it is the responsibility of nage to prevent injury to uke by employing a speed and force of application that is commensurate with their partner's proficiency in ukemi. Injuries (especially those to the joints), when they do occur in aikido, are often the result of nage misjudging the ability of uke to receive the throw or pin.

A study of injuries in the martial arts showed that while the type of injuries varied considerably from one art to the other, the differences in overall rates of injury were much less pronounced. Soft tissue injuries are one of the most common types of injuries found within aikido although a few deaths from repetitive "shihōnage" have been reported.

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido Weapons

2010-08-02T22:19:00.000-07:00

Weapons training in aikido traditionally includes the short staff (jō), wooden sword (bokken), and knife (tantō). Today, some schools also incorporate firearm-disarming techniques. Both weapon-taking and weapon-retention are sometimes taught, to integrate armed and unarmed aspects, although some schools of aikido do not train with weapons at all. Others, such as the Iwama style of Morihiro Saito, usually spend substantial time with bokken and jō, practised under the names aiki-ken, and aiki-jō, respectively. The founder developed much of empty handed aikido from traditional sword and spear movements, so the practice of these movements is generally for the purpose of giving insight into the origin of techniques and movements, as well as vital practice of these basic building blocks.


short staff (jō)

wooden sword (bokken)

knife (tantō)

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido Basic Techniques & Implementations

2010-08-02T22:08:00.000-07:00

The following are a sample of the basic or widely practiced throws and pins. The precise terminology for some may vary between organisations and styles, so what follows are the terms used by the Aikikai Foundation. Note that despite the names of the first five techniques listed, they are not universally taught in numeric order.

* First technique (一教, ikkyō?) a control using one hand on the elbow and one hand near the wrist which leverages uke to the ground. This grip also applies pressure into the ulnar nerve at the wrist.
* Second technique (二教, nikyō?) a pronating wristlock that torques the arm and applies painful nerve pressure. (There is an adductive wristlock or Z-lock in ura version.)
* Third technique (三教, sankyō?) a rotational wristlock that directs upward-spiraling tension throughout the arm, elbow and shoulder.
* Fourth technique (四教, yonkyō?) a shoulder control similar to ikkyō, but with both hands gripping the forearm. The knuckles (from the palm side) are applied to the recipient's radial nerve against the periosteum of the forearm bone.
* Fifth technique (五教, gokyō?) visually similar to ikkyō, but with an inverted grip of the wrist, medial rotation of the arm and shoulder, and downward pressure on the elbow. Common in knife and other weapon take-aways.
* Four-direction throw (四方投げ, shihōnage?) The hand is folded back past the shoulder, locking the shoulder joint.
* Forearm return (小手返し, kotegaeshi?) a supinating wristlock-throw that stretches the extensor digitorum.
* Breath throw (呼吸投げ, kokyūnage?) a loosely used term for various types of mechanically unrelated techniques, although they generally do not use joint locks like other techniques.
* Entering throw (入身投げ, iriminage?) throws in which nage moves through the space occupied by uke. The classic form superficially resembles a "clothesline" technique.
* Heaven-and-earth throw (天地投げ, tenchinage?) beginning with ryōte-dori; moving forward, nage sweeps one hand low ("earth") and the other high ("heaven"), which unbalances uke so that he or she easily topples over.
* Hip throw (腰投げ, koshinage?) aikido's version of the hip throw. Nage drops his or her hips lower than those of uke, then flips uke over the resultant fulcrum.
* Figure-ten throw (十字投げ, jūjinage?) or figure-ten entanglement (十字絡み, jūjigarami?) a throw that locks the arms against each other (The kanji for "10" is a cross-shape: 十).
* Rotary throw (回転投げ, kaitennage?) nage sweeps the arm back until it locks the shoulder joint, then uses forward pressure to throw.

Implementations

Aikido makes use of body movement (tai sabaki) to blend with uke. For example, an "entering" (irimi) technique consists of movements inward towards uke, while a "turning" (転換, tenkan?) technique uses a pivoting motion. Additionally, an "inside" (内, uchi?) technique takes place in front of uke, whereas an "outside" (外, soto?) technique takes place to his side; a "front" (表, omote?) technique is applied with motion to the front of uke, and a "rear" (裏, ura?) version is applied with motion towards the rear of uke, usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (seiza). Techniques where both uke and nage are sitting are called suwari-waza, and techniques performed with uke standing and nage sitting are called hanmi handachi.

Thus, from fewer than twenty basic techniques, there are thousands of possible implementations. For instance, ikkyō can be applied to an opponent moving forward with a strike (perhaps with an ura type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an omote-waza version). Specific aikido kata are typically referred to with the formula "attack-technique(-modifier)". For instance, katate-dori ikkyō refers to any ikkyō technique executed when uke is holding one wrist. This could be further specified as katate-dori ikkyō omote, referring to any forward-moving ikkyō technique from that grab.

Atemi (当て身) are strikes (or feints) employed during an aikido technique. Some view atemi as attacks against "vital points" meant to cause damage in and of themselves. For instance, Gōzō Shioda described using atemi in a brawl to quickly down a gang's leader. Others consider atemi, especially to the face, to be methods of distraction meant to enable other techniques. A strike, whether or not it is blocked, can startle the target and break his or her concentration. The target may also become unbalanced in attempting to avoid the blow, for example by jerking the head back, which may allow for an easier throw. Many sayings about atemi are attributed to Morihei Ueshiba, who considered them an essential element of technique.

Article Source: http://en.wikipedia.org/wiki/Aikido

Aikido Techniques

2010-08-02T21:58:00.000-07:00

Initial attacks

Aikido techniques are usually a defense against an attack; therefore, to practice aikido with their partner, students must learn to deliver various types of attacks. Although attacks are not studied as thoroughly as in striking-based arts, "honest" attacks (a strong strike or an immobilizing grab) are needed to study correct and effective application of technique.

Many of the strikes (打ち, uchi?) of aikido are often said to resemble cuts from a sword or other grasped object, which indicates its origins in techniques intended for armed combat. Other techniques, which appear to explicitly be punches (tsuki), are also practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan. Some basic strikes include:

* Front-of-the-head strike (正面打ち, shōmen'uchi?) a vertical knifehand strike to the head. In training, this is usually directed at the forehead or the crown for safety, but more dangerous versions of this attack target the bridge of the nose and the maxillary sinus.
* Side-of-the-head strike (横面打ち, yokomen'uchi?) a diagonal knifehand strike to the side of the head or neck.
* Chest thrust (胸突き, mune-tsuki?) a punch to the torso. Specific targets include the chest, abdomen, and solar plexus. Same as "middle-level thrust" (中段突き, chūdan-tsuki?), and "direct thrust" (直突き, choku-tsuki?).
* Face thrust (顔面突き, ganmen-tsuki?) a punch to the face. Same as "upper-level thrust" (上段突き, jōdan-tsuki?).

Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and lines of force of a hold than a strike. Some grabs are historically derived from being held while trying to draw a weapon; a technique could then be used to free oneself and immobilize or strike the attacker who is grabbing the defender. The following are examples of some basic grabs:

* Single-hand grab (片手取り, katate-dori?) one hand grabs one wrist.
* Both-hands grab (諸手取り, morote-dori?) both hands grab one wrist.
* Both-hands grab (両手取り, ryōte-dori?) both hands grab both wrists. Same as "double single-handed grab" (両片手取り, ryōkatate-dori?).
* Shoulder grab (肩取り, kata-dori?) a shoulder grab. "Both-shoulders-grab" is ryōkata-dori (両肩取り?)
* Chest grab (胸取り, mune-dori or muna-dori?) grabbing the (clothing of the) chest. Same as "collar grab" (襟取り, eri-dori?).

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido Training

2010-08-02T21:49:00.000-07:00

In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques. Because a substantial portion of any aikido curriculum consists of throws, the first thing most students learn is how to safely fall or roll. The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and in certain styles, techniques with weapons.

Fitness

Physical training goals pursued in conjunction with aikido include controlled relaxation, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner.

Certain anaerobic fitness activities, such as weight training, emphasize contracting movements. In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, and power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dojos begin each class with warm-up exercises (準備体操, junbi taisō?), which may include stretching and break falls.

Roles of uke and tori

Aikido training is based primarily on two partners practicing pre-arranged forms (kata) rather than freestyle practice. The basic pattern is for the receiver of the technique (uke) to initiate an attack against the person who applies the technique - the 取り tori, or shite 仕手, (depending on aikido style) also referred to as (投げ nage (when applying a throwing technique), who neutralises this attack with an aikido technique.

Both halves of the technique, that of uke and that of nage, are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. Nage learns to blend with and control attacking energy, while uke learns to become calm and flexible in the disadvantageous, off-balance positions in which nage places them. This "receiving" of the technique is called ukemi. Uke continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while nage uses position and timing to keep uke off-balance and vulnerable. In more advanced training, uke will sometimes apply reversal techniques (返し技, kaeshi-waza?) to regain balance and pin or throw nage.

Ukemi (受身?) refers to the act of receiving a technique. Good ukemi involves a parry or breakfall that is used to avoid pain or injury, such as joint dislocations.

Mental training

Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. This is necessary to enable the practitioner to perform the bold enter-and-blend movements that underlie aikido techniques, wherein an attack is met with confidence and directness. Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation. As a martial art concerned not only with fighting proficiency but also with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido History

2010-08-02T21:06:00.000-07:00

Morihei Ueshiba

Aikido was created by Morihei Ueshiba (植芝盛平 Ueshiba Morihei, 14 December 1883–26 April 1969), referred to by some aikido practitioners as Ōsensei ("Great Teacher"). Ueshiba envisioned aikido not only as the synthesis of his martial training, but also an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the koryū (old-style martial arts) that Ueshiba studied into a wide variety of expressions by martial artists throughout the world.

Initial development

Takeda Sokaku

Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied. The core martial art from which aikido derives is Daitō-ryū aiki-jūjutsu, which Ueshiba studied directly with Takeda Sokaku, the reviver of that art. Additionally, Ueshiba is known to have studied Tenjin Shin'yō-ryū with Tozawa Tokusaburō in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu in Sakai from 1903 to 1908, and judo with Kiyoichi Takagi (高木喜代子 Takagi Kiyoichi, 1894–1972) in Tanabe in 1911.[8]

The art of Daitō-ryū is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (yari), short staff (jō), and perhaps the bayonet (銃剣, jūken?). However, aikido derives much of its technical structure from the art of swordsmanship (kenjutsu).

Ueshiba moved to Hokkaidō in 1912, and began studying under Takeda Sokaku in 1915. His official association with Daitō-ryū continued until 1937. However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the Daitō-ryū. At that time Ueshiba was referring to his martial art as "Aiki Budō". It is unclear exactly when Ueshiba began using the name "aikido", but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society (Dai Nippon Butoku Kai) was engaged in a government sponsored reorganization and centralization of Japanese martial arts.

Religious Influences

Onisaburo Deguchi

After Ueshiba left Hokkaidō in 1919, he met and was profoundly influenced by Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe. One of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one's life. This was a great influence on Ueshiba's martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker.

In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of this exposure, he was able to attract not only financial backing but also gifted students. Several of these students would found their own styles of aikido.

International Dissemination

Aikido was first brought to the rest of the world in 1951 by Minoru Mochizuki with a visit to France where he introduced aikido techniques to judo students. He was followed by Tadashi Abe in 1952 who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki toured with a delegation of various martial arts through fifteen continental states of the United States in 1953. Later in that year, Koichi Tohei was sent by Aikikai Hombu to Hawaii, for a full year, where he set up several dojo. This was followed up by several further visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964; Germany and Australia in 1965. Designated "Official Delegate for Europe and Africa" by Morihei Ueshiba, Masamichi Noro arrived in France in September 1961. Today there are aikido dojo available throughout the world.

Proliferation of Independent Organizations

The biggest aikido organisation is the Aikikai Foundation which remains under the control of the Ueshiba family. However, aikido has many styles, mostly formed by Morihei Ueshiba's major students.

The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in 1931, Yoshinkan Aikido founded by Gozo Shioda in 1955, and Shodokan Aikido, founded by Kenji Tomiki in 1967. The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.

After Ueshiba's death in 1969, two more major styles emerged. Significant controversy arose with the departure of the Aikikai Hombu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba , who at that time headed the Aikikai Foundation. The disagreement was over the proper role of ki development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization which governs it, the Ki Society (Ki no Kenkyūkai).

A final major style evolved from Ueshiba's retirement in Iwama, Ibaraki, and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama style", and at one point a number of its followers formed a loose network of schools they called Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito's death in 2002, followers of Saito subsequently split into two groups; one remaining with the Aikikai and the other forming the independent organization the Shinshin Aikishuren Kai, in 2004 around Saito's son Hitohiro Saito.

Today, the major styles of aikido are each run by a separate governing organization, have their own headquarters (本部道場, honbu dōjō?) in Japan, and have an international breadth.

Article source: http://en.wikipedia.org/wiki/Aikido

Aikido Etymology and Basic Philosophy

2010-08-02T20:38:00.000-07:00

The word "aikido" is formed of three kanji:

* 合 - ai - joining, unifying, combining, fit
* 気 - ki - spirit, energy, mood, morale
* 道 - dō - way, path

The term 'aiki' does not readily appear in the Japanese language outside the scope of Budo. This has led to many possible interpretations of the word. 合　is mainly used in compounds to mean 'combine, unite, join together, meet' examples being 合同(combined/united)　合成(composition)　結合(unite/combine/join together)　連合(union/alliance/association)　統合(combine/unify)　合意(mutual agreement). As well as an idea of reciprocity,　知り合う(to get to know one another)　話し合い(talk/discussion/negotiation) 待ち合わせる(meet by appointment).

気　is often used as a feeling as in 気がする('I feel', as in terms of thinking but with less cognitive reasoning) 気持ち(feeling/sensation) 気分(mood/morale). Also Energy or force.　電気(electricity) 磁気 (magnetism).

The term dō connects the practice of aikido with the philosophical concept of Tao, which can be found in martial arts such as judo and kendo, and in the more peaceful arts such as Japanese calligraphy (shodō), flower arranging (kadō) and tea ceremony (chadō or sadō).

Therefore from a purely linguistic point of view, we could say Aikido is 'Way of combining forces'. The term aiki refers to the martial arts principle or tactic of blending with an attacker's movements for the purpose of controlling their actions with minimal effort. One applies aiki by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique. This then is very similar to the principles expressed by Kano Jigoro, when he founded Judo.

Article Source: http://en.wikipedia.org/wiki/Aikido

What is Aikido?

2010-08-02T20:32:00.000-07:00

Aikido (合気道, aikidō?) is a Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. Aikido is often translated as "the Way of unifying (with) life energy" or as "the Way of harmonious spirit." Ueshiba's goal was to create an art that practitioners could use to defend themselves while also protecting their attacker from injury.

Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather than opposing it head-on. This requires very little physical strength, as the aikidōka (aikido practitioner) "leads" the attacker's momentum using entering and turning movements. The techniques are completed with various throws or joint locks. Aikido can be categorized under the general umbrella of grappling arts.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba's involvement with the Ōmoto-kyō religion. Ueshiba's early students' documents bear the term aiki-jūjutsu. Many of Ueshiba's senior students have different approaches to aikido, depending on when they studied with him. Today aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques learned from Ueshiba and most have concern for the well-being of the attacker.

Ki

The study of ki is a critical component of aikido, and its study defies categorization as either "physical" or "mental" training, as it encompasses both. The original kanji for ki was 氣 (shown below), and is a symbolic representation of a lid covering a pot full of rice; the "nourishing vapors" contained within are ki.

The character for ki is used in everyday Japanese terms, such as "health" (元気, genki?), or "shyness" (内気, uchiki?). Ki is most often understood as unified physical and mental intention, however in traditional martial arts it is often discussed as "life energy". Gōzō Shioda's Yoshinkan Aikido, considered one of the "hard styles," largely follows Ueshiba's teachings from before World War II, and surmises that the secret to ki lies in timing and the application of the whole body's strength to a single point. In later years, Ueshiba's application of ki in aikido took on a softer, more gentle feel. This was his Takemusu Aiki and many of his later students teach about ki from this perspective. Koichi Tohei's Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of ki with students ranked separately in aikido techniques and ki development.

Article source: http://en.wikipedia.org/wiki/Aikido