Hoplology

Martial Arts Weapons and How Humans Fight

BRUCE LEE is a registered trademark of Bruce Lee Enterprises, LLC. Hoplology is the science that deals with how human beings fight both with and The Bruce Lee name, image, likeness and all related indicia are intellectual PHOTO BY THOMAS SANDERS without weapons. (For illustrative purposes, Tony Diaz is shown.) property of Bruce Lee Enterprises, LLC. All Rights Reserved. www.brucelee.com

by Dave Lowry

by Adrienne Lee Bell

In an escrima training session in the courtyard of a Manila, Philippines, mansion, young men wield the arts rattan sticks, whirling them in patterns that often connect with stinging force. At the end of the intense practice, participants sport some serious welts and bruises. In a Tokyo karate dojo, practitioners polish the skills of disarming a knife-wielding opponent. One partner, holding a knife, pulls it back, cocked at his hip, then lunges so his counterpart can block it, seize his wrist and apply an arm lock. In Los Angeles, an exponent of the mixed martial arts celebrates his victory by going to a tattoo parlor, where he has applied to his biceps a long, writhing dragon clutching a human skull in its jaws.

hese three scenarios may seem connected only remotely. All involve fighting arts, true, but they seem radically different. One person who would be interested in all of them and who could draw meaningful conclusions from each one is the hoplologist. Hoplology is the behavioral science that examines how people fight. The weapons they use, the strategies they develop, the mental and emotional energies they bring to the conflict all are matters of concern and study for the hoplologist. Hoplology is a term first used by the explorer/adventurer/researcher Sir Richard Francis Burton (18211890). A world traveler, Burton was fascinated by the various fighting systems he encountered in his journeys. A natural scholar, he began cataloging combative systems and noting patterns that connect them in various ways. After his death, hoplology was largely ignored in academic circles. In the late 1960s, Donn F. Draeger (1922-1982) revived it. Draeger was, in some ways, a modern iteration of Burton. Widely traveled and intensely interested in the fighting arts of the world, Draeger, a Marine during World War II, spent the last decades of his life in a scholarly (and practical) investigation of them. The International Hoplology Center (now Internation-

al Hoplology Society) he founded continues to investigate and classify fighting arts, systems and weapons. Its regrettable that their efforts havent received more attention in the scholastic world. *** Academics studying cultures rarely focus on the combative methods of those cultures. For example, its unusual to find a professor devoted to the history and culture of Japanese civilization who has anything more than a cursory knowledge of the classical fighting arts of that country. Once I was sitting in a lecture given by a Ph.D. in Japanese history who was discussing scroll paintings that illustrate some battles from Japans Muromachi era (1333-1467). He pointed to a specimen and noted the samurai taking the head of his victim. I was seated next to a well-trained hoplologist, who snorted and said quietly, They werent victims; they were enemies. Obviously, the Ph.D. didnt understand the context of the warfare of that period. The combatants were both professional warriors. In a battle between such men, victims is linguistically and historically inappropriate. A hoplologist knows this and understands why. Such knowledge can be vital in seeking an un-

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derstanding of another culture. The hoplological evidence we have about old Japan or any other culture is just as significant and worthy of study as, say, the nations ceramics or literature. Without it, there are huge gaps in our understanding of other civilizations. ***

Hoplology is also concerned with the reasons human beings fight. That may seem obvious people fight to protect themselves or those around them. Or theyre motivated to fight for financial reward. Or, if they have psychological problems, they fight because theyre rewarded with the sense of power or the satisfaction that comes from causing harm to others. Theyre all valid reasons in determining the motivations for pursuing conflict, but the hoplologist looks deeper. Sometimes fighting is ritualistic. Some early cultures engaged in bloody, brutal warfare in which entire tribes were wiped out. Others decided battles by capturing enemies or humiliating them rather than killing them. Sometimes fighting changes because technological advances introduce unintended consequences. Napoleonic tactics with smoothbore muskets produced limited casualties in Europe in the 17th century. One hundred years later in the American Civil War, the same tactics produced incredible carnage because soldiers were equipped with rifles. A look at Hawaiian shark-toothed clubs is enough to make one shudder. Were they used regularly, or was their appearance enough to intimidate an enemy? Such questions and the implications of their answers are the concern of the hoplologist. PHOTO BY RICK HUSTEAD Its pertinent to note that Im not a hoplologist, not even an amateur Its unfair to call the knife-defense techniques of the Japanese martial arts unrealistic one. Ive been fortunate enough because they arent as intricate as those of the Southeast Asian martial arts, hoplologists would say, since the knife attacks that evolved in Japan were vastly different from to have spent time around those those of Southeast Asia. (For illustrative purposes, Kelly Worden is shown.)

trained and experienced in the field, however. That said, and given what we know about hoplology, lets take another, closer look at those three scenarios with which we began. Escrima includes extensive practice with either a single stick or a pair. The first step the hoplologist would probably take in examining escrima would be to analyze those weapons. Most escrima sticks are made of rattan, a light, durable wood. The hoplologist would want to know why rattan is used. Are there other woods in the Philippines that might be more effective as weapons? If so, why arent they used? Next, he would note their construction: simple, largely unadorned, with nothing distinguishing one end from

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he provide an example, then have the students practice it, or does he interact with them, serving as a partner? The hoplologist could also refer back to his original investigations about the weapons: Is rattan employed as a safer substitute for a heavier wood meant to be used in combat? My question about escrima, the first time I saw it, was this: Why do students exhibit bruises and welts? Theres a lot of hard hitting in the training sessions. I compared it to Japanese kendo, an art I knew something about. Kendo, a modern sportive application of more ancient forms of swordsmanship, evolved both armor and a flexible weapon that permitted training without those kinds of injuries. Thats not to say that kendoka dont get their share of bruises and welts, for they do. But some thought and technology have obviously gone into providing at least some protection in kendo, efforts that havent gone into PHOTO BY RICK HUSTEAD making escrima less painful. A would-be hoplologist like me can After studying escrima, a hoplologist might conclude that the bruises that accompany training in the Philippines are a rite of passage there, the au- often go astray at this point, jumping thor says. (For illustrative purposes, Julius Melegrito is shown.) to the wrong conclusions. I might surmise that escrima went through a rapid evolution fairly recently and hasnt had the time to the other. From this observation alone, he could bedevelop protective gear. Thats one possibility. There gin to make conjectures. The lack of a defined hancould be, however, numerous other explanations that dle might indicate that either end of the stick can require a more complex understanding of the art and be used. The relative simplicity of the stick might be culture in which it developed. Heres one: The Philipa clue as to the social status of those who originally pines has been heavily influenced, historically speakpracticed the art. A well-trained hoplologist can look ing, by the Spanish and other Latin cultures since at a weapon in a museum case and make reliable and Spanish explorers first came there more than three often remarkably accurate observations about the centuries ago. Its also an island chain where identity fighting art and the culture in which it was used, even has been closely linked to small, often isolated tribes if hes never seen the art being practiced. and groups. Within these tribes are rituals and behavOnce the hoplologist saw escrima training, hed beiors aimed at reinforcing the solidarity of the group. gin to amass more evidence, some of which would be So we have a sense of machismo combined with obvious. For instance, who is practicing? Is it mostly an often fierce sense of tribal identity. Further, we young men? Are women training? If not, why? Are have a fighting art that seems to be practiced mostly there cultural proscriptions against it? Is there a clearby young men looking to establish themselves within ly defined teacher? If so, how does he teach? Does

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the community. Its easy to conjecture, knowing all this, that the bangs and bumps of escrima arent incidental. They may well be part of the bonding experience of young men, a badge of honor, a visible display of ones willingness to accept pain. Escrima may not have developed armor or safer methods of practice because, hoplologically speaking, enduring the pain may be an essential part of the art. Anyone whos spent much time in a karate or aikido dojo knows that knife defense is, shall we say, elementary. Attacks tend to be unidirectional ice-pick stabs or thrusts. Compared to the knife-fighting techniques of escrima or several other Southeast Asian systems, the knife work in karate and aikido is rudimentary and bears little resemblance to the realistic use of the weapon in other cultures. The hoplologist would examine this with interest. There are numerous factors in play that might ac-

count for the lack of sophistication in knife attacks in these budo forms. In a country where swords of all sizes were common, knives werent considered a primary weapon. Daggers and shorter blades were most often used in battle against an armored warrior. While the slashing patterns of a knife-wielding escrima adept can wreak serious injury almost instantly on an opponent in street clothes, you could attack a samurai in armor with such techniques all day without inflicting damage. So daggers and short swords were more commonly used in a thrusting motion, penetrating armor or stabbing into places unprotected by it. The knife attacks in the typical karate dojo look simplistic perhaps because Japanese society never developed a strategic need for more sophisticated (or at least multidirectional) knife attacks. So karates no good against a knife? If youve posed this question, youre missing the point. The

PHOTO BY RICK HUSTEAD

In the Japanese sword arts, practitioners created flexible weapons and armor to protect themselves from injury during training. Parallel development didnt take place in the Philippines, the author says. (For illustrative purposes, Dana Abbott is shown.)

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that your art is complete shows an ignorance of the spectrum of combative behavior. Criticizing an art because its too narrow is another kind of ignorance in this case, about the purpose of the art. *** The mixed martial arts are a fascinating field for hoplologists. One advantage they have in their research is that MMA has evolved in only a few decades. Further, getting access to it doesnt require travel to some distant jungle in which the style developed. They can get hours of study material by going online and observing videoPHOTO BY RICK HUSTEAD taped fights and training sessions. The tattoos that mixed martial artists display are designed in part to intimidate What might the researcher opponents, hoplologists believe. Ancient Polynesian warriors wore tattoos for conclude after a study of MMA? a similar purpose: to frighten enemies in battle. The system demonstrates, as we noted, a remarkably rapid evolution. Techniques that point is that no fighting art can be expected to deal were winning MMA tournaments only a decade ago perfectly with strategies, weapons or situations outare now obsolescent. One possible hoplological conside the bounds of the culture in which it developed. clusion regarding this might be that when a discipline The ultimate fighting art and handle any attack has a clearly defined goal, evolutionary change is rapmake engaging advertising copy, but they ignore a id and vigorous. Compare MMA with the full-contact basic premise of hoplology and human experience. karate of a few decades ago. The latter struggled to We and our combative arts are all limited by historiidentify itself, to some degree because its aims were cal and cultural boundaries. We can adapt, but no vague. Were participants trying to score points as in fighting system can adapt sufficiently to address all or the noncontact forms of karate? Or were they trying even most human fighting behavior. If we tried, we to inflict a knockout or actual damage? No one really would eventually lose the basic principles that distinknew, and the rules were confusing and amorphous. guish the art and give it structure. The aim of MMA, in contrast, is clear: to win by the Its attractive to talk about formlessness and flusubmission or incapacitation of an opponent. In this idity, and the strategic flexibility the words imply is arena, participants have a wide latitude in determinimportant. Certainly some combative systems are ing what works and in abandoning techniques or more successful at this than others. However, if an art strategies that dont. maintains its structural integrity and identity, it must MMA training centers now are the locus of intense have some form, some unifying characteristics that studies on fighting within the structure of MMA rules. limit its scope. There are, for instance, some extremely Little time is spent learning to defend against a katana, sophisticated grappling arts, both old and new. No for instance, because the goals of MMA dont encommatter how good the grappler, though, he would pass that. In other words, saying, Yeah, those guys are have little chance against a competent spearman who good, but how would they do against a 15th-century could run him through from 10 feet away. Insisting

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samurai? is silly from a hoplological perspective. MMA wasnt designed to be used on a feudal battlefield. Hoplologically, its also interesting to note how MMA has consciously rejected nearly all the trappings of the Asian fighting arts. Theres no bowing, no ritual, no specific concern for the inculcation of social or spiritual values. Instead, the MMA paradigm is to some degree an admixture of Western boxing and professional wrestling. These two fighting sports weigh heavily on what the hoplologist might call display. The term refers to noncombative behavior that seeks to intimidate or otherwise affect the reaction of an opponent or others. The trash talking of the boxing weigh-in and the scripted threats and posturing that precede the professional wrestling bout are integral to those sports. They appear to some degree in MMA, although theyre usually a bit more muted possibly a remnant of the Confucian values inherent in the Japanese and Chinese fighting arts. Nevertheless, posturing displays shirtless muscle flexing, adopting fierce grimaces are an important aspect of MMA, one thats supposed to present an air of intimidation or power. In this context, elaborate tattoos play a role, adding to the image. MMA participants are not the first to have adopted this, of course. Polynesian tattooing was a vital part of ritual and warfare centuries ago; indeed, many of the designs sported by MMA combatants are taken directly from those patterns. Some people may find such adornment distasteful. The hoplologist, though, sees them as another piece of evidence in understanding MMA as a fighting system. *** Theres a temptation to conclude that by using hoplological methods of observation, one can determine which art or system is best. Thats not the purpose of hoplology, however. The hoplologist might determine, using his research and analytical skills, which discipline best suits his individual needs. Its crucial to understand, though, that combative systems can be judged and evaluated only within the context for which they were developed and are intended. Watching an expert swordsman draw and cut with a katana in a fraction of a second, its easy to decide that iaido

is a deadly art. But to assume that learning such techniques will polish ones combat skills against a mugger on a subway is ridiculous. Those without an understanding of hoplology often engage in arguments about effectiveness. In some instances, theyre merely immature, believing in some cartoon fantasy of an all-powerful art that will render them invincible. In other cases, though, they fail to understand the nature of a fighting art because they dont understand the basics of hoplology. Fighting systems have specific applications. Their applicability is the standard by which theyre hoplologically evaluated. If I say my art will protect a practitioner against a gun-wielding assailant, I should be able to demonstrate that. If I say my art is for the purpose of developing a beautiful form, I should be able to demonstrate that. When a hoplologist sees an art that says one thing and does another, hes suspicious and wants to know why theres a disconnect. Its not that the art is or isnt effective. Its that it doesnt do what it purports to do. For instance, an art might claim to be 400 years old and generated on the battlefields of old Japan. The expert in it demonstrates a disarm of an opponent with a handgun. The disarming might be effective, but its at odds with the claim of an ancient ancestry that predates the introduction of the handgun in Japan. *** An appreciation of hoplology, even from the perspective of the amateur, reveals the remarkable complexity and profundity of the fighting arts. Too many enthusiasts ignore this aspect of the combative disciplines. Human beings have always engaged in fighting. Various cultures have developed arts intended for this purpose, some sophisticated and some simple. Cultures have attached moral or philosophical elements to their arts. Some are surrounded with esoteric teachings; others have evolved into sporting forms. Some demand membership in an ethnic or religious group, while others insist on certain codes of behavior. The person who views all of them as just fighting arts is looking at this major enterprise of humanity in a limited way. Hoplology reveals just how deep and profound our species combative arts are. Its a study that can, like the fighting arts themselves, occupy one for a lifetime.

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FUNDAMENTALS OF NUNCHAKU
by Fumio Demura

NUNCHAKU IN ACTION
by Joseph C. Hess

Fumio Demura sensei teaches proper grips, stances, swings, strikes, blocks and a basic beginners kata. (Approx. 52 min.) DVD Code 8009Retail $29.95

Law-enforcement officer Joseph C. Hess takes his knowledge of this ancient Okinawan weapon adapted to traditional uses for modern street situations. The book covers basics, training drills, blocking, striking, defenses and takedowns. 224 pgs. (ISBN: 978-0-89750-086-9) Book Code 423Retail $17.95

NUNCHAKU: Karate Weapon of Self-Defense

by Fumio Demura

ADVANCED THREE SECTIONAL STAFF

by Eric Lee

Students are taught to use the nunchaku in a traditional manner. Topics covered: how to grip, stances, blocking, striking, calisthenics, karate and nunchaku similarities, as well as whipping, applied attacking, and applied block and counter. (Approx. 60 min.) DVD Code 1019Retail $29.95

Eric Lee covers the advanced techniques of the threesectional staff. The book also includes Lees special training methods, a traditional form and applications against other weapons. 224 pgs. (ISBN: 978-0-89750-103-3) Book Code 442Retail $16.95

KAMA
by Fumio Demura

BOKKEN: Art of the Japanese Sword

by Dave Lowry

Fumio Demura teaches the fundamentals of proper kama use, including proper grips, strikes, stances, counters and defenses. (Approx. 58 min.) DVD Code 7999Retail $29.95

Author Dave Lowry of the ancient sword school Yagyu Shinkage-Ryu teaches the basics of Japanese swordsmanship using the bokken, the wooden training sword. 192 pgs. (ISBN: 978-0-89750-104-0) Book Code 443Retail $14.95

INTRODUCTION TO BOKKEN & KOBUDO

by Ted Tabura

SAI: Karate Weapon of Self-Defense

by Fumio Demura

Ted Tabura presents you with an eclectic free form of bokken and kobudo. The DVD discusses and demonstrates the introduction to bokken, striking, proper gripping, target areas, two-man practice, etc. (Approx. 48 min.) DVD Code 7329Retail $29.95

This fully illustrated book covers gripping, flipping, stances, blocks, karate and sai similarities, movements, footwork, combinations and sparring. Fumio Demura is an expert in traditional karate weapons and an international ambassador of karate. 160 pgs. (ISBN: 978-0-89750-010-4) Book Code 115Retail $12.95

KOBUDO BO
by Fumio Demura

KUNG FU DRAGON POLE

by William Cheung

Fumio Demura studied under Japanese master Ryusho Sakagami and Okinawan master Kenshin Taira. Kobudo Bo features grasping, striking, blocking, kata, maneuvering and application. (Approx. 60 min.) DVD Code 7449Retail $29.95

William Cheung covers the techniques and history of the dragon pole, wing chun warm-up exercises and training drills for the dragon pole. 128 pgs. (ISBN: 978-0-89750-107-1) Book Code 447Retail $7.50

TONFA
by Fumio Demura

Tonfa authority Fumio Demura teaches proper grips, strikes, stances, defense moves, attacks and other techniques that will improve your overall skill and coordination. (Approx. 46 min.) DVD Code 7719Retail $29.95

TONFA: Karate Weapon of Self-Defense

by Fumio Demura

Fumio Demura explores the full range of tonfa tactics, including stances, karate and tonfa similarities, tonfa striking techniques and self-defense applications. 144 pgs. (ISBN: 978-0-89750-080-7) Book Code 417Retail $16.95

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