Self defence remains a sticky issue.

If your home is invaded by a burglar and you injure the intruder or kill them whilst attempting to protect your family, you may be deemed a 'criminal'.

If you travel to a foreign land in the service of the military and kill many strangers in battle, you may be called a 'hero'.

Every martial artist should understand Newton's Laws of Physics.
To proceed without this knowledge is foolish.

Any martial art uses the human body.
The human body is subject to the laws of physics.

Now, watch what people are doing...
Allowing an object to continue moving, unimpeded?
F = M x A?
Force against force?

Is this really what martial artists typically are doing?

Yielding is a most misunderstood quality.

It is not giving-in, collapsing or weakness.
It is about giving the opponent room to over-reach, over-commit, miss.
It is about making space, re-positioning.

All applications contain some facet of yielding, even if the reality is simply not opposing force.

A journey of a thousand miles may indeed start with one step. But are you really going anywhere?
This is an important question.
Although your physical position may alter relative to external objects, are 'you' actually going anywhere at all?
Do you understand?

Tap your chest. You are here. Now walk across the room. Tap your chest again. You are still here.
Your body may have moved across the room, but 'you' haven't gone anywhere at all.

If you realise that your body occupies the same space at all times, then you see the form and your relationship with an opponent quite differently.
This is what 'central equilibrium' is really about.

The form is merely exploring variations of the three dimensions. You turn the waist, shift the weight, move the hands, the legs, the eyes. 
But you essentially remain exactly where you are. 

It takes courage to face an opponent with a receptive heart and a willingness to accept, to yield, to be sensitive, and to be decisive.
Faith is necessary.

A student may fail many times before they have the heart to do what they have been told to do.

When thinking stops, the art begins.
Self-consciousness and though are impediments to the way.

Internal kung fu cannot be approached like karate or judo.
It is simply not the same thing.

Sure, commonalities exist.
But so much differs.

Tai chi and baguazhang are infused with taoist insights and discoveries.
But only the earnest student succeeds in this regard.
The lazy person uses force, or ignores the precepts of the art, bastardising it to suit their own lack of faith.

Having completed a puzzle, you may understand how the pieces all fit together and why.
Some of your breakthroughs occurred through methodical reasoning.
Others were intuition, and cannot be rationalised.

Mistakes can also lead to understand.
It can be useful to know what does not work.

When Sun Tzu speaks of invisibility, he is speaking about moving without attracting the attention of your opponent:

1. Concealment
2. Covert
3. Disguise
4. Espionage
5. Hidden
6. Misdirection
7. Secrecy
8. Stealth

Sun Tzu wrote a whole section on spying.
From a self defence perspective this is very useful.
You do not need to become a spy, but you can learn how to avoid being noticed.

In hindsight the art can seem simplistic and obvious.
But it cannot be taught in a manner that allows the student this same viewpoint.

It is not a matter of obscurity or secrecy.
Even the most candid and forthright instructor cannot tell it verbally or show it physically.

The art must be experienced, first-hand, by the student.
This is what mysticism actually means: beyond words, beyond thought.

Corrections are always a sore point for students.

It is difficult for students to accept that even the most basic concerns deteriorate without correction, and that even the most familiar skills can be refined and improved.

A sword is not a toy.
It is an offensive weapon designed to pierce or cut the skin.

When you pick up a very sharp knife you are immediately cautious.
The slightest act of carelessness may result in a cut.
A blade can part skin easily.

Now, imagine a sword blade?
This is a dangerous weapon. It is not to be trifled with.

Performance art swordsmanship makes a mockery of the weapon; understating its seriousness.

Unlike a gun, a sword is used at close-range.
To use the weapon skilfully, a high degree of skill is necessary.

The user is not distanced from the kill.
They must physically thrust the weapon into their victim or hack through flesh and bone.
This required strength, precision and nerve.

The advent of guns meant the end of the sword.

A gun is easier to conceal, required less skill in its application and allowed the user to fire a devastating round without stepping too close to the target.
Different types of guns offer a wide range of shooting options.
As a weapon it is infinitely more versatile than a sword.

People have been fascinated by swords for a very long time.
The craftsmanship, design and elegance of the weapon are often remarkable.

Books, TV programs and movies are filled with images of heroic figures wielding a sword.

What was a sword used for?

Maiming and killing.
Death can be caused by penetration, slicing or dismemberment.

It is not a 'defensive' weapon.

What is a sword?

A sword is a bladed weapon featuring a handle.
The length of the handle and the blade will differ depending upon the style of sword.
The blade may be straight or curved.
Some form of guard may be present.