Tong Leong  • Tzee Wai Kuen Kendo • IAIDO • Karate-DO macaco preto Slideshows



Tong Leong

   The general philosophy of Tong Leong should not be based on fighting, but rather understanding how to win. Only fight when pictureyou can win. Always put yourself in a winning position and then you do not have to fight. This means that  with the  ability comes the knowledge. With the knowledge and the training, you already have the  skills and know  what to do. You do not have to prove it to the masses you already  understand it  physically. So why flaunt  it? Why not share this knowledge. The Tong Leong  Martial Arts true  philosophy is to share the  knowledge  that you have learned from your  instructor. The philosophy,  therefore, is first of all to respect  one's self. If  you respect  yourself, you will feel comfortable with  yourself and you will be able to respect  other  people. If  you don't value yourself you cannot value  anybody. If you are secure with yourself,  you  will  be confident  with others. If you don't trust yourself,  then you cannot trust anyone  else. Athletes are  not  born they are  created by hard work, endurance  and perseverance.  We work hard to achieve  something  with the  understanding that you cannot get anything  without effort. The common phrase is:  Something for nothing is worth nothing. You have to work for your achievements. Everything becomes a trade off as strive to achieve the goals you have set for our life. To be succesful in Tong leong you must master the:

Terminology
The Line
Techniques

Katas
Fighting



Tzee Wai Kuen

   The Tzee Wai Kuen system is one of the most sophisticated procedures for self defense and offensive  Tzee Wai Kuen is based on physics,pressure points and how to apply these techniques in a  defensiveposture within the human  body.  Tzee Wai Kuen teaches the student to recognize aggression  and  defuse this  behavior.  The  techniques that are used in Tzee Wai Kuen are base on techniques,  that  were  developed  thousands  of  years ago by the ancient Chinese philosophers  and Buddhist monks  observed   the,  birds, insects,  and  fish to see how they reacted  to the various types aggression, and  situations  This  created a  series of  defense  moves to counter aggressive actions.

   In this development  Tzee  Wai Kuen was  broadened, and as the system progress  other  movements  were incorporated. In  the process new  techniques were employed  and new  movements employing  natural farm  implements  such as the staff,  sickle,  hoe and other farm  tools.  Farm equipment that were  use in  the daily work  separate chaff from rice,  barley, corn,  wheat.  These farm implements were used  as  a defensive tools  against acts of aggression, as  the  various systems were developed. They began  to incorporate armaments and implements  of the  military as well. Thru the years of training  the  various  systems were developed, and the  procedures were given names.To define this  methodology,  the  procedure was to identify with  the  masters who taught the various concepts ,as  these  methods were  develop their were  given names that identified with the style, example  Dragon , Eagle,  Eagle Claw ,  Tiger,  Mantis [Eighteen Branches,] Bear, Snake , Harmonious Fist, the order of the Red  Turban, the  order of the  Purple Turban, White Eye Brow, White Crane, Monkey, Tzee Wai Kuen, Yin  Yang, White Lotus, these are  but a few of the styles of the Chinese Martial arts that were developed in  China and the providences as  well as the surrounding areas of China. An as the styles developed other  countries were developing their  own systematization as well.         
                 

Available Instructors:
Grand Master Agrella
Master PING CHI
Master MOPEN
Master Kuo T'ai


IAI-DO

   The martial art of IAI-DO demands patience and fortitude.To study bushido the student first has to committed them selves body and mind, and to put all physical attractions or mental thoughts from their person .To study this great art demands total commitment , this will take a special person who is ready for whole obligation of ones self, and as you become exposed to the ancient art of IAI-DO your whole out look on life will change, you will not only become a better person but a more understanding human being. To be able to practice the same movements over and over again and to strive for perfection , and each day you practice you become more enlighten with the proficiency of IAI-DO- and the benefits that you received from this ancient art, Are in its self rewarding. I mean the inspiration, that as an individual you receive from this ancient art, as you begin to put into the practice the martial art of IAI-DO. IAI-DO is a modern non combative discipline that stems from martial practices out of Japan’s historic past. The exponents of combative prototypes forms of Japanese swordsmanship are seen to have been extremely vigorous men in each period of Japanese history.

   They were men whose thoughts and actions give us a penetrating insight into the enduring cultural forces that have the have  molded the nature of Japanese thought, dictated the strict regulations concerning social conduct,  set standards of  aesthetic taste, developed a stern and conservative philosophy of life, and  eventually  brought  the  leaders in the political time frame of the Tokugawa han [defense] to great  heights as well  as to  miserable depths of despair. Nonetheless striking is the realization  that  today , in  modern  Japan, there are hundreds of thousands of person s of both sexes  and in a  wide  range of age  levels who make IAI-DO an important part of their daily lives.

 Many of these people are as vigorous as were the counterparts in earlier ages, and a  considerable number of the modern exponents of IAI-DO are important leaders of  Japanese  educational programs and of business and industrial enterprises, or they are  prominent  figures in  Japans numerous social, religious , economic, and political  organizations. Thus  there can be no  valid augment against the fact that a comprehensive  study of IAI-DO will  afford us a realistic  contact with large segments of Japanese history  and, moreover , that this  study will be  substantially educational not only with respect to  many facets of life in pre-Meijj  Japan but in turn  in modern age as well. Historian John  Whitney Hall notes that most of the  difficulty In arriving at  an understanding of Japanese  history is due to attempts to explain  things in terms of western  preconceptions. As an  alternative , Hall suggests; If the Western  observer could but shift his view  point and  accept Japanese history on its terms, taking explanations from the content of  Japanese  culture and from the value system of the Japanese people themselves , the results would  be quite  different, and certainty more comprehensible. The student will of necessity be  require to  familiarize himself with a rich new technical vocabulary of words and concepts that are peculiar to  the art of Japanese’s swordsmanship. Unless this is done, there I little hope of his gaining a genuine intimacy with the subject. It is true that classical combative swordsmanship in Japan was originally taught to protect the individual warrior so that he could better defend a specific nexus .Martial strength is obvious implied by a man armed with a sword, but he use of the word for wanton destruction has always been genuinely discourage. The sword is to be use only in the spirit of goku taihei; To defend the great peace. But their is much more to the art than the physical act of bring the sword into a combative use. The master teachers of swordsmanship, in all age of Japanese history, have consistently pointed to the need for the swordsmen to developed his mind as well as his technique with the blade. Even if the use of the sword is restricted to its practical combative applications, this mind concept urges that the sword must not be used in anger but rather in the furtherance of a sense of enduring loyalty and duty in the service of a superior.

KEN WA HITO NARI the sword is a person,
IAIDO CONSIST OF FOUR MOVEMENTS
NUKITSOKE DRAW
KIRITSUKE CUTTING MOVEMENT
CHIURI REMOVING THE BLOOD FROM THE SWORD
NOTO RETURN OF THE SWORD TO THE SAYA OR SCABBARD
MUSHIN NO-MIND-NESS,OR NO THOUGHT NESS WHEN DOING THE ART OF IAIDO TO CLEAR THE MIND.
       To reach this elevated position in its self is enriching and as each day passes by a new learning experience is encounter. The concept of IAI-DO has been passed down from one generation to the next generation as each master taught their concept of IAI-DO as it was taught to them. You as a student can if all possible be taught some of these procedures. First of all the student has to be able to understand that patience and perseverance is the primary achievement in learning this ancient art. This martial art is not for every one, if the student looking for instance results ,them this ancient art is not for them.

        There are no short cuts, because of are western life style we would like to learn every thing about life in the shortest time possible, with that type of attitude you as a student would misspend your time. there is an very old saying. Rome was not built in a day, IAI-DO is the threshold of beginning to learn about your self, the more you are exposed to this ancient art,  the more that you will discover about who you are. I personally have been in the martial  since I   was ten  years old and every day I learn some thing new about myself as well as the  martial   arts, I look forward  to each day as a learning experience. I personally will never  stop learning.   IAI-DO has been great  enlightening experience for me. When working with  the katana. The   katana and you become one  because the body and sword became an  extension of your body   with no separation, this takes time to  learn as well to experience  this great movement. When you do not separate the two. You are at the beginning of  threshold of IAI DO. In the   art of IAI  DO movement becomes second nature, like breathing  every day you are not aware  of  your breathing,  this is the natural feeling of IAI DO when  each movement becomes normal  with  no thought process, at  this point in your life you will  begin to experience the true meaning  of IAI  DO as you gain the  knowledge of this martial  art. IAIDO is not for every one, if you are  looking  for instant results, then this  is not for you ,  do not waste your time.
            Again there are no  short  cuts.Time is of no importance ,IAI-DO  is timeless if you as  a student want to learn, then  you will  find the time to spent learning IAI-DO.  The  IAIDO that  is taught in the TONG LEONG  school is traditional way, the formal classes are taught with  great discipline behavior is very important, the student must learn to be patience with them  selves.
 I have taught IAI-DO to females and children and have great results. If you have the time I  have the patience to teach the great art of IAI-DO. My greatest reward is to see my student or students excel, that in its self is my incentive. The classes in IAI-DO begin with politeness and ends with politeness as each student is equal to each other. As you learn the movements of IAI-DO and practice in your spare time, you will begin to improve each student will reach his or hers level. There is no best student as each student will develop themselves and will have a favorite technique, this is what makes IAI-DO great.

Thank you for taking the time to read this document.


Grand Master Manuel Agrella.

Available Instructors:
Grand Master Agrella
Master Kuo T'ai



Kendo


   Shubumi gashi,The ancient Japanese Art of The Way of The Sword. Shubumi gashi begins and ends in politeness. The focus in Shubumi gashi is on physical and mental discipline. Strategy and tactics is emphasized through this stylized  martial art. Shubumi gashi is a stylized combat which philosophy can be directly applied  to  business  and everyday life. Shubumi gashi is the aristocracy of the martial arts. My  goal is to  teach  Americans  traditional Shubumi gashi without the impediment of a  language barrier.  One of  the  most difficult  things to do is to present a concept and an  idea that is our own  without  sounding  boisterous, arrogant,  pretentious or superior. In  the past years through the  formulation  and  documentation of the Shubumi  gashi this  has  been one of the greatest  hurdles I have had to  deal  with. But I have come to the  realization that for everything there is a  beginning and if you are  in love  with your  creation, with your  role in its development and  growth and you wish to share it,  then  through the questions of others you  will at some point  have to acknowledge that these  are  your  ideas.
  I realize that I must state proudly that I have been able to enhance what I have found so  dear to  me, the  tradition of Shubumi gashi. Shubumi gashi is the fundamentals taken to  what I believe  are  a freer flowing, more spontaneous level. I wish to express Shubumi  gashi as a style that you  will be  able to enjoy as much as I enjoy teaching it. The unique  moves of this style are seen in the original strokes of many of the most historic, well  know Kendoists in the world. But from those moves I am proud to say have come the freedom, the flow and essence of Shubumi gashi.

   My good fortune has been to be a student in the fundamentals and the traditional history of Shubumi gashi. My rewards have been to see the many areas of knowledge come together and flow through my teachings and students into what you are about to share, which is called Shubumi gashi.

Available Instructors:
Grand Master Agrella
Master Kuo T'ai



Karate-DO

       Long ago the art of self-defense called "te" (which means hand) existed in Okinawa, the small southernmost island of Japan. The actual roots of Karate-DO are not clearly known, but because Japan, and especially Okinawa, was close to China and frequently traded with it, it is probable that the Okinawan people were strongly influenced by China when developing their own martial art. Because at that time things of Chinese influence were regarded as mysterious and of high level, people used the word Karate-DO to describe it.

                                                                                                                                                                                                                After the 14th century, king Sho Shin banned weapons, and in the 16th century the government of the fief Satsuma,  which  governed Okinawa, established complete anti-weapon laws. Because of this  people  practiced  Karate-DO in order to protect their villages and families, and also  as a  way of  self- defense. Gradually  Karate-DO developed as a "one killing-blow"  martial art  that could also  compete against weapons.  Because the training was  conducted secretly,  it was never discovered,  not even by the families of both  teachers and trainees. This is  why the real aspects of Karate-DO  were hidden for a  long time. Finally it  was introduced  by Funakoshi from Okinawa. He went to Tokyo  and demonstrated his Karate-DO to the  people, who were amazed by its technique  and power.  After that many other Karate-DO  experts, such as Chojun, went to Tokyo and helped expand the  popularity of Karate-DO  all over Japan. In 1935 Funakoshi, after seeking advice from a zen master,  changed the  characters for Karate-DO from meaning empty hand. Since then it has developed  enormously, changing its form from the original Karate-DO of Okinawa. 
   
  After a long silence due to the  2nd world war the Japan Karate-DO Association was  established in  1949 and rapidly increased in  popularity after the introduction of competition Karate-DO in 1956. In  only a few decades, from when Funakoshi first introduced it to today, Karate-DO has gone beyond all social and  racial barriers to gain worldwide support and is loved by many people of all ages. Wherever you go you will always  find a Karate-DO dojo (training hall). No other martial art has in this way started on a small island and spread all over  the world in such a short time.


        When a student of Karate-DO (a karate-ka) reaches the dan level, his body has been trained as a weapon. He can defend himself in any given situation and protect himself in all different directions, using his limbs freely and independently.The basic techniques are divided into 4 groups, i.e. blocking, punching, kicking, and striking. In combat a karateka needs not only these techniques, but also others aspects - power, speed, timing, rhythm, breathing and a strong spirit. In a serious unarmed fight the individual possessing the stronger spirit and better technique will win. And, not only in that sense, the practice of Karate-DO will indeed lead to a development of character and self potential. As with other Japanese martial arts, Karate-DO requires a sound spirit and has clear rules of behavior and respect. The final purpose of Karate-DO training is not to defeat an opponent in competition but to develop perfect character, overcoming mental and physical sufferings under rigorous discipline.

 

Available Instructors:
Grand Master Agrella


Macaco preto

    Macaco Preto Ju-Jutsu emulates the leg movements of the monkey, the nimbleness of the praying mantis and the shoot of the snake. Monkey steps enable better speed and spirit in moving and the skill of the Praying Mantis combined with that is the emulations of this grappling art. Hands are brisk as shooting stars and eyes keen as lightening. The Ferocious Monkey’s defense is to attack, moving like water resting like a mirror and responding like macaco preto graphic an echo.It is based on control and dominance on the ground, in addition to the use of  submission holds to end a fight. Technique is used to merely realize this strategy.
   
    A principal strategic element emphasized is the notion of kuzushi, keeping an opponent  off  balance so that he could be controlled and thrown. Further, joining together the power  of  all our  body parts, shuchuryoku, focused power into the weak parts of our opponent  using  Chin Na  which means to seize and control. Grabbing techniques control and lock  the  opponent's body.  Macaco Preto uses dislocations of the joints and attacking selected  acupuncture points as  targets along with kicking, striking, and throwing. Macaco Preto  defines combat in the theory of  phases of combat. The Free-Movement phase, with both  fighters on their feet, with no grip on  each other. Such freedom of movement allows fast  footwork, shooting, and striking. The  Standing clinch. The skills that are crucial in this  phase  of combat include attaining and  breaking a grip: off balancing an opponent and keeping one’s on balance and posture, striking in the clinch; takedowns appropriate to clinch fighting; standing submissions.

      The ground phase totally changes the nature of a fight. Movement in a supine position is very different from movement in a standing position, and it requires extensive training before it becomes natural. Great control is possible on the ground because bodyweight and the ground itself can be used to pin an opponent and confine his movements. The key skills in ground combat are the application of submission holds, the ability to work your way out of inferior positions, and the skill to move into increasingly dominating positions.

      As the centuries have passed from the Mongols, to the Indian Wrestlers and Chinese Wrestlers to Japanese Ju-jutsu there has been a tradition of primitive no-holds barred fighting, practitioners emerged, gradually perfecting it. It is these generations that brought the art to the twentieth century.

Available Instructors:
Grand Master Agrella
Master Mopen





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