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...and to make a long story even longer, the name of this art, Whistling Hen-Dance of Death, came to me merely weeks before my Teacher, John Crews (Co-Founder, Whistling Hen) passed away.
...two weeks after my only other American Teacher
"Choi was interviewed by Jong Bae-Rim and Joseph Sheya in 1982 which was later translated and published in 1999, it was his only known interview. Choi asserts that he was born in Yong D**g in Choong Chung Province, Korea in 1904. At about the age of 8, he was taken to Japan by a Japanese business owner and later abandoned. Choi states that he was taken to Kyoto and came under the care of a temple monk named Kintaro Wadanabi. Choi stated that he was fascinated by the murals of martial arts and battles within the temple and when asked what direction he wanted his life to go, Choi pointed to the murals. Unknown to Choi at this time, Wadanabi was close friends with Sokaku Takeda. In addition to a proficiency in Ona-Ha Itto-Ryu swordsmanship, Takeda was also the 37th generation Grandmaster of Daito-Ryu Aikijujutsu, an art which emphasized the use of joint locks, strikes and nerve attacks to neutralize an opponent."
..."Many great warriors, in accordance with ancient traditions, undertook annual pilgrimages throughout Japan to improve their martial arts skills. During their travels they visited local temples to offer prayer and donations. It was during one of Master Takeda’s visits that Wadanabi and the resident monks, seeing an opportunity, asked Master Takeda to take the young Choi as a disciple.
It’s important to note that Daito-Ryu Aikijujitsu was originated by Shilla Sahm Lang (third son of Shilla in translation), who was believed to be a Korean bureaucratic official from the united Shilla Dynasty of Korea, who taught this art to Japan’s Minamoto Shogunate, the ruling family of Japan during the Kamakura feudal era. ... This art was passed to members of the Takeda Clan where it remained for over 35 generations.
Choi went to live with Takeda at his home in the Shin Su Mountains as his personal servant and lived with him, traveling and training for 30 years until Takeda’s death in 1943." [ Interview with GM Jung (2011)]
"The Japanese occupation of Korea ended with their defeat in 1945. This event coincided with Takeda’s death and Choi decided to return to his homeland of Korea. Choi brought back with him the art Daito-Ryu Aikijujitsu which was the “Yusool” of the Shilla kingdom and long forgotten in his own land. It should also be noted that the “Yusool” of Hapkido that has been developed in Korea after Choi’s return should not be considered as Daito-Ryu anymore. In fact, it is believed that Choi wanted to develop a system that is comparable to modern society as a practical martial art, instead of teaching the original Daito-Ryu which is an ancient battle field system with special consideration of fighting an armored opponent.
..."There have been attempts to discredit various parts of Choi and Suh’s story regarding the evolution of Hapkido and its true history. Indeed, there has been controversy around the development, its symbols and even the name itself. It should be noted however, that these discrepancies did not originate until after the founder’s death."
... ..."There is no doubt that many of this era’s great masters; Ji Han Jae, B**g Soo Han and Kwang S*k Myung to name a few, have significantly added to the development and proliferation of Hapkido around the world. Chung Do Kwan’s founder, Won K*k Lee once said, “The evolution of any martial art has been influenced by many masters over time as they taught their own special variations.” [TKD Times (1997), Interview: Won K*k Lee] There is no doubt that Hapkido, like all arts, have followed the same path and continue to do so as they evolve based on the skills, philosophy and predilections of each Master. Today, it is not uncommon to be able to determine a particular student’s lineage based on the way they do certain throws or kicks."
... ..."Despite its variations, the major core of Hapkido’s techniques has remained consistent since 1948 and no matter how you seek to examine or debate the questions posed above, one thing is certain, all roads lead back to Doju Yong Sool Choi as the 'Founder of Hapkido'.”
1994 Interview, Details Magazine, Bruce Wagner:
I met with Castaneda and "the witches" over a period of a week at restaurants, hotel rooms, and malls. They're attractive and vibrantly youthful. The women dress unobtrusively, with a touch of casual chic. You wouldn't notice them in a crowd, and that's the point.
I skimmed a New Yorker outside the cafe of the Regent Beverly Wilshire. The ad for Drambuie seemed particularly hideous: Inevitably, no matter how much we struggle, In one way or another, one day we become our parents. Instead of resisting this notion, we invite you to celebrate this rite of passage with an exquisite liquor ... Don Juan was laughing in his grave --- or out of it, which brought to mind a welter of questions: Where was he anyway? The same place Carol Tiggs came back from? If that were so, did that mean the old nagual was capable of such reentry? In The Fire From Within Castaneda wrote that don Juan and his party evanesced sometime in 1973---fourteen navigators gone, to the "second attention." What exactly was the second attention? It all seemed clear when I was reading the books. I searched my notes. I'd scrawled "second attention = heightened awareness" on the margin of a page, but that didn't help. Impatiently, I riffled through The Power of Silence, The Eagle's Gift, Journey to Ixtlan. Though there was much throughout I didn't understand, the basics had been thoroughly, coherently described. Why couldn't I hold any of it in my head?
I was failing Sorcery 101.
...Castaneda appeared. He smiled broadly, shook my hand, and sat down. I was about to bring up the monkeys when he began to weep. The forehead crinkled; his entire body convulsed in lamentation. Soon he was gasping like a grouper thrown from the tank. His lower lip twitched, wet and electrified. His arm unfurled toward me, the hand palsied and trembling---then it opened like a night---blooming bud from Little Shop of Horrors, as if to receive alms.
"Please!" He declared a shaky truce with his facial muscles just to spit out the words. He bore down on me in needy supplication. "Please love me!"
Castaneda was sobbing again, a great broken, choking hydrant, his bathos effortless as he became an obscene weeping contraption. "That's what we are: apes with tin cups. So routinary, so weak. Masturbatory. We are sublime, but the insane ape lacks the energy to see---so the brain of the beast prevails. We cannot grab our window of opportunity, our 'cubic centimeter of chance.' How could we? We're too busy holding onto Mommy's hand. Thinking how wonderful we are, how sensitive, how unique. We are not unique! The scenarios of our lives have already been written," he said, grinning ominously, "by others. We know . . . but we don't care. F**k it, we say. We are the ultimate cynics. Cono! Carajo! That's how we live! In a gutter of warm s#*t. What have they done to us? That's what don Juan used to say. He used to ask me, 'How's the carrot?' 'What do you mean?' 'The carrot they shoved up your a**.' I was terribly offended; he could really do it to me! That's when he said, 'Be grateful they haven't put a handle on it yet.' "
... ..."The greedy ape reaches through a grate for a seed and cannot relinquish control. There are studies; nothing will make him drop that seed. The hand will cling even after you hack off the arm---we die holding onto mi**da. But why? Is that all there is---like Miss Peggy Lee said? That cannot be; That's too horrendous. We have to learn how to let go. We collect memories and paste them in books, ticket stubs to a Broadway show ten years ago. We die holding onto souvenirs. To be a sorcerer is to have the energy, curiosity, and guts to let go, to somersault into the unknown---all one needs is some retooling, redefinition. We must see ourselves as beings who are going to die. Once you accept that, worlds open up for you. But to embrace this definition, you must have 'b^**s of steel.' "
...Florinda Donner-Grau takes no prisoners. She is small-boned, charming, and aggressive--- like a jockey with a shiv.
When Donner-Grau first encountered don Juan and his circle, she thought they were unemployed circus workers who trafficked in stolen goods. How else to explain the Baccarat crystal, the exquisite clothes, the antiquarian jewelry? She felt adventurous around them--- by nature she was cocky, daring, vivacious. For a South American girl, her life had been freewheeling.
"I thought I was the most wonderful being who ever was---so bold, so special. I raced cars and dressed like a man. Then this old Indian said the only thing 'special' about me was my blonde hair and blue eyes in a country where those things were revered. I wanted to strike him---in fact, I think I did. But he was right, you know. This celebration of Self is totally insane. What the sorcerers do is kill the Self. You must die, in that sense, in order to live---not live in order to die."
Don Juan encouraged his students to have a "romance with knowledge." He wanted their minds sufficiently trained to view sorcery as an authentic philosophical system; in a delicious reversal distinctive to the sorcerer's world, fieldwork led to academia. The road to magic hour was funny that way.
"You know, they always said people have this split between mind and body---this imbalance, this 'mindbody problem.' But the real dichotomy is between physical body and energy body. We die without having ever awakened that magical Double, and it hates us for that. It hates us so much it eventually kills us. That's the whole 'secret' of sorcery: accessing the Double for abstract flight. Sorcerers jump into the void of pure perception with their energy body."
Another pause. I wondered if that was all she was going to say. I was about to speak but something held my words in check.
"There's a song that don Juan thought was beautiful---he said the lyricist nearly got it right. Don Juan substituted one word to make it perfect. He put in freedom where the songwriter had written love."
Then the ghostly recitation began:
You only live twice
Or so it seems.
One life for yourself
And one for your dreams.
You drift through the years
And life seems tame.
'Til one dream appears
And Freedom is its name.
And Freedom's a stranger
Who'll beckon you on
Don't think of the danger
Or the stranger is gone.
This dream is for you
So pay the price.
Make one dream come true. . .*
* From "You Only Live Twice" by John Barry and Leslie Bricusse
People are human because their emotional up-and-down-swings separate us from the others as the "changeable species." We can be a kitten one moment and a mad genius the next. The trick is in being(eventually becoming) a good investigator, that way (I won't)you don't (might not be so likely to) get eaten by the alligator. Or are people human because they believe they absolutely NEED to rely on a higher power for all the details of living? Is God really out of reach, or are humans so out of touch that the word, "God," with a capital 'G' is now a threat to the most prominent Biologists (and those that need to be 'followers')? Can't prove the true definition of God, eh? It is impossible to prove evolution. Why keep beating that dead horse??
"The earliest known work, the Samkuk Saki (3 Kingdom History) was written in 1145 and is widely accepted to contain early and factual data by Korean scholars. Although this book is a general history book, multiple references to Korean martial arts are found within its pages, one of the most well known was the documenting of a 10-day long empty-hand fight between General Jung Ryang and Queen Jin-duk's troops which took place in 647AD. Approximately a century later, the Samkuk Yusa (3 Kingdom's Memorabilia) was written and within its pages, contained a history of the establishment of civil service testing during the Koryo Dynasty, of which part consisted of graded martial arts contests. At this time, the art of Subak is already found in governmental records of the time, indicating that it had already existed in its current form for at least a generation or two, arguably longer. It is also believed by some researchers that it was at this time that the art of Subak began to split into separate and distinctive arts, one being Yusool (locks/grappling) and the other being Taekyun (kicks/striking) (5) (5a) "
worldhapkido.com Evidence of martial training in Korea far pre-date the earliest form of written evidence found in the Samkuk Saki (3 Kingdom History) written in the 12th Century. In 1935, excavations of the Muyong-Chong tomb found the earliest known evidence of martial arts on ceiling murals. Other tombs, notably t…
"The average man, if he uses only the energy he has, can’t perceive the worlds sorcerers do. To perceive them, sorcerers need to use a cluster of energy fields not ordinarily used. Naturally, if the average man is to perceive those worlds and understand sorcerers’ perception he must use the same cluster they have used. And this is just not possible, because all his energy is already deployed.
Think of it this way. It isn’t that as time goes by you’re learning sorcery; rather, what you’re learning is to save energy. And this energy will enable you to handle some of the energy fields which are inaccessible to you now. And that is sorcery: the ability to use energy fields that are not employed in perceiving the ordinary world we know. Sorcery is a state of awareness. Sorcery is the ability to perceive something which ordinary perception cannot.
Everything a teacher puts his apprentice through, each of the things he shows him is only a device to convince him that there’s more to us than meets the eye.
We don’t need anyone to teach us sorcery, because there is really nothing to learn. What we need is a teacher to convince us that there is incalculable power at our fingertips. What a strange paradox! Every warrior on the path of knowledge thinks, at one time or another, that he’s learning sorcery, but all he’s doing is allowing himself to be convinced of the power hidden in his being, and that he can reach it.
I’m trying to convince you that you can reach that power. I went through the same thing. And I was as hard to convince as you are. Once we have reached it, it will, by itself, make use of energy fields which are available to us but inaccessible. And that, as I have said, is sorcery. We begin then to see –that is, to perceive–something else; not as imagination, but as real and concrete. And then we begin to know without having to use words. And what any of us does with that increased perception, with that silent knowledge, depends on our own temperament." ~Power of Silence, C.Castaneda
This is part two of a two-part opening to a webpage that has become the foundation for a Facebook Group, welcome all and thanks for being a part of this humble beginnings!
rainbowmartialarts.wordpress.com In 1987, not long after my twin daughters' birth but not long before my American martial arts teacher, John Crews would die of a stress-induced myocardial infarction, I was sort of feeling as if on...
rainbowmartialarts.wordpress.com 1 post published by the1whistlinghen during February 2015
"What, then, is the nagual ? The nagual is the part of us which we do not deal with at all. The nagual is the part of us for which there is no description--no words, no names, no feelings, no knowledge. It is not mind, it is not soul, it is not the thoughts of men, it is not a state of grace or Heaven or pure intellect, or psyche, or energy, or vital force, or immortality, or life principle, or the Supreme Being, the Almighty, God--all of these are items on the island of the tonal.
The tonal is, as I've already said, everything we think the world is composed of, including God, of course. God has no more importance other than being a part of the tonal of our time.
The nagual is at the service of the warrior. It can be witnessed, but it cannot be talked about. The nagual is there, surrounding the island of the tonal. There, where power hovers.
We sense, from the moment we are born, that there are two parts to us. At the time of birth, and for a while after, we are all nagual. We sense, then, that in order to function we need a counterpart to what we have. The tonal is missing and that gives us, from the very beginning, a feeling of incompleteness. Then the tonal starts to develop and it becomes utterly important to our functioning, so important that it opaques the shine of the nagual, it overwhelms it. From the moment we become all tonal we do nothing else but to increment that old feeling of incompleteness which accompanies us from the moment of our birth, and which tells us constantly that there is another part to give us completeness.
From the moment we become all tonal we begin making pairs. We sense our two sides, but we always represent them with items of the tonal. We say that the two parts of us are the soul and the body. Or mind and matter. Or good and evil. God and Satan. We never realize, however, that we are merely paring things on the island, very much like paring coffee and tea, or bread and tortillas, or chili and mustard. I tell you, we are weird animals. We get carried away and in our madness we believe ourselves to be making perfect sense". ~C. C. , Tales of Power
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