[Muhammad Ali]
Saturday, April 28, 2012
Thursday, April 26, 2012
***Wu Shu කලාව බිහි වීම***
ඔන්න ඉතින් කට්ටිය දන්නවනේ චීනය කිව්වාම සටන් කලාව අතින් ගොඩක් උනන්දු, දියුණු රටක් වගේම Shaolin
ආරාමයේ නිජබිම කියලා.
ඉතින් චීනය ඔය ආකාරයට සටන් කල ගණනාවකට උරුමකම් කියන අතර එක් "දරුණු අත් පහරවල්" සටන් කලවකටද උරුමකම්
ද කිව්වා. චීනයට සමාජවාදය ඇතිවීමත් සමග මෙම සටන් කලාව එවකට තහනම් කරනු ලැබුවා. පවුලේ උදවියට රහසින් ඉගැන්වූ මෙම කලාව
පසුව "ටිබෙටය, තායි ලන්තය , ජපානය....., වැනි ආසියාතික රටවල් කර පැතිර ගියා.
එම රටවල් වලදී මෙම කලාව රහසේ ඉගැන්වූ නමුත් පසුව මෙම කලාව පා පහරවල් වලින් හා පිනුම් කලාවෙන් ද මෙය දියුණු වන්නට ගත්තා.
පසුව තම මව් රට වන චීන දේශය කරා පැමිණෙන මෙම පැරණි අත් කලාව ''Acrobatic Martial Arts" නැතහොත් "Wu Shu"
නමින් නම් කරන ලදී. එවකට සිටි සටන් කල කරැවන්ගේ මතය වුයේ "චීනයෙන් ගිය සටන් කලාවද මෙ නැවත පැමිණ තිබෙන්නේ"
මන්ද එය එතරමටම දියුණු වී ඇති බැවිනි.
have deep inside them a desire, a dream, a vision. They have to have the skill
and the will. But the will must be stronger than the skill.”
[Muhammad Ali]
"වීරයන් බිහිවන්නේ පුහුණු කඳවුරුවලින් නොවේ...
වීරයන් බිහි වන්නේ ඔවුන්ගේ දිනන්නට ඇති දැඩි ආශාවෙනි...
ඔවුන් දකිනා සිහිනයන්ගෙනි......
දිනන්නට තනාගන්නා මාවතෙනි...
ඒ සියල්ල හැකියාව හා එක්වන තැන බිහි වන්නේ සැබෑ වීරයෙකි."
[මුහම්මඩ් අලී]
Tuesday, April 24, 2012
බෲස් ජුන් ෆෑන් ලී
"පහසු ජිවිතයක් ප්‍රාර්ථනා නොකරන්න, කටුක ජීවිතයකට මුහුණ දීමට අවශ්‍ය ශක්තිය ප්‍රාර්ථනා කරන්න."
බෲස් ජුන් ෆෑන් ලී
බෲස් ජුන් ෆෑන් ලී
Kung Fu [Wing Chun & Jeet Kune Do
Thursday, May 3, 2012
3:00pm until 9:00pm
Mt.Lavinia Colombo (Sri Lanka)
No, 6/14, Vidyala Rd, off Templers Rd, Mt.Lavinia
Special advisory guidance through 26 years of experience
DEEPIK KARIYAWASAM (M of A, M of C, S of P)
Contact-0777268193
ALL ARTS ARE WELCOME!
[The Way Of The Intercepting Fist]
[The Way Of The Intercepting Fist]
Bruce Lee developed an art that was particular to him and he called it Jee-Kune-Do [Soul Of The Art]
Translated Jeet-Kune-Do means "The Way Of The Intercepting Fist"
and has as it's symbolic representation what we call Bruce Lee's Core symbol The Chinese characters
around the symbol and the core philosophical tenet behind Jee-Kune-Do translate to "Using no way, having no limitation
as limitation". The term Jeet-Kune-Do was coined around 1967 by Bruce Lee in an attempt to put a name to his
expression of his martial way. Lee wrestled with putting a name to his art as he constantly veered away from any type
of crytallization of its essence, however, the simple need to refer to it in some concrete way won
out and Jeet-Kune-Do was born.
The idea of intercepting is key to Jeet-Kune-Do, whether
it be the interception behind Jeet-Kune-Do are
1. Directness
2. Simplicity
3. Non-classical form or the form of no form
The techniques and the philosophies of Jeet-Kune-Do apply to real life situations
and real combat. Jeet-Kune-Do consists of physical
techniques and applied philosophies and requires the practitioner
to train him or herself to their most combat ready state so that when faced with a particular
situation, the tools needed are readily available.
Reference By- www.brucelee.com
Dim Mak
Dim Mak is a traditional Chinese word for death touch.
Description: Dim Mak - the art of lesion pain points and nerve centers. The film shows in detail the location and methods of influence on the pain point for quick neutralization of the opponent. The film shows in detail the location and methods of influence on the pain point for quick neutralization of the opponent.
The Art of the nerve centers. The Art of the nerve centers. This term in Cantonese means the same thing as "Chien-Hsueh" in the dialect of Beijing.
There are three classes of acupressure, as described in the Chinese methodology - the so-called Dim Ching, Dim Hsueh and Dim Mak. About Dim Mak many of you know from movies or produced in our brochures. However, what is known under this name could not be studied as "Dim Mak - the art of slow death." However.
Dim Mak, The Art of the nerve centers. This term in Cantonese means the same thing as "Chien-Hsueh" in the dialect of Beijing.
There are three classes of acupressure, as described in the Chinese methodology - the so-called Dim Ching, Dim Hsueh and Dim Mak. About Dim Mak many of you know from movies or produced in our brochures. However, what is known under this name could not be studied as "Dim Mak - the art of slow death."
Dim Mak virtually unattainable without the master Dim Hsueh, and above all - Dim Ching. The impact of class Dim Ching - the most easy to reach and most reliable - make up approximately 80% of acupressure. Field activities Dim Ching - the structural weaknesses of the human design, closely spaced to the surface of the ganglia, tendons and joints.
Dim Hsueh attacks the blood and lymph vessels, airways, the vital organs. Breaking the blood supply to the heart muscle can cause the heart to stop. Kick in the groin, spleen, liver, stomach, causing the overall fit of weakness. Nausea, loss of coordination are cutting people down.The consequences of an attack Dim Hsueh much more difficult because of the energy balance can not align a few years, if ever, but the right to hit these points is much harder than the point Dim Ching.
The impact of class Dim Hsueh use by approximately 15-17% of known vulnerabilities. The crowning point of impact is Dim Mak, which uses the energy channels and inputs person - but to reach this level very, very difficult, but simply "fatten" not impossible.
For self-sufficient Dim Ching. A person who has mastered Dim Mak probably never use it, as has already got rid of the need to fight, and carry their knowledge to the grave, since virtually impossible to pass anyone had experience of personal experiences of oneness with the cosmos. Of course, there is a common technique to achieve this level, but everyone. master performs their own way: The smallest error, and the reception does not work, and even turn against the very fighter. Dim Mak - the "atomic bomb" Wushu: it is not always advantageous to use. As for the slow death - who now need it?
location and methods of influence on the pain point for quick neutralization of the opponent.
Reference By : http://martial-arts-wisdom.blogspot.com/2010/12/dim-mak-art-of-nerve-centers-2010.html
By [Sifu Tony Massengill]
https://www.facebook.com/
Normally when the terms “Bait and Switch, and New and Used” are mentioned, we think of car lots, not Martial Arts. But these terms not only apply to Martial Arts, they can be appropriately used in reference to the man who is perhaps the greatest Martial Artist of our time, Bruce Lee. Of course we will need to change the spelling of the word new, to knew, because we will be discussing what Bruce actually “knew and used”, compared to what he “knew and taught”. This is where the terms Bait and Switch will come into play.
Bruce Lee arrived in the United States at the age of eighteen. He had no real job skills and very little money. Aside from his training in Kung Fu, he had very little he could do. So consequently he began teaching Kung Fu. Bruce’s only formal training had been in Wing Chun Kung Fu. There has been a lot written over the years about the numerous systems from which Bruce created Jeet Kuen Do, many of these claims from J.K.D. instructors who have added to what Bruce had taught, and are attempting to sell what they are teaching as what Bruce taught. It has been acknowledged by Linda Lee, Bruce’s widow, that Bruce’s only formal teacher was Wing Chun Grandmaster Ip Man.
Bruce Lee was a very intelligent Martial Artist, and an excellent Martial Art researcher, but the foundation on which Bruce built his personal expression of the fighting arts was Wing Chun. It is physically impossible for a building to be any stronger than its foundation. Bruce realized this, and used Wing Chun as the Foundation on which his life's work would be built.
J.K.D. it has been said, is hard to define. In fact it has been so hard to define, that factions have formed within the ranks of those claiming to represent Bruce Lees “creation”. Even with all of the confusion , among those recognized as experts in J.K.D., one thing can not be disputed. That fact is that Wing Chun was the foundation upon which Bruce Lee learned to view the world of fighting methods. His training in Wing Chun influenced every phase of his development as a fighter. Ask yourself these questions. What made Bruce Lee stand out as different from all of the other Martial Artist in the 1960’s? What brought people like Kenpo Black Belt, Dan Inosanto, and Heavy Weight Karate Champion Joe Lewis to his doorstep? Was it that he was teaching techniques such as Jab, Cross, Hook, and Uppercut, or was it his unique kicking methods such as roundhouse, side, hook, and back kick? The answer is NO. Everybody had those weapons at their disposal. The thing that set Bruce Lee apart from every other Martial Artist in the U.S. at that time was Wing Chun. No one else in the U.S. had knowledge of the Wing Chun system. What made Bruce Lee different was things like Chi Sau (Sticky Hands), the Wing Chun
principle of simultaneous defense and attack, The Wing Chun principle of Jeet (Intercepting) techniques. These were the things that made people who were already experts in other fighting methods seek Bruce Lee out.
When Bruce Lee first began teaching, he was teaching what he knew of Wing Chun. Because he hadn’t completed his Wing Chun training before leaving Hong Kong, and because his teacher Ip (Yip) Man refused to allow the teaching of Wing Chun outside of the Chinese people, as was tradition, Bruce called what he taught Jun Fan Gung Fu. Lee Jun Fan was Bruce’s Chinese name. At that time Bruce taught a rather pure form of Wing Chun. In later years his teaching moved away from the Wing Chun and into a direction that more resembled a Kick-Boxing style. There has been much speculation as to why he made these changes. There are two events, which clearly indicate Bruce’s reason for removing Wing Chun from what he taught his students. The first was recorded by James DeMile, who was an early student of Bruce’s. His recollection of that event was this:
This is an excerpt from a letter from James W. DeMile to the editor and staff of Inside Kung Fu, and Hawkins Cheung. The latter who had a series of articles published on Bruce and JKD, to which resulted in the following reply.
“What Sifu Cheung did not feel when he touched hands with Bruce's second- and third-generation students is some key elements that Bruce left out in his later teaching. Bruce made a statement to me that made everything clear as to why he changed certain aspects of his teaching. Jessie Glover, Bruce's first student and probably the best fighter in our group, and I were visiting Bruce when he was teaching a Jun Fan class in a Chinatown basement (Oakland). We noted that Bruce was teaching some things that seemed incomplete. We asked Bruce about this and he said, “Why should I teach someone to beat me?”
It was true. Why should he spend all his time developing his personal style and then give it away to someone else who might one day challenge him.“
The second event was recorded in an interview with Dan Inosanto that was conducted by Black Belt Magazine.
Bruce Lee with his top student, and personal training partner, Dan Inosanto
From Black Belt Magazine August 1995 p42-44
BB: Were there certain topics you learned from Lee, but couldn't impart to other students?
INOSANTO: There were 13 things I could teach on the classical list, and that was it. He used to say that under no circumstances could I teach double pak sao(slap block). Pak Sao bil jee (slap block/finger jab) and pak sao lop sao (slap block/grabbing hand) were big big secrets. He was the head man, so I kept it exactly the way he wanted me to teach it.
NOTE:The restricted techniques were all PURE Wing Chun.
These two events clearly indicate that Bruce Lee made a conscious decision to discontinue the teaching of Wing Chun to his students, not because, as some have claimed, that the techniques and methods of Wing Chun were inefficient, but because he realized that Wing Chun was the thing that set him apart from everyone else. Indeed, Bruce realized that if all things are equal, such as knowledge, skill, and ability, then size and strength become a major factor. But if there is a significant difference in knowledge and skill, then size and strength can easily be overcome. If Bruce had taught students such as Joe Lewis, recognized by many as the most skillful and powerful Karate fighter of all time, all that he knew, then at 145 lbs, Bruce would have been at his mercy. In China, Bruce Lee was of average size, but in the U.S., most of the Martial Artist that he came into contact with were much bigger, so secrecy became a necessity for survival. Thus began the Bait and Switch.
Bruce Lee commanded everyone’s attention because what he was doing was so much different than the Martial Art systems that were then being taught in America. This brought people to Bruce’s door. Bruce somehow was successful in bringing people in with his personal method of fighting (Wing Chun), and then teaching these people something entirely different.
If the above isn’t enough to evidence that Lee never really moved away from Wing Chun in his personal fighting method, lets look at one last piece of evidence.
The 25 anniversary edition of Bruce Lee’s Martial Arts epic “Enter The Dragon” contains some scenes which were unfortunately deleted from the original theatrical version. In it there is a scene at the beginning, right after the fight with Sammo Hung, where Lee is walking in the garden with his teacher. The teacher is questioning Lee about his thoughts on the Martial Arts. He asks “What is the highest form of technique”? Bruce Lee answers “To have no technique”. The teacher asks him to explain. Bruce explains “A fight is like play, only played seriously. When the opponent expands, I contract. When he contracts, I expand. And when there is an opportunity, I don’t hit….It hits all by itself!”
Now lets look at an excerpt from the book “The Tao of Gung Fu – a study in the way of Chinese Martial Art” by Bruce Lee. The is a book published by Tuttle Press as part of it’s Bruce
Lee Library. This is a book that Bruce Lee wrote and intended to publish in 1965. Unfortunately it was never published during his lifetime. The book is primarily Bruce Lee’s writings on Wing Chun. On pages 72 - 73, under the subheading “Close-Range Gung Fu – The Sticking hands Method of Wing Chun” Lee writes “Chi Sao is a flowing energy exercise in which we attach our hands to the opponent’s hands and forget ourselves by following the movements of his hands, leaving our mind free to make its own counter-movement without deliberation. When the opponent expands, we contract, when he contracts, we expand – to fit our movements harmoniously into his attack without anticipating or rushing the action, but simply continuing the flow.
Note that in Bruce Lee’s last movie, in an exchange in which he is explaining his idea of the highest form of technique, he is using the exact same wording he used back in 1964 to explain Wing Chun’s Chi Sao!
I think this along with the above two examples builds a very compelling case that Bruce Lee never abandoned Wing Chun, but instead decided to keep his Wing Chun to himself as his personal “Secret Weapon”.
“Be like water. making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way around or through it. If nothing within you stays rigid, outward things will disclose themselves. Empty your mind, be formless. Shapeless, like water. If you put water into a cup, it becomes the cup. You put water into a bottle and it becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or it can crash. Be water, my friend.”
Sijo Bruce Jun Fan Lee
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