TEALLACH MARTIAL ARTS SOCIETY
While many Martial Art 'styles' and 'systems' will rigidly teach set ways in which to do things, the core of the TMAS philosophy is the principal that there are infinite differences in the structure of each individual and therefore teaching one specific way of doing something is not beneficial to every student. Therefore students are given the fundamental concepts and allowed to explore techniques within their own body to make them as efficient as possible. In this way, the Artform should be seen more as a scaffold to enable the student to find their own personal style.
At a physical level, the study of the Artform is a study of body mechanics and teaches the individual to get the very best from their bodies in the most efficient way. However, the Artform is much more than a physical activity, and when practiced properly does not only improve physical control and health, but, through the correct usage and linking of mind and body, mental control and health too. The study of some of the more esoteric elements of the eastern arts can confuse and overwhelm beginners, but TMAS seeks to explain some of the more incredible feats of the body in the simplest and most accessible way.
The Society aims to teach the fundamental concepts of Martial Arts free from personal or political influence to allow complete individual growth.
Training
Over the years, different practitioners of the Martial Arts have developed their own innovations and styles of practice. This has created a vast number of different styles and systems of Martial Arts throughout the world.
While these various personal styles might not fully benefit each individual practitioner, it is important not to simply ignore them, as they are often developed from years of study and thereby contain within them a huge potential for knowledge.
Within the Teallach Martial Arts Society, students are encouraged to explore a wide range of techniques and learning styles to facilitate the maximum level of individual growth. To do this we teach a variety of drills and excercises designed to allow the student to experience a wide variety of the various threads of the Martial Way.
Some of the drills used can be catagorised as such;
Teallach Karate-Jutsu
Karate, although considered a Japanese art, is a system that evolved transnationally, having developed in Okinawa as 'The China Hand', a mixture of Chinese Boxing and native arts, and later influenced the codification of the Korean arts of Tae Kwon Do (Tae Soo Do).
Drills in this area focus on the ability to create strong foundations in posture as well as solid striking techniques with both upper and lower body.
Teallach Kata
Kata are detailed choreographed patterns of movements, practiced either solo or in pairs or groups, designed to allow the student to express the full range of conflict scenarios. By mentally placing themselves in the theatre of conflict, the student becomes accustomed to their reactions to such events and learn to be able to control their responses accordingly. Kata is most often performed on an individual basis, but it is also important to train in groups with 'real' attacks.
Teallach Boxing & Kickboxing
Boxing drills take their inspiration from Indian Muka Bazi and Western (Queensbury) Boxing.
Emphasis is placed on light fast body movements and fast hand techniques. Students develop the composure to 'ride' techniques as well as the speed and agility to avoid them entirely.
With the focus being exclusively on upper body techniques, close combat becomes paramount and drills include trapping and grappling techniques.
Kickboxing drills are similar in tone, but, as the name suggests, the focus is not restricted to upper body drills. Inspiration comes from Chinese Boxing, Muay Thai, Sanshou and Savate
Freestyle, as the name suggests, contains the most open and expansive drills within the Martial Arts and gives the student the opportunity to explore and develop all aspects of their art.
Freestyle can be broadly catagorised into three areas;
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Compromise
Introduced in the early stages of training, compromise is the most controlled form of freestyle, and also the level where there is most potential for learning for practitioners. Students should use the opportunity to practice their techniques in a controlled, none aggressive environment of stimulus and response. In the early stages, movements should be light and passive, and participants should not feel any threat or strain, allowing confident practice of techniques, as students become more confident speed increases, but intention should still be on control and none aggression.
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Competitive
Competitive freestyle, as the name suggests, is a form of freestyle typified by the concept of competition. Competitive freestyle can be practiced; Full Contact, Semi-Contact, or Non-Contact (continuous). While some styles focus intensively on this aspect, most traditional eastern arts have no concept of competition. It is important not to place too much focus on this area as, while competition has it's benefits, it can, if not practiced properly, enhance the negative aspects of the ego. However, good Competitive Freestyle is an exchange between two people where the main qualities employed in order to score a point are skill, coordination, control and creativeness, and, when practiced correctly, is both a means of acquiring certain aspects of that control and is at the same time an index of the degree of control attained.
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Combat
Combat freestyle is the highest end of the freestyle scale, designed to reflect, in the best degree possible, a genuine combat situation. The body must be freed from all fears, inhibitions and insecurities, and thereby the student creates an environment in which the biologically inherent survival instinct can take over the body functions. Due to the nature of this drill, it is practiced rarely, and only with experienced and confident practitioners. No-one is forced to participate in bouts of this nature, and combatants should both be willing and comfortable with the concepts.
Freestyle
Teallach Praṇa Vayu
Roughly analogous to the Chinese concept of Qi and the Japanese Ki, Prāṇa is the Sanskrit word for 'life force' and relates to the study of internal energy.
Drills in this area are designed to cultivate the understanding of the body's natural energy and strength through relaxation and meditation. These drills also help to focus the mind to allow controlled and appropriate responses to given situations.
Sastra-Vidya
Sastra-vidyā ("Knowledge of Weapons") is the term used in the Teallach Martial Arts Society to describe drills involving weaponry. Weapons used within TMAS include but are not limited to;
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Bladed weapons
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Swords
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Vettukathi
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Kaduthila
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Katana
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Churika
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Wakizashi
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Knives/Daggers
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Baraw
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Kataram
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Tantō
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Venmazhu (Axe)
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Sickle/Kama
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Polearms
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Halberd
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Spear (Kuntham)
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Guandao
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Blunt weapons
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Stick
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Baston
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Rattan
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Dulo y dulo
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Otta
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Cheruvadi
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Bokken
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Staff
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Bankaw
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Bo
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Jo
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^n.b. - all training with metalic weapons is done with blunted blades not live blades for safety
Breaking
Teallach Turnen
Turnen developed in Germany as a form of physical activity similar to Gymnastics. Unlike the kind of 'Sport' developing in Britain at the time, Turnen was purely about a high standard physical movement devoid of competition.
Drills in this area are similar in nature to gymnastics and Parkour, and are designed to facilitate balance, control and efficiency of movement.
Breaking drills are designed to enable the student to properly focus their strikes and receive tangible feedback from an object. Conditioning is an important aspect of the breaking drills and should be undertaken extensively to protect the student from harm.
Some styles and instructors place heavy emphasis on breaking as it is seen as being noticeably impressive. However, care should be taken with breaking not to inflate ones ego, and should be seen as simply one in a number of drills to facilitate good training.
“Use only that which works; and take it from any place you find it" - Sifu BRUCE LEE
TEALLACH MARTIAL ARTS