In the latest episode of the Tai Chi Notebook podcast I’m talking to the man, the legend, that is Stephan Kesting. Stephan has taught thousands of people martial arts through his famous website grapplarts.com which, back in the day, was one of the first sites to put out quality Brazilian jiujitsu instructional material and is still putting out top notch instructional material today.
Stephan is a fireman, he has competed in marital arts, he has trekked across the Canadian wilds with a canoe and recently he’s undergone a full hip replacement and documented his recovery – and he’s about to return to training again, so he’s one tough old dude.
Stephan also hosts his own podcast, the Strenuous Life Podcast, which I’d recommend you listen to – because it’s always super interesting, especially his episodes debunking conspiracy theories.
I used to train jiujitsu with Brad back in the day, before he went on to become a UFC fighter, so I’ve known him for years. Brad is retired from the UFC now, but he recently accepted a fight offer from the famous D.K. Yoo, who teaches martial arts seminars all over the world. The fight is scheduled to happen on December 4th on pay-per-view here:
Brad and Joe are flying off to South Korea in just a few days for a boxing match that looks set to make a huge impression on the martial arts scene.
So, let’s find out how it all happened, how Brad’s training is going and what the boys think is going to happen on December 4th.
My guest in this episode is my first from the world of Brazilian Jiujitsu. He’s Estonian Jiujitsu coach Priit Mihkelson.
For over 15 years now Priit has been pioneering an innovative, logical and defensive style of jiujitsu that has been taking the BJJ world by storm.
He’s just back from running a training camp held in a castle in Italy and his seminars are sold out until mid June next year, so it was great to grab some of his precious time and catch up with him before he jetted off for his next training camp.
In this podcast we talk about defensive BJJ, training methods and technical innovations.
What is Shamanism? And how does it relate to martial arts? In this episode I catch up with my old, friend and teacher Damon Smith to answer some of these questions.
Damon is an incredibly experienced martial artist with a background in various Japanese and Chinese arts including Karate, Kempo, Xing Yi, Baji and Choy Lee Fut. And those are just a few of the arts he’s pursued to a very high level.
But despite being a great martial artist Damon’s true love has always been Shamanism.
And while he’s no stranger to banging a drum, Damon’s shamanism is not the hippy dippy sort of practice you might associate shamans with, instead it’s a very down to earth and practical art, much like the martial arts he does.
In this episode we talk about the link between martial arts and shamanism, and where the crossovers lie.
Click the link above, or you’ll find it on iTunes, Spotify, or wherever you get your podcasts. Search for The Tai Chi Notebook.
Paul Bowman is a professor of cultural studies at Cardiff University. He’s the author of multiple books on martial arts, including several about Bruce Lee, and most recently, “The invention of martial arts: popular culture between Asia and America”, which was published by Oxford University press in 2020.
Paul also helped establish the academic journal Marital Arts Studies, and organised conferences for the Martial Arts Studies Research Network.
In this chat we reminisce about our times training together, talk about paul’s recent discovery of Brazilian jiujutsu and discuss the emergent field of martial arts studies.
Byron Jacobs is a teacher of Xing Yi and Bagua based in Beijing, China. He’s a student of the famous Shifu Di Guoyong and is heavily involved in the martial arts scene in Beijing. As well as training traditional martial arts he’s also a BJJ practitioner and competitor.
In this wide ranging discussion we talk about training Xing Yi, Bagua and Tai Chi and whether Wu Shu will ever get into the Olympics. We also find out what it was like to train martial arts in Beijing during the Corona virus pandemic, and what the Chinese BJJ and MMA scene is like.
Warning! It’s long. Over 3 hours, in fact, it’s almost 4 hours long.
The issue of how long a podcast should be is always a contentious one – you hear a lot of people say it should be as long as a commute to work, so 20 minutes to half an hour, but I have no objections to something like this one, which weighs in at over the 3 hour mark. I’m an adult – I can handle the idea of not listening to something all in one go.
Dan has a lot to say about the current state of the UFC, MMA, traditional martial arts, combat sports, capitalism, the old days, growing up and more. It’s quite a run through of various related topics. His thoughts on self defence, violence and the place of MMA in society I thought were particularly interesting.
This is a very informative interview with Ma Yue who is a Mashi Tongbei master. He talks about (amongst other things) what it was like growing up in a traditional martial arts family when the Cultural Revolution happened in China, and he had to be taught in secret. He also talks about the making of the first Shaolin Temple film, which is father was involved in, and what he sees as the many problems with Wu Shu today.
Scott P Phillips is one of the few authors discussing the link between Chinese martial arts and Chinese Opera (also called Chinese Theatre).
I find his ideas intellectually fascinating. But, for many martial arts people he goes too far in the sense of seeing this one idea in almost everything to do with Chinese martial arts. You could say that in terms of taking the ball and running with it, he does tend to kick it out of the park (sorry) completely 🙂
Is that a fair summation of Scott’s work? Probably not. Part of the problem I think is that the world where theatre was the big entertainment of the day in China, and was simultaneously connected to religion and martial arts, has long since disappeared. From today’s standpoint it’s hard to imagine it even existed. Also, words like “theatre” and “opera” in the West have distinctly different cultural baggage attached to them already, so it’s almost impossible for us to see them as they actually were, free of our cultural biases.
So, that’s why I was pleased to see this interview with him and Ed Hines where Ed gets to ask Scott some basic questions about his theories. Ed is a Baguazhang practitioner based in Paris and he asks some of the more “down to earth” questions that need to be addressed by Scott before he can take us on his magical mystery tour. Have a listen:
I was alerted to a great post by Reddit User drkaczuz about the role of stunt men and women compared to the same scenes done by “real” martial artists who are not trained in movie-fu.
I’ll quote it here (I hope he doesn’t mind because it’s really interesting, and he makes some great points):
“Yeah, people very often misunderstand the role of stunt doubles, especially in fight scenes. It’s often not as much about skill, or risk as about production logistics. Even if you have a physically capable actor, with MA experience, you still want to use the stunt doubles, simply to squeeze the most out of pre-production time. You can’t lock the star of the show in a room with the stunt crew for a few weeks to rehearse the scene to perfection, they need to well, act. Learn their lines, prepare for their non-action scens, do marketing stuff, photoshoots, etc. What you CAN do is have the stunt double rehearse the entire choreography for months untill it’s buttery smooth and them tag them in on a moment’s notice.
Another thing with actors that have MA background is how different movie fighting is from real fighting – a lot of time real fighting skills and reflexes actually make on-screen fighting look worse.
I think Donnie Yen vs Mike Tyson is a good example showcasing a lot of issues when working with real athletes – we all know Mike is insanely fast, but in this clip he appears slow and sluggish, and you can’t really see the power behind the blows – further below I’ll try to explain why.
Anderson Silva from the same flick, notice the kicks especially, also look at all Randy Couture scenes from Expendables – they’re a dark, shakycam mess, but a lot of shakycam and bad lighting is damage control to hide hits that didn’t sell well.
I am not saying that having actual martial artists on set is bad – but you have to manage them really well, have an action director that will guide them and communicate their vision clearly. In a lot of cases a director will oh so wrongly assume that if they have the star martial artist on set they can just tell them to do their thing and it’ll come together somehow. Also it’s not that being good at actual fighting is somehow a hinderance – all good stuntpeople will be at least competent in one or more actual combat sport or martial art. It’s just they have a LOT of additional knowledge on top, as well as the ability to turn some instincts on and off.
There’s more to this post, including links to good examples of well done fight choreography.