shaheediyan

Coventry and Jobless.... dangerous combination....

I think I posted this before, but it is hilarious and very, very true! Enjoy. http://martialarts808.com/Ninjas/index.php/topic,4.msg9.html#msg9 How to Slow Down or Completely Halt Your Martial Arts Training Progress by Sensei J. Richard Kirkham B.Sc. Over the years, I've seen very successful techniques in slowing down martial arts and self-defense training to an almost complete stop. I've listed some of these techniques below, perhaps you're already practicing some of these.... Yeahbutts Note the double t. Now this is a very common highly used martial arts training slow down technique. I've seen tournament champions as well as martial art wannabees use it. Here's what you do.... As soon as a fellow martial artist, whether instructor or training partner begins explaining a technique, utilize a blank, yet polite stare, BUT DON'T ACTUALLY LISTEN. Actually listening has the detrimental potential of improving your martial arts skills. Remember, we're trying to avoid this in this article. To further the technique only pretend to listen to about half of the explanation. Take the valuable time while the martial artist is explaining the technique to develop a reason that it won't work. This will save you from actually having to listen to the entire explanation of the martial arts technique and gives you more time to figure out a reason NOT to add it to your repertoire. Sure sure you'll be hit by the technique since you don't train with it or against it, but similar techniques can be utilized to develop excuses why you were hit, there's no need to practice the technique. I assure you this would only speed up your martial arts training and improve your skills. Remember, much like the namesake of this technique, always start your conversation after pretending to listen with “Yeah but....” Generalizations of Martial Arts and Martial Sports Styles THIS will save you anywhere from hours to months of research in attempting to learn how other martial arts systems and martial arts sports such as boxing and mixed martial arts may utilize techniques differently and indeed utilize techniques you may not even know about or practice. This technique works best when the person you're discussing the martial arts style or sport knows as little as you do about it. I've seen this done quite successfully, let me assure you, it's a proven technique for slowing down your martial arts training. Here's how the technique works.... Pick a martial arts style or sport, let's say boxing. Start your time saving and research saving conversation like this, “Here's what I'd do against a boxer....” Now, it's important that you justify what you would do with further generalizations. Start this statement with this, “Boxers always....” NOW YOU'RE JUSTIFIED! See how much simpler that is than actually training with the martial arts style or sport? You've just saved yourself a great deal of time and progress. Now remember, if you accidentally do end up training with someone from another style and you get hit, don't worry, just utilize a variation of the yeahbutt technique to develop a reason you were hit. That way you won't have to train against that technique for which you have weak defenses. Decisions Based on Short Experiences This is different that generalizations since you did accidentally get a little experience with a style. This technique by the way has been developed almost to a science by a visually based observational nonphysically interactive type of martial artist commonly referred to as the “Monitor Martial Artist”. This is a huge time saver! What the monitor martial artist does is watch a two to four minute online social video presentation and figure out how to sometimes not only defeat the martial artist in the video, BUT THE ENTIRE MARTIAL ARTS STYLE! Think about it! No need to actually develop interest in an alternate means of executing a technique. You just watch a couple minutes of video! Here's how the technique works. It's best to use a social video media so you may build your self-esteem by commenting on the video. Watch, a small portion of the two to four minute video, by utilizing above techniques there's no need to wait till the video is concluded to begin drawing conclusions. As soon as you see something you believe is negative in the video, stop the video, pull your keyboard from your drawer and begin typing this.... “In 2.24 he was completely wide open! I'd have....” And that's it! You've now saved hours of time by posting questions inquiring about the technique in 2.24. No need to perform internet searches or even find people in your area available for practicing. The best part about this is the support you get from fellow Monitor Martial Artists! Thus your self-esteem has been boosted, you've gained comrades who think as you do, thus enabling this technique to execute an almost complete halt to improving your martial arts skills! Conclusion I believe you're starting to get the idea of how to utilize these martial arts training slow down techniques; 1. DO NOT have an open mind. 2. Pretend to listen just long enough to be polite. 3. Be negative as quickly as possible. 4. Generalize as much as possible. Any single technique utilized here will have the benefit of slowing down your martial arts training. When combined, you can potentially become completely static in your training. You'll never have to worry about learning anything new again. About The Author Sensei J. Richard Kirkham is a dual certified teacher. He's been in martial arts over 36 years. Sensei Kirkham offers the techniques in this very article so you DO NOT have to purchase his well received instant download book and video Step by Step Learning Internal Energy Strikes which is guaranteed to increase your striking power http://newbieservices.com/MAForum/index.php?topic=20.msg23#msg23 These same techniques should also work on not getting his Free Punching and Kicking Power Tips http://martialarts808.com/PPTips/

Sur = note, Saptak = scale. One could sing Bhujang Chhands on 2 select notes within a scale or the same note in 2 different scales. i.e. one verse in medium note, next in high note and continue.. if you plot it on a graph, you will see a snake like motion i.e. horizontal zig zags (semi circles to be more precise). Its a sttle fo poetry recitation, simple but extremly powerful - and able to maintain deep focus. For obvious reasons, the chhands are used in bir ras bani.

Bhujangi means snake. In Dasam Bani we have Chhands called Bhujang, it relates to the style of recitation in poetry terms - namely a waved formation, like the pattern a snake creates when it moves - this would be demonstratd by literally reciting the bani in no more than 2 surs or 2 saptaks. I would expect the martial aspect would have a similar connotation i.e. a highly skilled movement whereby the specialist fighter can weave in and out of enemy lines (in sort of semi-circles), thereby creating confusion in the ranks. I see Nihang Nidar Singh sometimes doing this in his demos with multiple opponents.

Well as Shaheed is a Parsi word, I would expect it would have been either someone from the Pre-Islamic Persian era or the Islamic Persian Era.

Taken from Jvala Singhs Blog, Jvala Singh, have you done the rest of the translation? The following is a translation of the passage in Panth Prakash which tells the story of Nihung Bhujangi Baba Gurbaksh Singh Ji Shaheed. ---------------------------------------------------------------------------- Ek – Oankar Sri Vaheguroo Ji Ki Fateh With your grace || May the timeless and deathless be my protector The Sakhi of Nihang Bhujangi Gurbax Singh Ji Shaheed Now listen to the story of Gurbax Singh Nihang beloved Sikhs of the Guru. At the auspicious place of Sri Harimandir Sahib, Baba Gurbax Singh fought with the Giljeh and attained great matrydom to stop the desecration that was taking place. This Bhujangi (Cobras) [title given to the highest accomplished warriors] was a Farladhari Nihang Singh and was a great brave fighter. Adoring Blue Bana [battle Dress/Uniform] Baba Gurbax Singh was adherent follower of the great code of conduct set down by the Satguru. Awaking in the morning he would perform his daily activities, bathing, tying his battle turban, reciting his daily liturgy prayers and consuming Shaheedi Degh [Protein drink made of almonds, sugar, water, and cannabis]. Baba Gurbax Singh then carries out his five abulations and brushes his teeth [Daatan]. When there is one and a quater pehars left of the night they tie their Dumalla and recite the Gurus sacred bani alongside. Worshipping weapons of all steel, Baba Gurbax Singh salutes his sword in his hand. In his neck he wears a rosary of iron, even his comb, bracelets and small rosary is made out of iron. On his head he wears a Chakar [quoit] and Tora [steel mesh wire to bind the battle turban]. In his Kamarkasa he carries a iron Salotar [fighting stick], his armour and gauntlets are also made of iron. His Kashera is one and a quarter Gaj in length. On his body he wears chainmail made out of steel to protect his body from weapons. Following this daily routine, Baba Gurbax Singh Nihang would present himself before the Akaal Bunga. Those are called Nihangs who do not differentiate between pain and happiness, that person who does not feel pain and happiness, he who remains in an essence of stability, coloured in the love of Vaheguroo he remains the same. Due to the senses of the body pain and pleasure experienced, he who does not accept these senses is called a Bidhehi [the one without a body] Baba Gurbax Singh was a great man of restraint, a celebate and a meditated upon the Naam, he was a practiser of charity, whoever came and asked from him, he provided for them. On the other side, he was an achieved warrior who would rush forward to fight against the enemy. If a Sirdar or a Misldaar came to Baba Gurbax Singh, he would remain intoxicated in the name of the Lord. Regardless of who came and went, he never showed no attachment or greed towards anyone. He required no support from anyone, this is how Nihang Singhs are. Whoever came and went, what was his need to give anyone salutations. Nihang Singhs remain intoxicated in the Gurus Shabad and have care for anyone else. Wherever a battle was taking place in the name of Dharam, he would make his way there. There was no fear within his mind, and he never turned away from fighting. Wherever armies descended upon the Khalsa Panth, Baba Gurbax Singh would arrive there and open his body up to attack. Wherever there was a place of Dharam Yudh, a fight in the name of righteousness, Baba Gurbax Singh would take hold of the Khalsa Battle Standard and he himself would be on the frontline. Alongside the Battle Drums would be beating, and Baba Gurbax Singh would be the first to engage in war.That Bhai Mani Singh who was cut to pieces, from that same Bhai Mani Singh Baba Gurbax Singh had taken Amrit [initiation] from in Amritsar. By the town of Khemkaran, there was a village named Leel in the Majha area where Baba Gurbax Singh came from. Wherever the encampments of the Khalsa Panth went, Baba Gurbax Singh went with them, wherever the Battle Standards of the Khalsa were dug, Baba Gurbax Singh would take his position there. Opposite Sri Darbar Sahib Amritsar, Baba Gurbax Singh would sit infront of the Akaal Bunga. Having no regard for his life he would sit and chant "Akaal Akaal Sat Sri Akaal!". Bhai Rattan Singh says, Khalsa Ji listen to the great feats of Baba Gurbax Singh, in the way that he lost his head and destroyed the Turks. Many times the Turks had come and fought with him, but when he achieved martyrdom was the time when Ahmed Shah Abdali had come from Kabul with hoards of warriors. There was a Cheif of the name Sooraj Mal Jaat, he had ransacked and conquered Agra. He had two fast horses named Jora and Bhora, which he had stolen from Agra. He had stolen all the treasury in Agra, and even the treasures which were hidden underground. The Moguls were kings in Agra, residing in fortresses and had gathered treasures which had no end. Najeeb Khan Ruhela was the ruler of Dehli of that time and Ahmed Shah Abdali would come to help him if required. Sooraj Mal Jaat had come had fought against Najeeb Khan Ruhela and somehow Sooraj Mal died within this battle. His son Jwahar Mal had collected an army together in order to avenge his fathers death. Jwahar Mal had enrolled Marathas, Raajputs, Europeans, and Jaats within his army and surrounded the whole of Dehli. Najeeb Khan Ruhela was within his fortress, on seeing the agitation from all four directions he came into much distress, coming out had become difficult for him. Naveej Khan send a message to Ahmed Shah Abdali stating that if he helped him against Jawahar Mal Jaat he would give him 300 Crore rupees. In order to him him, Ahmed Shah Abdali came with great force. When they heard news of the coming of Ahmed Shah Abdali, and they heard that he had stepped foot in Punjab again, they realised that he must have been called by Najeeb Khan. Those Singhs who were Kings, for the sake of their families they tried to flee. Those who ran off to the mountains and thought they could hide, were robbed and plundered by the mountain thieves. Those who tried to hide within the banks of rivers and streams, were robbed also and their families were eaten by tigers. Those Singhs who fled to the Majha area with faith that they would be safe, were informed on and taken as prisoners by the Giljeh. There were also the Singhs who were once warriors, whenever they felt they would attack and kill the enemy, they had now become family men, wherever these Singhs went they came under great pain. Those Singhs who left for the jungles in Malva, they had mixed in with strangers. The Vaheer [Army] lived within Amritsar, alongside Baba Gurbax Singh there were many other Singhs, when they heard of the plight of the Sikhs they contemplated within their mind. There was a great Divaan taking place and Rehras Sahib was being read. From the side of the Akaal Bunga, Baba Gurbax Singh looked towards the mountains, they set out a Gurmatta [Collective Decision] and decided that the Vaheer will set off towards the Malva area. There were many Bihangam Singhs who were told to stay at Sri Amritsar, but the rest were given an directive by Baba Gurbax Singh "Is there any such Singh in his Panth, who will fight and give his head, so that he may stand in the court of the Lord and make his plea, this plea will surely be heard by the Lord. He must be a Singh of great restraint, valour and meditates upon the name of Vaheguroo. He must be a follow of the Rehit [Code of Conduct] and must be a follower of truth and true speech. For the sake of protection, that person who dies for the sake of Sarbat Khalsa and gives his body in sacrifice, like Bhai Taru Singh, he will be the one who will bring destruction upon the Turks. Hearing the words of Baba Gurbax Singh Nihang the Singhs responded thus "Is there any such Singh as worthy as yourself who has achieved such profit from your actions and austerities, there is no one like yourself within the Panth, no such power is within anyone else that they are able to leave their body and reach the abode of the Lord to make such a plea" Hearing the words of the fellow Singhs, Baba Gurbax Singh joined his hands together, lowered his head and accepted their words. Joining his hands together, Baba Gurbax Singh tied a Gani [string] around their wrist from the Singhs, that he was going to attain martyrdom and leaving to wed death. The Nihang Singh [baba Gurbax Singh] then uttered to the Khalsa "is there such a Singh in the Panth who is a beloved of the Guru, who will join me and accompany me to the true abode of the Lord. When someone leaves for his wedding, he has alongside him his Sarbala [best Man]." Hearing the words of Baba Gurbax Singh some Singhs stood up and approached him, they paid their salutations and touched his feet. The Singhs then spoke "We accept your words and seek your permission, we are ready to be your Sarbalas." Seeing this, the other Singhs got up and were also ready to join them. The Nihang Singh then said to the Singhs "Those who go to marry death, they will receive the fruits of their sacrifice in their next life, we will lose our heads and within Dharam Yudh [War of Righteousness ] we will become married. When we attain martyrdom, the Satguru will bestow great kingdoms upon us, those Singhs who fight alongside us and destroy the enemy will become greater then Kings and rule the world. Within Chandi Astotar, the Satguru has written themselves that the Khanda, Tegha, and Weapon form of the Lord, that person who facing the enemy in battle and sacrifices his head to you, is reborn as a King and attains power of Kingship. In the way that the True Guru has spoken, in that it will be true." In this way Baba Gurbax Singh spoke to the Khalsa By this time, Ahmed Shah Abdali had reached Lahore, and he wished to make his way towards Dehli. He had heard that there was a great gathering of Khalsa in Amritsar, he made his mind up that on the way to Dehli he will go to Amritsar and kill many Singhs within his attack. Hearing the news that Ahmed Shah Abdali was coming, the ones with no courage, and weak hearts had fled in fear. Baba Gurbax Singh sent them off himself saying "Those who wish to leave now may leave, as after this point I will not let anyone leave" Those Bhujangi Jangi Yodheh Farlewale Nihang Singhs [Experienced Warriors who carried the battle standard of the Khalsa upon their Turbans] stood alongside the Guru. To attain martyrdom alongside Baba Gurbax Singh, there was only a few other Singhs left. In the same way wedding guests wear new clothes, the Singhs became ready, some were wearing Blue Bana [battle Uniform], some White and some Orange, they all came together and gathered infront of the Akaal Bunga. The Singhs drank Shaheedi Degh and made themselves ready for battle. There were some Singhs who took opium, taking their doses they also became ready. Hearing that Ahmed Shah Abdali was coming, in anticipation they stood on the balls of their feet to look into the distance. For this reason they were about to attain martyrdom, the whole world will be shown that they have destroyed Ahmed Shah Abdali. Going into the abode of the Lord they will stop his invasion of Hindustan. Putting their weapons on they prepared their battle dress. Tying on their weapons into their Kamarkaseh [Weapons belts] the Singhs became ready. Focussing on the feet of Guru Nanak, they began reading scriptures out of the Guru Granth Sahib To be continued...

Thanks for sharing this Jvala Singh. From my reading of this, it is refering to shaheeds, and not shaheed singhs. It seems to me Guru Ji is talking about shaheeds who were already in existence, no doubt later joined by Shaheed Singhs.

Saying 'west' is hugely stereotyping. There are still many traditional combat systems in the west that have serious respect for their arts and tools, the US Army simply isn't one of them. People get confused with US military success, it clearly has more to do with their military budgets/capital investments than their soldiers, which is proven by the amount of wars they have lost (are loosing) and wiped under the carpet. I do however know a White American practitioner of traditional Filipino arts who is an ex-Marine, who does worship his blades, I am not sure where he has picked up this ritual from, but will be sure to ask, I expect it must come from the Muslim Kali lineage he has learnt from, but this ritual practice has evaded me so far. I know the Moros/Indonesians/Malays believe that spirits exist in their swords...

I wouldn't compare that with Shastar Pooja, at all.

Yes, it does both. I wouldn;t use milk, just dhahee, and not the set stuff, either home made or the cheap stuff you get from the corner shop with a black and white cow design on the pot. The dahee needs to be khutta, which is also why I suggest adding a little lemon juice to. This has cleaning agents, and also is acidic enough to remove dry skin and leave a fresh smell. The dhahee has enough fat for conditioning. Takes a bit of getting used, even if you apply a little oilc after in the shower fine, just experiement and be patient. Silence, you should open a salon.

The Philipines has a hugly rich fight culture, with all types of traditional and foreign arts being taught and practiced with passion (although as with any MTV affected culture, this is now sadly in decline). One can learn wrestling, grappling, muay thai, all Japanese arts, many Chinese and Indonesian arts, all plethora of weapons etc. Still, there are some wonderful examples of western boxers (paradoxical term, as the western style it self is anything but, largely being rooted in the native Filipino arts) in the Philipines (see here for some background - http://www.sikhawareness.com//index.php?showtopic=12564). Most people will have by now have heard of the living legend that is Manny Pacquiao aka Pac-Man. The man who destroyed Ricky Hatton. He is said to be the best pound per pound fighter on earth and has a record 7 titles in 7 weight divisions, with his eye on an 8th weight division before his retirement. Pac-Man is not a freak occurance, there are many, many passionate/dedicated fighters in the Philipines, but only a few get a lucky shot. In fact there are living legends even greater than Pac-Man - i.e. within PI versions of Muay Thai (guys who have never been defeated on the street or in the ring for 20 years, inc challenges from cocky foreigners). Most others are poor, and fighting is a skill they inherit or learn in order to survive, and during their lifetime, their live experience of its use, helps them to further evolve it and perfect. Many Filipinos are largely Catholic (or minority Muslim), and although being brought up in a tough enivornment, where kidnappings for ransom, muggings, street fight/challenge mindsets are common, like to follow very philosophical principles. In the fight world, many are still extremely superstitious (for want of a better word) and protect themselves or arm themselves with amulets, prayers, power form natural elements/animals, ancestors etc etc. This is part and parcel of taking their fighting ability to the extreme, and some fighters have been known to have extra-ordinary sensory/speed/timing/strength abilities, even at very old age (including women). I suppose our versions of this would be the Kavachs. Anyway, back to the topic, here is a promising young fighter (Casimero) polishing off what has been a hard fight against another superb and talented Cuban opponent (as opposed to the bums most British fighters like Amir Khan get to fight). In particular, check out the masterclass in uppercuts, look carefully at the punch which sets up the 2nd knock-down - a beautiful uppercut, where the kid bends right down, and blasts up using not just his arm/bicep, but his whole body, in reality, the 2nd knockout puch was just a formality! Enjoy:

Try applying a good quality oil (very small amount) right after you shampoo your dara in the morning i.e. whilst its still wet. Better than gel in my opinion, your dara looks natural, feels soft and light, no dandruff and rebellious hairs are brought under control also! Gel just adds weight to your dara, and frankly, makes Sikhs look like turbaned 60s Mafiosos (unless thats the objective)! Also, if you have dandruff problem, try washing your dara with yogurt and added lemon juice for around a week.

I think your info is mixed up. You may just be talking about amrit kept to bless babies, or houses etc, whereby amrit is prepared whilst akhand paath is going on etc.

http://www.xtranormal.com/watch/5751467/ This contains some strong language, so not advisable for kids. Anyone who has any senior or teaching level involvment in martial arts will love this, everyone else will see the typical transposable yap yap, quick win, tribal identity etc etc pitch potential newbies give to instructors nowadays (in pretty much all fields). Enjoy!

http://www.jsks.co.in/professor_sohan_singh_sheetal.htm Above is a link to classic collection of Dhadi Prasangs from a legendary Dhadi. Sadly, upon his death, Sohan Singh Seetals family refused to share the vast collection of prasangs which he had acquired (puratan) as well as written. I am not sure whether the above are those hidden works or works that were already in circulation. What I really want to see is young Singhs from the UK (West generally) promoting Dhadi Vaaran and Kavishree and helping to organise stage space for Dhadis on all occassion, so that they are once again an intricate part of Gurus darbaar. What is needed is translation seva, I have persuaded some jathai already and they are keen as they know it will help keep there delicate tradition alive. Kids generally are not interested as Dhadi Vaaran are usually based on ithihaasik granths and spoken powerfully, in poetic Punjabi, which is not easy to understand for those who are not from a strong Punjabi speaking family. Even if only the sung elements are translated and put on the projecter screen, that would make a world of difference. If anyone is interested in translation seva, kindly send me a PM. Same goes for the translation of these great books and prasangs. No one can tell a story like a Dhadi - their excellent command of poetry and Punjabi, intertwined with great ithihaasik knowledge, alongside their expertise in emotional psychology... makes a Dhadis rendition the best par none.

Veer, that is a gold mine! God bless you!!

Nah, doesn't work. At all.

Whats that Avatar btw, been meaning to ask, is it snaatnized Jesus Christ/Moses?

Yes, alongside every other breathing beast in existence lol. I am talking about "Magarmach-Dharma" only.

Thanks for that JB, very interesting. I know of hardcore 'crocodile' tribes in PNG, who even go to the extent of carving scales on to their body as an initiation rite (and they deal with real crocs, the maneating 30ft saltwater variety). But can't remember coming across a croc tribe in East Africa, although I know the animals are respected by some tribes (eaten by others lol). I wonder if its an evolved tradition or one based on Pre-Islamic pashu-panthi tribes from the regions..

Official thread! Nice set from the Kullarbros channel: Anyone who the young Nihang Singh is? Please post/add other bolai to this thread. Cheers.

Benti to N3O, I would like to read Balbir Singh Jis response to my post, the problem was not the topic, it was sarbatdapalas Sikh Sangat reaction. Would you be kind enough to re-open the thread, remove SDP posts and perhaps give him a warning about knee jerk reactions and copying and pasting random seached Gurbani. Thanks.

Amardeep, some of your observations were not so far from the truth, just a few extra comments (and please note, I am not an expert in martial arts): "are any of you amazed by the moves seen on the above video of Nihang Niddar Singh posted by Maha Singh? To me it looks like very normal and logical moves that everyone would do if they were attacked (just dodging) , I dont see anything extra ordinary ?" All real combat/martial arts sadly do NOT look flashy or amazing when seen in practice. Certainly the drills/forms/jurus what have you, are practiced to extremes, so do look aesthetically pleasing, but when used in reality, the movements become just 10% of the form and extremely subtle due to infinite variations of attacking angle/speed/distance/footwork/timing etc. What I like about Niddar Singhs demos is that they are not choreographed, so he is always having to focus (100%) and think. Even though the Singhs are not trying to kill him (full force etc), there is certainly no hiding from the fact that any accomplished swordsman in the audience will see possibilites of kill, and whether or not they are being recognised and neutralised by Nidar Singh. When people read spiritual material and philosophy - a lot of it seems common sense. Thats because it. The truth is, that common sense is not so common. Simplicity and directness is the key to combat, but believe it or not, this needs to be taught! Many martial arts teach all sorts of flashy and frankly totally unrealistic nonsense, that may work in a controlled sparring environment (where all is one and the same), but which would get an autopsy on the street. When you talk about dodging, look a little more into it, see how Nidar Singh is using peripheral vision and is aware of the intentions of all 3 attackers, based on how they are moving (in their own rythm), which way their swords are facing, foot positions etc, 2ndly look at how much of a large part Nidar Singhs footwork plays in his dodging, is he simply standing in one spot doing a matrix special? Look at the circles Nidar Singh contstanly walks for instance. A few other deadly Far Eastern martial arts also utililse these same priniples for multiple opponent combat. I can tell you, to be constantly moving is an essential key in combat, but not moving around like a monkey on opium, movements need to have purpose and intent. Also look at where Nidar Singh positions himself, half the work in neutralising the next round of attacks is done by being in the ideal position to respond. That aside, where the odd clever attack comes his way, sure, he has to duck, or move his head etc, that is just a show of his honesty, as if he didn't do that, I doubt his students would cut him, but he would know, and those in the know would know, that the teacher just got hit. Although thats not bad thing at all, in fact good Masters always give their student a thaaper on the back if they 'achieve'. The other thing to look for is the great awareness of angles Nidar Singh has, he is consistantly able to continue one strike from one attacker to the 2nd (sometime even to the 3rd) by lining them up perfectly. Once one understands angles, then you see see where the more swingy exhibition arts fall flat on their face. Momentum is also used very well, as one strike nicely cuts or hits, being set up in such a way that the energy is recycled into the next strike, have look for this, it is again another essential skill in energy conservation and reducing time-lag/waste. When you see his back to a student, that is because he has just killed him. The drill is continous, so the student needs to acknowledge the strike for at least his teacher to pass him that once. Check it out it again. If you study the staff, spear etc work, you will see short, controlled and manipulating movements, with many direct short srtikes, and short powerful sideways footwork, which is very efficient in my opinion, and used in other arts too. That you don't see anything extra-ordinary is in my opinion, evidence of a successful demo. But it is also evidence of your lack of understanding, the extra-ordinary (as with anything) is always sukshma/subtle, and only seen by the trained/knowing eye. I hope you try and watch the videos again based on the above comments and see things slightly differently. Sorry, its a very short commentry, i am still recovering from a freak flu I have had for 5 days! I have shown the video to some of my other teachers, who thought it was good, some liked the footwork and others the sword work, which they consider similar to theirs albeit at times, Nidar Singh touched swords (which I think was in terms of controlling/moving the opponents weapon, rather than attacking the weapon), which in their art is considered an absolute no, as they always attack/control the limb (I am sure the principle is similar in SV also from what I remember). But even this is not a big deal if you consider the extent of the drill! As Maha Singh said, to get a real taste, one needs go to the school and have a go with the Master. Hope that helps, cough cough, splutter splutter (back to bed).

Balbir Singh, I think it would be good for you to define Kaam, as the above posters obviously seem to have a very narrow definition/understanding of it. My understanding is that Kaam is a lust, a term far broader than the sexual connotation being used above. One can lust, or have an intense longing/need/addiction for many things... in this way, can one lust for God....? Let me ask you a question: Is Prem, Ishque and Kaam one and them, or at least inter-related? Is there Gurbani references you can provide to verify? The suhaagan concept is shared with some Sufi groups, who non-coincidentally, we also take the very beautiful and sensual raag Suhi from. This raag generates the emotion of romance. No wonder it is used for the sacred Laavan, whereby the ultimate romance is explained, Parmatma and his devotees. On a smiliar note, I recall hearing a sakhi about Bhagat Dhanna Jatt. He was said to have utilised 'hankaar' to meet Parmata, the difference was, that he used 'shud' hankaar. When he heard how Namdev, Kabir, Ravidas, men of low caste, had all become one with the Creator, he grew hankari and commented "if these neech jaath vale can become bhagats, then why can't this Jatt". From this understanding, he was said to have given himself the self-belief needed to undertake his bhagti. It's very important to note, that something only becomes shud i.e. hankaar, possible kaam, when it will bring you closer to the infinite. Food for thought.

"Your precious Chisti order today teaches that Guru Nanak Dev Ji was nothing but a Muslim follower of Sheikh Farid." Today? Isn't that what Sufis have always believed, that Baba Nanak Shah was Hazrat, both in his lifetime (which is why he was excepted in the Middle East and had a following there) and during his deathbed! No mystery there Veer. The Pir Sahib sitting on Mian Mirs gaddi who retains his unresearched diary and tells amazing sakhai of 6th Master, had no issue admitting Guru Nanak Dev Ji is a Muslim when asked straight out. Any open minded spiritual Muslim would think the same, not so different from Sikhs believing Dru Prehlad were Gurmukhs as revealed in Gurbani. Guru Nanak Dev Ji is 'offically' also claimed by the Sri Chaitnya school, the Ismailis and some Buddist schools - as he is recorded in their holy texts. This is not something to worry about, but celebrate, for it provides evidence of Gurus Jis far reaching communication and following within all schools. To slag off those who believe in Guru Nanak Dev Ji as divine is foolhardy (with all due respect). Dalsingh, Sufis - the original propogators of Islam in Indian and beyond have played an integral part in the development and evolution of Hindustani sangeet, in fact it is there contribution that today seperates Hindustani (North Indian classical) sangeet and Karnatic sangeet (South Indian Classical). The Sufi and Vaishnav raags were placed in highly strategic places in the Goindval Pothis, signifying a deep message, but thats a topic for another day. Don't forget Mughals like Akhbar propogated Indian Music to its highest levels (look up the sakhi of Tansen), which again is another reason why constantly harp on about not throwing all 'Muhals' into the same basket. You need to seperate the cultures of the Shia and Sunni Mughals rulers. The main incident that you are refering to was Aurengzabs ban on the performing arts, in which some of the biggest victims were (believe it or not) Muslims - both Sufis and Mirasis (the traditional music performing low caste - as per Bhai Mardana).