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Hard, Middle and Soft Styles by Michael J. Rosenbaum
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A very common method for categorizing fighting arts today is by system and style. Whenever someone speaks of a system they more than likely are using a broad based term to describe a fighting art and the particular country or geographical region from which it originated. For instance when one uses the term “Karate” this describes a form of fighting that had its beginnings on Okinawa. Likewise if one were to use the term Judo this would apply to a system of grappling that was developed in Japan. When the term “style” is used this often is done to describe a particular method of teaching that falls in under the broad heading of a system. For instance if I were to use the term “Isshinryu Karate Do”, Karate is a system of fighting while Isshinryu is a style or subsystem of karate.
The word “style” can also be used to categorize a fighter or fighting art as either a “hard” or “soft” methodology. Hard styles and stylists are often noted for their physical prowess and body hardening methods, which involves toughing the knuckles, shins and forearms. These are areas commonly used for striking and blocking in hard style training. Soft styles and stylists on the other hand are associated with yielding and molding actions that use an opponent’s own force as a weapon against them. Soft styles of fighting like Tai Chi and Aikido are also known for their reliance upon internal energy to generate power where as hard styles are known to rely upon external energy or muscular strength for their source of power. Although the Hard-Soft method of categorization can be a useful tool it often proves to be an incomplete analysis, one, which fails to take into account that both hard and soft elements can be found within many other fighting arts.
In his scholarly book: The Essence of Shaolin White Crane Martial Power and Qigong, Dr. Yang, Jwing-Ming points out that Chinese fighting arts are categorized by the manner in which they develop Jin or martial power. (p.17) However instead of two categories, Dr. Yang uses three in relation to the Chinese fighting arts. They are: Hard, Soft -Hard and Soft Styles. Hard styles use muscular power in their execution of techniques and utilize bold rigid movements as is often seen in many karate-ka’s execution of kata. Soft-Hard styles tend to be more pliable than hard styles and although they do use muscular power they remain fairly relaxed until the moment of impact with their target. Dr. Yang likens the Soft-Hard styles strike to that of Rattan, one, which inflicts both internal and external injuries. (pp.17) The third style of fighting is soft style. Soft style places much emphasis upon relaxation and only uses muscle tension for a brief instance to retract the striking limb. By doing so a “Whipping action” as Dr. Yang describes it is generated one that can cause much damage to an opponents internal organs (pp.17). Of the three styles of fighting soft form is considered by many practitioners to be the most advanced.
The categories of Hard, Hard -Soft and Soft, Dr. Yang described can be applied to not only Chinese fighting arts but others as well. In examining the Okinawan fighting arts and the roles played by hard and soft concepts in them the late Donn F. Draeger said; “No system of ch’uan-fa, te, karate-jutsu, or karate-do is an absolutely “soft” or “hard” system, but may be categorized as being one of the other depending on the priority given to one or the other aspect in the execution of techniques.” (Donn F. Draeger Modern Bujutsu & Budo pp.128) Draeger’s statement makes it quite clear that not only are there- both hard and soft elements in the Okinawan fighting arts but that hard-soft or middle concepts are also present.
Apart from Chinese and Okinawan systems other fighting arts also contain Hard, Hard -Soft and Soft concepts within their teachings. The Burmese Martial art of Bando is one such system. Bando practitioners are often classified as Hard-Middle- or Soft style fighters. Hard refers to very physically orientated methods such as Thai and Burmese Boxing. Middle style Bando fighters or Hard-Soft as is used in describing Chinese systems, remain very relaxed and employ subtle sidestepping actions in conjunction with open- handed strikes and parries. Their techniques have very much the Rattan like effect Dr. Yang spoke of. In comparison to the Hard and Middle forms, Soft style Bando fighters use molding and yielding concepts, and are often of a defensive nature. Much like the Chinese soft styles Dr. Yang described, the Bando soft style fighter also uses muscular tension in a very sparingly manner. As it is with Chinese fighting arts the Soft style is also considered to be the most advanced form of fighting by the Bando practitioner.
Although the three styles of fighting: Hard, Hard-Soft and Soft are frequently viewed as separate entities they are in fact interlinking components that make up a complete process of evolution. More often than not, the beginning practitioner will find that during their initial phases of training, say the first three to five years, reliance upon physical dexterity during execution of technique is far easier than trying to use those concepts found within the middle and soft forms of fighting. As Dr. Yang said: “It is easier to be hard, and harder to be soft for a beginner.” (P.99 Shaolin White Crane Martial Power and Theory) His statement brings to light that developing Middle and Soft concepts of fighting can prove to be very a demanding task.
The process of reaching the level of middle and soft styles of fighting can only be attained through constant training and the ongoing pursuance and perfection of the middle and soft concepts. It is an endeavor that can take many years of training and is very much the reason why you see many younger practitioners whose technique resembles the “old bull in the china shop” approach, while older, more experienced practitioners tend to exhibit skills of a subtle nature yet, which still have, devastating power and speed.
In examining Hard, Hard-Soft and Soft styles often the question arises; do some styles of fighting facilitate the progress from hard to soft better than others do? While this argument can be made, especially if it is done when comparing two systems such as Shotokan karate and Yang Style Tai Chi Chuan, what it frequently ignores is that progression from hard to soft -hard on to soft style has more to do with a practitioner than their system. For instance in Bando there is the Boar form. It is a method that relies heavily upon rushing, elbowing, crushing, and kneeing techniques, all of which would commonly be associated with a hard style of fighting. However there are Boar form practitioner’s who can execute their techniques in a very middle to soft style manner.
With the on going debate about which style of fighting reigns supreme it is not uncommon for practitioner’s who train in a system that is strongly associated with, either a soft or hard concept to develop misconceptions. Throughout the years I’ve had more than one karate-ka inform me that soft styles like Tai Chi lack power and therefore are ineffective as fighting arts. Amazingly enough many who proclaim such things have never experienced the freight train effect of a properly executed “ward off” to their rib cage. Likewise on the flip side of the coin I’ve witnessed more than one Tai Chi practitioner whose skill of arms was based solely upon form practice, meet with disaster at the unforgiving hands and feet of a “hard style” Bando practitioner.
During our study of the fighting arts it is important to understand that how we are training today will change over the course of time. It is this change, which is brought forth by both time and practice that is at the core of developing hard, middle and soft styles of fighting. It is not an over night process much less one that can be accomplished in a few years time. For the beginning student visualizing what their style of fighting will be like 25 years from now is an almost impossible task. Yet it is important that they are made aware of the changes, which will take place during their training. Likewise, it is very important for the advanced practitioner to remember just from where it is that they began and not to forget the transformation process that they undergone.
The practice of a fighting art is not a stagnant process, it ebbs and flows like the oceans tides. Now that I am in my early 40’s the transformation process from hard to middle and then on to soft style fighting is becoming more apparent to me. When I was a teenager my training was very much physically based. The more muscle put behind the block or punch, the better it was. And in keeping with youth my techniques were also hard, and had as much fineness to them as the pre-verbal “Bull in the China Shop.” During my late 20’s and throughout my 30’s the relaxation and evasiveness of middle styles began to develop in my way of fighting. It was an enlightening period thanks to my middle style Bando friends whose talents proved to be very encouraging during this stage of my training. As of now my soft form is in its earliest stage and even though my Tai Chi needs much work it is proving to be a very valuable tool in this area of development. At times during my practice it feels as if I’m attempting to move mountains. But maybe, just maybe, when I turn 70, rather than trying to move mountains I’ll instead flow like the mountain stream.
Michael Rosenbaum is the author of; Okinawa’s Complete Karate system: Isshinryu and Fighting Arts Their Evolution from Secret Societies to Modern Times. He began studying Isshinryu Karate in 1976 and since then has also studied Bando and Yang Style Tai Chi Chuan.
Sources:
Dr. Yang, Jwing-Ming The Essence of Shaolin White Crane Martial Power and Qigong. YMAA Publication Center Roslindale, Mass 1996
Donn F. Draeger, Modern Budo & Bujutsu Weatherhill New York and Tokyo 1974
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