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With Salman Khan, Jacqueline Fernandez, Nawazuddin Siddiqui, Randeep Hooda. An adrenaline junkie walks away from a whirlwind romance and embraces a new life as a. KICK 2 - Drum Synthesiser. KICK 2 is finally here - The Multi Award Winning KICK gets an extensive upgrade for 2016. Easily sculpt, shape, create, manipulate, mangle. History. However, high kicks, aiming above the waist or to the head appear to have originated from Asian martial arts. Such kicks were introduced to the west in the 1. Asian styles such as Bartitsu and Savate. Practice of high kicks became more universal in the second half of the 2. The history of the high kick in Asian martial arts is difficult to trace. It appears to be prevalent in all traditional forms of Indochinese kickboxing, but these cannot be traced with any technical detail to pre- modern times. For example, Muay Boran or . While it is known that earlier forms of . Some stances that look like low kicks, but not high kicks, are visible in the Shaolin temple frescoes, dated to the 1. On the other hand, stance is very important in any combat system, and any attempt to deliver a kick will necessarily compromise one's stability of stance. The application of kicks is thus a question of the tradeoff between the power that can be delivered vs. Since combat situations are fluid, understanding this tradeoff and making the appropriate decision to adjust to each moment is key. Kicks are commonly directed against helpless or downed targets, while for more general self- defense applications, the consensus is that simple kicks aimed at vulnerable targets below the chest may be highly efficient, but should be executed with a degree of care. Self- defense experts, such as author and teacher Marc Macyoung, claim that kicks should be aimed no higher than the waist/stomach. Thus, the fighter should not compromise their balance while delivering a kick, and retract the leg properly to avoid grappling. It is often recommended to build and drill simple combinations that involve attacking different levels of an opponent. A common example would be distracting an opponent's focus via a fake jab, following up with a powerful attack at the opponent's legs and punching. Further, since low kicks are inherently quicker and harder to see and dodge in general they are often emphasized in a street fight scenario. Practicality of high kicks. Martial arts systems that utilize high kicks also emphasize training of very efficient and technically perfected forms of kicks, include recovery techniques in the event of a miss or block, and will employ a wide repertoire of kicks adapted to specific situations. Detractors have asserted that the flying/jumping kicks performed in synthesis styles are primarily performed for conditioning or aesthetic reasons while the high kicks as practiced in sport martial arts are privileged due to specialized tournament rules, such as limiting the contest to stand- up fighting, or reducing the penalty resulting from a failed attempt at delivering a kick. Although kicks can result in an easy takedown for the opponent if they are caught or the resulting imbalance is exploited, kicks to all parts of the body are very present in mixed martial arts, with some fighters employing them sporadically, while others, like Lyoto Machida, Edson Barboza and Donald Cerrone rely heavily on their use and have multiple knockouts by kicks on their resumee. Basic kicks. The actual strike is usually delivered by the ball of the foot for a forward kick or the top of the toes for an upward kick. Taekwondo practitioners utilize both the heel and ball of the foot for striking. Various combat systems teach 'general' front kick using the heel or whole foot when footwear is on. Depending of fighter's tactical needs, a front kick may involve more or less body motion. Thrusting one's hips is a common method of increasing both reach and power of the kick. The front kick is typically executed with the upper body straight and balanced. Front kicks are typically aimed at targets below the chest: stomach, thighs, groin, knees or lower. Highly skilled martial artists are often capable of striking head- level targets with front kick. In most styles, the instep is used to strike, though most Karate styles would allow the shin as official technique for a street fight. To execute, the attacker swings their leg sideways in a circular motion, kicking the opponent's side with the front of the leg, usually with the instep, ball of the foot, toe, or shin. Also performable is a 3. An important variation is the downward roundhouse kick, nicknamed the Brazilian Kick from recent K- 1 use: A more pronounced twist of the hips allows for a downward end of the trajectory of the kick that is very deceiving. There are two areas that are commonly used as impact points in sidekicks: the heel of the foot or the outer edge of the foot. The heel is more suited to hard targets such as the ribs, stomach, jaw, temple and chest. However, when executing a side kick with the heel, the toes should be pulled back so that they only make contact the heel and not with the whole foot. If a person hits with the arch or the ball of the foot, it can injure the foot or break an ankle. A standard sidekick is performed by first chambering the kicking leg diagonally across the body, then extending the leg in a linear fashion toward the target, while flexing the abdominals. The official Facebook page for KICK. Fueled by passion and love for the game, KICK is the home of the. Welcome at the website of the Kick-In. The Kick-In is the introduction period of the University of Twente. The Kick-In is the perfect opportunity to discover the. A kick is a physical strike using the leg: foot, heel, tibia, thigh or knee (the latter is also known as a knee strike). This type of attack is used frequently by. Another way of doing the side kick is to make it an end result of a faked roundhouse. This technique is considered antiquated, and used only after an opponent is persuaded to believe it is a roundhouse, and then led to believe that closing the distance is best for an upper body attack, which plays into the tactical position and relative requirement of this version of the side kick. In Korean, yeop chagi. In Okinawan te fighting, it is sometimes called a dragon kick. Some have called this side kick a . This side kick begins as would a roundhouse kick however the practitioner allows the heel to move towards the center of the body. The kick is then directed outward from a cross- leg chamber so that the final destination of the kick is a target to the side, rather than one that is directly ahead. Traditional back kick. This kick is directed backwards, keeping the kicking leg close to the standing leg and using the heel as a striking surface. In wushu, this kick is called the . It is often used to strike opponents by surprise when facing away from them. Advanced kicks. It begins with one foot rising upward as in a crescent kick. The arc can be performed in either an inward (counter- clockwise) or outward (clockwise) fashion. A well- known proponent of the axe kick was Andy Hug, the Swiss Kyokushinkai Karateka who won the 1. K- 1 Grand Prix. Butterfly kick. There are many variations of this kick. The kick may look like a slanted aerial cartwheel, and at the same time, the body spins horizontally in a circle. It begins as a jump with one leg while kicking with the other, then move the kicking leg down and the jumping leg up into a kick, landing with the first kicking leg, all while spinning. This kick involves also the arching the back backwards when airborne to give a horizontal body with high angled legs to the horizontal. It may also resemble a jumping spin roundhouse kick (developed by James 'Two Screens' Perkins) into a spinning hook kick, all in one jump and one spin although the difference is that both legs should remain in the air at the same time for a considerable amount of time. However, its original purpose was to evade an opponent's floor sweep and flip to the antagonist's exposed side or it may be used as a double aerial kick to an opponent standing off to the side. It is now widely used in demonstrative wushu forms (taolu) as a symbol of difficulty. Also note the similarity in execution when compared to an ice skating maneuver known as a flying camel spin (aka: Button Camel). Calf kick. A variation which is known as the jumping calf kick is when the user jumps before performing the kick. This attack often takes the form of a sweep in clinching situations and is most often seen in MMA matches. Crescent kick. The energy from the snap is then redirected, whipping the leg into an arc and hitting the target from the side. This is useful for getting inside defenses and striking the side of the head or for knocking down hands to follow up with a close attack. In many styles of T'ai chi ch'uan and Kalaripayattu, crescent kicks are taught as tripping techniques. When training for crescent kicks, it is common to keep the knee extended to increase the difficulty. This also increases the momentum of the foot and can generate more force, though it takes longer to build up the speed. Its arch is clockwise for the left leg and counter- clockwise for the right leg. Force is generated by both legs' hip adduction. The inward variant has also been called a hangetsu geri (Half moon kick) in karate and is employed to . It can quickly be followed up by a low side- blade kick to the knee of the offender. The outward/outer/outside crescent hits with the 'blade', the outside edge of the foot. Its path is counter- clockwise for the left leg and clockwise for the right leg, and force is generated by both legs' hip abduction. This is similar to a rising side kick, only with the kicking leg's hip flexed so that the line of force travels parallel to the ground from front to side rather than straight up, beginning and ending at the side. Hook kick. It is executed similar to a side kick. However, the kick is intentionally aimed slightly off target in the direction of the kicking foot's toes. At full extension, the knee is bent and the foot snapped to the side, impacting the target with the heel. Haitian Vodou - Wikipedia. Vodou altar during a celebration for Papa Gu. This altar has offerings to three nations (nanchons) of loa: at top right are offerings to Rada spirits; at top left are those for the Petwo family; and those at bottom are for Gu. Practitioners are called . According to Vodouists, Bondye does not intercede in human affairs, and thus they direct their worship toward spirits subservient to Bondye, called loa. Every loa is responsible for a particular aspect of life, with the dynamic and changing personalities of each loa reflecting the many possibilities inherent to the aspects of life over which they preside. In order to navigate daily life, vodouists cultivate personal relationships with the loa through the presentation of offerings, the creation of personal altars and devotional objects, and participation in elaborate ceremonies of music, dance, and spirit possession. Vodou originated in the Caribbean and developed in the French Empire in the 1. West African slaves when African religious practice was actively suppressed, and enslaved Africans were forced to convert to Christianity. Religious practices of contemporary Vodou are descended from, and closely related to, West African Vodun as practiced by the Fon and Ewe. Vodou also incorporates elements and symbolism from other African peoples including the Yoruba and Kongo; as well as Ta. The word derives from an Ayizo word referring to . Two of the major speaking populations of Ayizo are the Ewe and the Fon, both of which are calle the Arada by European slavers, and composed a sizeable number of the early enslaved population in St Dominique. In Haiti, practitioners occasionally use . These terms can also be used to refer to the religion as a whole. Outside of Haiti, the term Vodou refers to the entirety of traditional Haitian religious practice. Originally written as vodun, it is first recorded in Doctrina Christiana, a 1. King of Allada's ambassador to the court of Philip IV of Spain. In the following centuries, Vodou was eventually taken up by non- Haitians as a generic descriptive term for traditional Haitian religion. There are many used orthographies for this word. Today, the spelling Vodou is the most commonly accepted orthography in English. Other potential spellings include Vodoun, vaudou, and voodoo, with vau- or vou- prefix variants reflecting French orthography, and a final - n reflecting the nasal vowel in West African or older, non- urbanized, Haitian Creole pronunciations. The spelling voodoo, once very common, is now generally avoided by Haitian practitioners and scholars when referring to the Haitian religion. In October 2. 01. Library of Congress decided to change their subject heading from . The concept of tying that exists in Haitian religious culture is derived from the Congolese tradition of kanga, the practice of tying one's soul to something tangible. The most notable loa include Papa Legba (guardian of the crossroads), Erzulie Freda (the spirit of love), Simbi (the spirit of rain and magicians), Kouzin Zaka (the spirit of agriculture), and The Marasa, divine twins considered to be the first children of Bondye. These loa can be divided into 2. Petro, Rada, Congo, and Nago. Each of the loa is associated with a particular Roman Catholic saint. For example, Legba is associated with St. Anthony the Hermit, and Damballa is associated with St. Each family is associated with a specific aspect, for instance the Ogou family are soldiers, the Ezili govern the feminine spheres of life, the Azaka govern agriculture, the Ghede govern the sphere of death and fertility. Morality. There is also a notion of relative propriety. Voodoo gunman Jamaica’s Most Wanted It is an honor to be entered and 'ridden' by a Loa, or spirit. In Haiti these rituals are commonplace: Voodoo is the dominant religion.
Voodoo is a sensationalized pop-culture caricature of voudon, an Afro-Caribbean religion that originated in Haiti, though followers can be found in Jamaica, the. For example, one spirit is very cool and the other is very hot. Coolness overall is valued, and so is the ability and inclination to protect oneself and one's own if necessary. Love and support within the family of the Vodou society seem to be the most important considerations. Generosity in giving to the community and to the poor is also an important value. One's blessings come through the community, and one should be willing to give back. A person without a relationship of some kind with elders does not practice Vodou as it is understood in Haiti and among Haitians. There is a diversity of practice in Vodou across the country of Haiti and the Haitian diaspora. For instance, in the north of Haiti, the lave t. Some lineages combine both, as Mambo. Katherine Dunham reports from her personal experience in her book Island Possessed. While the overall tendency in Vodou is conservative in accord with its African roots, there is no singular, definitive form, only what is right in a particular house or lineage. Small details of service and the spirits served vary from house to house, and information in books or on the internet therefore may seem contradictory. There is no central authority or . Another consideration in terms of Haitian diversity are the many sects besides the S. The gros bon ange is the part of the soul that is essentially responsible for the basic biological functions, such as the flow of blood through the body and breathing. On the other hand, the ti bon ange is the source of personality, character and willpower. After a day or two of preparation setting up altars at an Hounfour, ritually preparing and cooking fowl and other foods, etc., a Haitian Vodou service begins with a series of prayers and songs in French, then a litany in Krey. After more introductory songs, beginning with saluting Hounto, the spirit of the drums, the songs for all the individual spirits are sung, starting with the Legba family through all the Rada spirits, then there is a break and the Petro part of the service begins, which ends with the songs for the Gede family. As the songs are sung, participants believe that spirits come to visit the ceremony, by taking possession of individuals and speaking and acting through them. When a ceremony is made, only the family of those possessed is benefited. At this time it is believed that devious mambo or houngan can take away the luck of the worshippers through particular actions. For instance, if a priest asks for a drink of champagne, a wise participant refuses. Sometimes these ceremonies may include dispute among the singers as to how a hymn is to be sung. In Haiti, these Vodou ceremonies, depending on the Priest or Priestess, may be more organized. But in the United States, many vodouists and clergy take it as a sort of non- serious party or . In a serious rite, each spirit is saluted and greeted by the initiates present and gives readings, advice, and cures to those who ask for help. Many hours later, as morning dawns, the last song is sung, the guests leave, and the exhausted hounsis, houngans, and mambos can go to sleep. Vodou practitioners believe that if one follows all taboos imposed by their particular loa and is punctilious about all offerings and ceremonies, the loa will aid them. Vodou practitioners also believe that if someone ignores their loa it can result in sickness, the failure of crops, the death of relatives, and other misfortunes. A variety of animals are sacrificed, such as pigs, goats, chickens, and bulls. The most basic set up is just a white candle and a clear glass of water and perhaps flowers. On a particular spirit's day, one lights a candle and says an Our Father and Hail Mary, salutes Papa Legba and asks him to open the gate, and then one salutes and speaks to the particular spirit as an elder family member. Ancestors are approached directly, without the mediating of Papa Legba, since they are said to be . In other homes, where people may more openly show their devotion to the spirits, noticeable items may include an altar with Catholic saints and iconographies, rosaries, bottles, jars, rattles, perfumes, oils, and dolls. Some Vodou devotees have less paraphernalia in their homes because until recently Vodou practitioners had no option but to hide their beliefs. Haiti is a rural society and the cult of ancestors guard the traditional values of the peasant class. The ancestors are linked to family life and the land. Haitian peasants serve the spirits daily and sometime gather with their extended family on special occasions for ceremonies, which may celebrate the birthday of a spirit or a particular event. In very remote areas, people may walk for days to partake in ceremonies that take place as often as several times a month. Vodou is closely tied to the division and administration of land as well as to the residential economy. The cemeteries and many crossroads are meaningful places for worship: the cemetery acts as a repository of spirits and the crossroads acts as points of access to the world of the invisible. His or her tendency is to do good by helping and protecting others from spells, however they sometimes use their supernatural power to hurt or kill people. They also conduct ceremonies that usually take place . However, non- Houngan or non- Mambo as Vodouisants are not initiated, and are referred to as being . There are clergy in Haitian Vodou whose responsibility it is to preserve the rituals and songs and maintain the relationship between the spirits and the community as a whole (though some of this is the responsibility of the whole community as well). They are entrusted with leading the service of all of the spirits of their lineage. Below the houngans and mambos are the hounsis, who are initiates who act as assistants during ceremonies and who are dedicated to their own personal mysteries. The asson (calabash rattle) is the symbol for one who has acquired the status of houngan or mambo (priest or priestess) in Haitian Vodou. The calabash is taken from the calabasse courante or calabasse ordinaire tree which is associated with Danbhalah- W. A houngan or mambo traditionally holds the asson in their hand along with a clochette (bell). Inside of the asson are stones and snake vertebrae which give the asson its sound. The asson is covered with a web of porcelain beads. 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