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ife is a continuous reconversion. We convertinto something that is unceasinglyrestructuring itself into something else and,paradoxically, we remain being the same oldones. Our cells change completely in seven

years and in seven days our blood has been completelyrenovated, but if we are born stubborn, for example,stubborn we'll remain; nuances aside, and adjustments andadaptations excepted as much as you wish.There is a deep root in our natures that is not equidistant,

nor balanced: it's a tendency to choose that opens somedoors and closes others; everything has a price, the perfectdoesn't exist or it has been there forever. Sticking to amoral rule, to a canon, however good it may be on paper, isa spurious measure or at least suicidal, always castratingand definitely traumatic. Therefore, shouldn't we try the change, the

transformation? I didn't say that.If life is something, that is a process of change, and

such change should be a lighthouse, a compass, a North.The problem arises when the change doesn't appearfrom inside out, or when the model doesn't respond toour nature, but to that of someone else. This and no otheris the essential problem of teaching, the problem ofMastery. The Western world simplified the issue by means of

depersonalizing the apprenticeship. Techniques arestudied, you must stick to the curriculum; the core isnot in the person but in the subjects and disciplines.One can be a perfect bastard and still be a greataeronautical engineer. It is normal having so many badpeople out there...If life is something, that is a process of change, and such

change should be a lighthouse, a compass, a North. Theproblem arises when the change doesn't appear frominside out, or when the model doesn't respond to ournature, but to that of someone else. This and no other is theessential problem of teaching, the problem of Mastery. The Western world simplified the issue right through the

depersonalization of learning. Techniques are studied,pupils must stick to the curriculum; the core is not in theperson but in the subjects and disciplines. One can be aperfect bastard and still be a great aeronautical engineer. Itis normal having so many bad people out there...Teaching us to be persons is difficult because we all start

from a different place; each one is a snowflake that hascrystallized in a unique way. Once undone, we are all H2O,but as long as we maintain our solid form, we areunquestionably different.In general, the East holds in this point a more than

commendable discretion, and demonstrates a secular

wisdom. Learning is something private, the Master is morean example which should be read by everyone. Maybe thatis why teaching, even technique, it's so silent in the East.Verbalization, especially in the more personal issues, hasbeen virtually banished, not by laziness, but out ofconviction that it brings more evil than good.But, friends, globalization is sensitive matter, and

mixtures do not always bear the best fruits... sometimesthey even bear the worst. In the medley of our times, onmany occasions, blends come out like in the joke ofEinstein and Marilyn. Einstein: "Imagine if it turns out to bethe opposite: With my ??beauty and your intelligence."They are nevertheless a path of no return, which shouldredouble our attention on this point. Any attempt to settlethe issue with the old "any past time was better" is doomedto failure, because Heraclitus made it clear for us, andbecause now the river... could be flowing down polluted, inthe worst case.I have seen how many teachers, so often imbued with the

best of intentions, fall prey to that particular rigmarole ofthese times of the world upside down. Still others, and nota few, I've seen this confusion being the best subterfuge forthe consecution of abuse and tyranny, leading to thepersonification of personal and sectarian pathologies. Martial Arts Masters singing the song of the male

monkey, who injure their students in their demonstrations ofomnipotence, or, imbued with the always false aura ofmoral superiority, humiliate students in public treating themas if they were haranguing their troops before a life-and-death battle, simply because they got up in the morning onthe wrong foot, or because that purulent pimple they hadbeen diligently growing in their pristine superiority burst atthe wrong time.In view of this paradigm we must necessarily to always

go back to the classics. The "know thyself" is the onlyvaccination that works a bit for those diseases. Let eachone cope with his own pathologies, and once subjected tothis principle, he becomes much more sympathetic tothose of others, because after you see the speck in yourown eye, you become more tolerant and kind with that ofthe stranger. Otherwise, psychic and social ostracism is theonly possible consequence. Compassion thus generatedemerges from our deficiencies, not from our moralsuperiority, and therefore is effective and long-distance.The other is artificial and often will show its game,

because you can hold a flag for a long time, but a tree (...what is natural), holds itself. Reconverting oneself is not an option, it is a command of

nature, let's not hang ourselves medals for it. Medals orawards will come or not, as result of what we do and howwe do it. Nothing right is possible in these processes

"We should use the past as aspringboard, not as a sofa."

MacMillan

"Time may have difficult labors, but it never aborts." Lamennais

L

without counting on our personal natures, becausean apple tree will always bear apples...

The convergence of tradition andmodernity is not a new phenomenon.In one way or another, everyevolution is based in a betrayal tocertain preeminent and onceblindly accepted models.Harmonizing both worlds is notonly relevant, but essential sothat something new sees thelight, history keeps walking,and what is truly universalmay remain. We are allrelatives of our ancestors,and however much wemess up in life ignoringtheir voices, this is alsoour transgressingobligation; often time willprove they were right,because at the same time,and paradoxically, almosteverything is invented, or atleast all, when we get older,we resemble our elders. Overthe years we all becomeconservative... we want toconserve our hair, our strength, ourdesire to conserve...

The work of each generation, of eachtime, is reconvert, whether the nostalgiclikes it or not; and parting from what weare and where we are, no matter howmuch this upsets the libertarian, theutopian dreamer. However not allamalgams are valid, and mixtures, inchemistry as in life, should be donewisely, but new and more efficientalloys are always possible and indeednecessary, because the path of time isforward, and change, reconversion, arein no way optional. Things are notforever, or at least not forever thesame, in any case they are tiring ifthere's no joy... as Woody Allensays: "Eternity becomes long,especially at the end."

Alfredo Tucci is General Manager to BUDO INTERNATIONAL PUBLISHING CO.e-mail: budo@budointernational.com

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Or

Change a man against his will,He is of the same opinion still

Let me first off say right from the beginning. I am a proudpassport carrying Canadian Christian and maybe not a good one,but I am a Christian.Everyone world wide has heard by now of the horrific shooting in

Ottawa, Canada on October 22nd 2014 when an Islamic Extremistwalked up behind a Canadian soldier Nathan Cirillo who wascarrying a rifle that was unloaded and he shot him in the back.Killed him dead. Then walked into our House of Parliamentbuildings and met his match a 60 year old former Canadian RCMPOfficer and Seageant of Arms Kevin Vickers who introduced him tothe 72 virgins he is suppose to get real quick.Some may be saying what does this have to do with Budo. My

friends it has everything to do with Budo. Budo translates toMilitary Way. Military fight with honor and respect on both sidesand for each other. Not sneaking up behind someone andunloading in his back this is the act of a coward not a warrior nomatter what army you fight in.Let me say this, that there are a lot of very good Muslims and

martial artists as well out there who are honest, hard working, goodpeople. Isn't it time that these Muslims stood up and denouncedthese Islamic Extremists and these senseless acts? This is the wayto attain some real respect for your religion. Respect is earnedfolks now is your opportunity to earn it. This is the way to getrespect not by killing a person who you could not even face.Cowards is all I can say cowards do this.I cannot imagine a real samurai or even a real military person of

any error shooting an unarmed person in the back. Where is thehonor in that?I am reminded of my Sensei's teaching when he said “Change a

man against his will, he is of the same opinion still”. You cannotconvert people to your religion or any religion by forcing them. Theymust want to.So why am I so upset about this you might be asking? Well this has hit home with me as this soldier comes from my

home town and lived maybe 5 minutes from where my dojo wasand also he was a member of the Argyle Sunderland HighlandersRegiment of which my father was a reservist in during WW#2.Many of my students as well have been members of thisprestigious Unit.I hope that you will pass this on to all your contacts and ask their

Muslim friends and members to stand up and let the world knowhow good Muslims, think.

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Five reasonsto choose Eskrima:

This month we start off a thrillingseries in which the best worldinstructors the will respond to a directquestion: Give us 5 reasons to choosea Martial Art! This month we have two world

figures in their respective styles:Guro Dave Gould, a great name ofEskrima, and Evan Pantazi, themost relevant Kyusho figure inour days.

Eskrima is one of the most versatile and adaptablefighting arts available to those in search of Combatefficiency today. In addition to empty hand skills it

develops one to become proficient with countlessweapons of opportunity in the event that one needs

to equalize any threat faced suddenly.

Kyusho

In my opinion the five reasons why one should choose to learn Eskrima are:

1)- Develop real time skills which can be utilized against an empty handthreat or the threat of facing an armed attacker equally.

2)- The ability to utilize ones knowledge with anything that can be lifted fromthe ground and placed in the human hand in ones time of need.

3)- Other Martial Arts seem to cater to the young and becomes increasinglymore difficult for the elderly to perform as numerous limitations become evidentas the aging process makes us old and feeble. Advanced age enhances onesability in Eskrima, it does not diminish it.

4)- Weapons are great equalizers against numerous opponents.

5)- As more Nations declare firearms illegal, Eskrima allows one to defend lifeand limb with anything that becomes accessible; be it a knife, fork, pencil,screw driver, hammer, brick, or a machete, among countless other commonitems easily found in ones immediate environment. Honestly, everything whichhas the potential to become a weapon can not be made illegal, as the weaponis not what is extended from the hand but rather the mind which negotiates andmaneauvors that instrument of destruction, what ever that instrument may be.

I represent the Lameco Eskrima System as taught by my Instructor, PunongGuro Edgar G. Sulite. He taught with the intent of building fighters as opposedto merely teaching students. He felt that Lameco Eskrima was a Combat Artand that his role as an Instructor was to develop his students to becomeproficient fighters leaving them aware and best prepared to face anychallenge and address any threat. Once proficiency had been achieved hisobjective was then to refine our capability to become more efficient, notso much by daily increase but rather by daily decrease. To take whatworked well and make it better by refining the most basicattributes resulting in more efficiency by doing less, not by doingmore.

Lameco Eskrima is not specifically a weapons based art butrather a fighting art that uses any object which can be placedin the human hand as a weapon to the point of havingnothing and then translating that knowledge bone to bone.Our mind is the weapon, not the object which we wield inour hand.

Five reasonsto choose Eskrima:

Five reasonsto choose Kyusho:

Kyusho

At first most did not Believe it was real, then theysaw, felt and accepted it as such, now only the

barrier of beginning the study is the issue. But we must all learn it to pass it on to the future

generations; this is our charge in the arts.

Five reasons to learn Kyusho1. Kyusho is the core of most martial styles, just not passed down through

the ages. Two generations since true Budo was taught has stripped its essenceaway. The old original styles always attacked the weaker anatomical structures of the body in the most efficient manner.The question to the reader is why would you only target the stronger anatomical structures or not even care about thedifference?

2. Most Martial Artists today spend decades of their life in practice and researching the physiology of a punch, kick,grab or manipulation of the human body, but not the physiology of the body functionality itself. They give little thought orefforts to the vital areas, inter-relationships or anatomical structures that most efficiently accomplish these skills or can inreverse engineering, incapacitate the same functionality of an opponent. These structures or components are one in thesame and inseparable, yet most seek just the cause and not the effect or how to cause specific effect.

3. Martial Arts should not be technique based, as when you study set technique for set attack scenarios, you are atextreme risk in real altercation when the opponent does not attack as you practiced or with the same method. You musttrain spontaneously to target the opponents' weaknesses. This is Kyusho.

4. If you knew a target that was easily accessible, disrupted the internal body so much that it would affect the hearing,sight, thought, physical control and blood pressure as it caused severe dizziness, forgetfulness, numbed all sensory inputand of course could KO the recipient…. would that be of interest to you? Kyusho is contact training in both giving andreceiving pain and physical dysfunction. You must be able to not only give it, but also take it so that you are aware,ready and can cope with this to survive a realconfrontation.

5. And the smaller, weaker or aging individual hasno choice but to study Kyusho, as all other stylesthat require this greater speed, power and agility toaccomplish cannot help them. So again the questionarises; why would the perpetual student, master orexpert not seek deeper understanding of thenervous, muscle, autonomic and motor systems ofthe body? Why would they only seek to learn half ofthe whole and not vital core of the arts?

Five reasonsto choose Kyusho:

Kyusho

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(MISSION STATEMENT OF THE WORLD HWARANG DO® ASSOCIATION)

HWA RANG DO®:A legacy of Loyalty, Relentlessly seeking Truth,

Empowering Lives, Serving Humanity

Essentially, our ultimate goal is to better the World!For us we strive to accomplish this by maximizing ourhuman potential to enhance the ideal of humanitythrough the rigorous training of our mind, body andspirit with the ancient martial and healing art of HwaRang Do®, “The Way of the Flowering Knights”.Hence, we have transformed our governing body, theWorld Hwa Rang Do® Association (WHRDA) into ahumanitarian organization as we strive to empowerthe world one person at a time. We are a school ofleadership/knighthood rather than of just sports orself-defense as only a foot soldier can affect changeone person a time; a general can direct the course ofa nation.

In a rare private moment with GrandmasterTaejoon Lee, 8th dan, the son of the Founder, Dr.Joo Bang Lee and WHRDA President, I had theprivilege to discuss with him on the subject ofLeadership.

WHAT IS LEADERSHIP?:

“Of course, that is not easy to answer withmultitudes of point-of-views. However, for me, Ihave come to realize that one essential foundationalprinciple of leadership must exist in order to truly bea leader - blamelessness. This in essence is theintrinsic definition of self-accountability where allthings start and stop with you.

In our recent annual ten-day Black SashConference where all Hwarangdo (Knights) leadersacross the globe gathered to share and exchangeknowledge, create greater bonds, and to reconnectwith the Hwarang spirit, the subject of “the OriginalSin” was discussed. Not for religious purposes, butto illustrate that knowledge itself is not bad or evil;but that both Adam and Eve was exposed toknowledge without experience, without havingearned the knowledge, without wisdom, whichdiminished the value and appreciation for knowledge,creating all the turmoil, trials and tribulation ofhumankind that we endure still today. From thediscussion one of our Hwarangs continued toexpound on how can we be a better Christian as aHwarangdoist? His conclusion was truly enlightening.

Hwa Rang Do

Hwa Rang Do®: School of Leadership Part 1

Hwa Rang Do

He made the point that as a Hwarang, hedisagrees with the traditional understanding of“the Original Sin.” Commonly, it is perceivedthat the disobedience to God is the sin.However, he feels that “the Original Sin” is notdisobedience but rather lack or absence ofself-accountability. He continues by sayingwhen Adam and Eve bit into the forbiddenfruit, God asked Adam, “Why did youdisobey?” And Adam's answer is becauseEve, whom you created from my rib told meso, blaming indirectly to God and directly toEve. Then when God asked Eve, she answersby saying that the snake told her so. In eachcase, they did not accept responsibility butrather blamed others. Hence, he concludesthat “the Original Sin” was unaccountability.Then, I added further, obviously God has noone to answer to as all things begin and endwith Him. Therefore, there is no one to blamebut Himself whether his creation was and willbe good or bad.

So when God says in the Bible to beGodlike, we assume he means perfection.However, could he possibly have meant to belike Him you must come to understand what itmeans to be Him, that there is no one toblame, no others at fault but our own.Therefore we must care for ourselves and allof God's creations as though it were our own.Thus, God instilled upon us compassion andempathy to connect all living creatures so thatwe all feel it's suffrage. There is a traditionalKorean saying which says, 'when you bite anyone finger among the ten, do they not all hurt;'as to say if you have ten children and whenone does wrong, does not the parent hurtequally amongst the ten? Whether this is

“For us we strive toaccomplish this by

maximizing our humanpotential to enhancethe ideal of humanitythrough the rigoroustraining of our mind,

body and spirit”

ultimately true or not we shall never know until we meetGod. However, as a warrior/philosopher, a Hwarang, aleader this is a more functional perception.”

WHAT OTHER ATTRIBUTES MUST ALEADER POSSESS?:

A leader must possess all the things that make agreat person; he/she should be virtuous, benevolent,and most importantly possess abundance ofcompassion and empathy. However, I think whatfurther distinguishes a leader is that he/she has astrong connection with history. One feels his/her valueand purpose, believing that he/she can offer somethingbetter to the world. He/shecan affect change in otherpeople. He/she is self-empowered and believes

in oneself and that what it is true. He/she clearly knowsone's objectives and has strong convictions, realenthusiasm, pure energy, determination, tenacity andperseverance to reach such goals, whatever the cost,understanding the extent to which they must sacrificein order to gain.

After possessing the determination and the plan toreach his/her goals a leader must possess a sense ofaccountability as discussed earlier. If one made amistake, he/she must be wil l ing to accept theconsequences of their actions. Think about a group ofsoldiers led by a general involved in a battle. Although,the soldiers in the frontline usually have many doubtswhether they will live or die, the general must instillconfidence and belief that they will be victorious. Evenwhen faced with uncertainty, he/she must becharismatic and lead with the strength ofconviction.”

Hwa Rang Do

WHAT CHARISMA IS?:

“Charisma is essential for a leader and it is notsomething you cultivate easily if you don't have it.It is the ability to lead, motivate and inspire peopleto believe when none existed. It is the ability to notonly suffice the intellect, but more importantly totouch the heart of the people and inspire them tobel ieve in themselves to accomplish that whichthey felt was previously impossible. Obviously, theleader a lso has doubts. He/she can't be 100%certain of what the outcome of one's actions aregoing to be: positive or negative, but failure is notan option and success is a matter of when, notwhat. Therefore, a leader must f i rst accept theultimate consequences of fai lure and accept theworse case scenario before proceeding forward,being self-accountable!

“A leader mustpossess all the thingsthat make a greatperson; he/she

should be virtuous,benevolent, and mostimportantly possess

abundance ofcompassion and

empathy.”

The MEGA Event - a legendary eveningoffering great atmosphere, good foodand high class Kung Fu entertainment.All this of course in honor of GrandMaster Martin Sewer's birthday!

It has been many years since the times when theMEGA Event didn't even have a name and GrandMaster Martin Sewer's birthday celebrations were but asmall evening gathering at a restaurant. It was mostlymembers of the innermost circle who came to celebrateMartin Sewer's birthday. The young master could count

the attending students with two hands, but he already thenknew the size his school and this annual celebration wouldeventually assume. How? From his Master, Kung Fu legendand movie star Chiu Chi Ling, who already then was inter-nationally claimed to be the best fighter altogether and tobe named successor of the original Shaolin Line. Chiu ChiLing showed his student Martin (today himself nominated

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to be successor to Chiu Chi Ling) what a proper Kung Fucelebration of a true master was supposed to look like.He also mentioned how with growing student numbers,the Kung Fu celebrations would grow. Of course sprea-ding the knowledge of original Hung Gar Kung Fu was asit is now still the highest goal of Chiu Chi Ling as well asof Martin Sewer. In the course of the years with the gro-wing success of his school Martin Sewer learned how hisMaster would also turn out to be right about Kung Fu par-ties. Not only did the number of guests and students atthe events increase, but also the organization and struc-ture grew with every passing year and with every yearreached a new level of professionality. With time passing,the need for a new location arose - a location that couldsatisfy the increasing expectations of the organizationcommittee. And soon one decided to host the event atthe Crowne Plaza Hotel in Zurich. Aside from celebratingGrand Master Maritn Sewer's birthday, additional thingsto be presented, celebrated or honored were added tothe program. The MEGA Event was born - an evening inevening dress and smokings. Students now continue towonder about the program of the next MEGA Event.Something that would always be cause for much antici-pation was the program of the follwing MEGA Event. Notsurprising if one looks at the programs of the previousyears. A few highlights of the evening program include:

- The birthday ceremony, where GrandMaster Martin Sewer is shown respectand is given Red Envelopes (Lai Si*).

- The school presentation, where stu-dents and guests are shown where theschool stands, what was achieved in thepast year and what the current goalsare.

- The Blackbelt Show, where the scho-ol's blackbelts give their best and show-case advanced Hung Gar Kung Fu.

- Various awards and honors, for ins-tance Bai Si** ceremonies, which ins-tructors and Masters (Sifus) have gonethrough

At the latest for the school's 20th Sewer and his orga-nization committee began inviting national and internatio-nal guests, including Sifus (Masters), who would alsoanniversary, Grand Master Martin participate in the event.“One thing is especially important about success...” -said Martin Sewer - “namely that one shares it withothers.” Even though the world of traditional Kung Fufollows strict rules and structures, and is organized in“families”, it has always been and still is important toexchange with other schools in order to keep on learning.Even a Kung Fu novice can observe this at real Kung Fuparties. Every external student or Master is taken up intothe evening program and gets the opportunity to repre-

“At the latest forthe school's 20thSewer and hisorganization

committee beganinviting nationaland internationalguests, includingSifus (Masters),who would alsoanniversary,Grand Master

Martinparticipate in the

event”

sent their family and demonstrate their own Kung Fu.Looking at the program, one can imagine how theMEGA Event organizational committee startsplanning months in advance, since the nextevent will take place on the 22nd ofNovember.

Blackbelts and instructors are alreadypracticing intensively for their upcomingBlackbelt show. Awaiting the guests atthe reception are snacks and drinks, aswell as a small delegation of organizersto greet the guests. As is usually thecase with events of this size, a ticketsystem was created and has in themeantime been run in.

Thanks to this system, eachguest will already have their ticketin their pocket when they arrive.Following some laid back min-gling, the guests may showtheir tickets and enter thelarge event hall. Of course,for those deciding at the lastmoment to come, there is abox office (supply limited). In case you're hearing

about the MEGA Event todayfor the first time, do not worry.

You may still write an email toalex@shaolin.ch to reserve a ticket. Behind the entran-ce into the huge event hall the guests are received by aprofessional photographer. Everyone who wishes canbe photographed and have their special picture kept bythe photographer. Shortly thereafter, one is escorted tothe dinner table, where most of the rest of the evening willbe spent. Once the guests have been seated, a modera-tor enters the stage and announces the arrival of Grand

Master Martin Sewer. Performing a traditional LionDance and greeted by applause, he enters theevent hall with his wife and is taken by Lions to histable. Now everyone is here and the moderator canbegin with the abovementioned evening program! Grand Master Martin Sewer has through this long

training under his Master not only brought a piece ofmartial art history into the west, but on his path alsocreated this wonderful event where Kung Fu Fansfrom all over the world can meet. If you are a martialarts enthusiast and a friend of high-quality Kung Fu,we hope that you will be able to make it to thisyear's MEGA Event. Regardless of where youare from, it will be worthwhile!

“If you are a martial artsenthusiast and a friend of high-quality Kung Fu, we hope thatyou will be able to make it tothis year's MEGA Event.

Regardless of where you arefrom, it will be worthwhile!”

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Biu Tze Tao Form Reflections

The so-cal led "ThirdForm" of the Wing TsunKuen style is one of thetraining structures whereinstructors that exceedthe level of Black Belt FirstDan focus all their effortsand full attention in itsstudy. In WingTsun Europeby TAOWS Academy wedivide the instruction ofour students in TWO welldifferentiated blocks:

WingTsun

“THE THIRD FORM(Biu Tze Tao) is a really

important partwithin the system

because itrepresents adifferent

movement.”

1. - Instruction up to the level of FirstTechnical Grade. Practitioners focus on the study,training and consecution of a firmstructure of fundamental knowledge forpracticing and understanding Wing TsunKuen style. Shifts, technical mastery ofthe foundations and inherent values inthe practice of the technical structuresdetermined by Siu Nin Tao forms (Formof Small Ideas) and Chum Kiu Tao (Formto search and sink bridges).2. - Instruction starting from the FirstTechnical Degree (First Dan) in whichwe place our pupils in the study,training and development of what wecall ADVANCED Level and Sections. Atthis level, in the understanding that thestudent has achieved everything heneeds to confront this advancedtraining phase, we focus on thepractice of the Advanced Forms: • Biu Tze Tao (Flying fingers Form) • Muk Yak Chong (Wooden DummyForm) • Luk Dim Boon Kwan (6 p 1/2 stickForm) • Bart Cham Dao (Eight Cut BladesForm)This TWO-PART scheme is a veryclear charted route to try to completeand learn our system in an orderlymanner and in a reasonable time (it willalways depend on the student'sinvestment of time).

Of course it is an opinion, but I'msure that, for the understanding andstudy of any artistic or scientific aspect,it's very important to have a clearoutline, neat and easy to follow by thestudents. Our mission as teachersshould be that of providing them witheach and every one of the system toolswithin the shortest possible time.It makes little sense to have someonelearning a combat system for twentyyears (or more in some cases). It seemsmuch more logical learning the systemin a short time and then spending manyyears practicing it. Currently it is notalways the case, and this wrongapproach is responsible for many of thestyle problems. I'm sure I can do it with each andevery one of the students who trainconstantly and diligently over a periodranging from five to ten years. Fromthere it would start another quitedifferent phase: the Practical.In a conversation with Grand MasterSteve Tappin, founder and director ofEscrima Concepts (association ofwhich I have the enormous privilege ofbeing a member), he told me that at thetime of the greatest development inEurope of wars where swords wereused, it was usual to learn quickly thebasics of weapon fighting for logicalreasons: war took up most of the timeand periods "between wars" were

rather scarce. Hence there wasn't that much time leftfor long apprenticeship periods.The practical level is based upon the fact that thestudent (or master) has completed all phases of thesystem from the first to the sixth form. He is able tohave not only superficial information of the forms, butalso to know those ideas or nuances that are underthe "skin of the forms." At this point, the practitionermust PRACTICE with his system, that is, to use thesystem to grow as a fighter, trying to make or developa style that is based on the "no form". Or put anotherway, being able to break the FORM so that the enemycan't determine any fixed scheme.Again I have to resort to the person that for me isone of the great ideologues of Wing Tsun: Bruce Lee(although not a master of style since he just practicedit for a short time in Hong Kong under the tutelage ofGrandmaster Yip Man). Master Lee defined his practice as the way to NOFORM. This poetic concept, hard to grasp for theCartesian view of Europeans, is a great definition ofthe Wing Tsun Kuen search and other Chinese styleswhich not always have been properly explained, sosurely they have been misunderstood by many.There have been attempts to mix or implementideas, but it's right there where the problem lies. TheNO FORM can only be reached by a path: the FORM! We understand the FORM in Wing Tsun as thestructures of the SIX Forms that make up the system,and enable the practitioner of Wing Tsun acquire abase, mobility, structures etc., complemented byconcepts and details that are to be found in the formsof the style. In today's article I want to refer to a form that I findfascinating for many reasons.THE THIRD FORM (Biu Tze Tao) is a really importantpart within the system because it represents adifferent movement. Analyzed from the point of viewof the external appearance or aesthetics of thesystem, we will agree that is a totally different way ofmoving. It's like is we broke the mold created by theforms 1 and 2 (SNT and CKT). Even the way of hittingand moving are different if we compare BTZT and thefirst two forms: in the third form, finger, knifehand and

WingTsun

“Biu Tze Tao is the response toan emergency caused by a

fortuitous act that prevents thepractitioner from maintaining

his structure.”

WingTsun

elbow strikes against fists and palmsblows commonly used in the otherforms of the style. Everything has agood explanation... Up to this point, Wing Tsun is reallya great system. Biu Tze Tao is a"logical deformation" of the basicstructure itself caused by tworeasons:1. Powerful attacks from theopponent that surprise us and cannotbe defended in a simple way. 2.-A breaking down of the distanceby a sudden and unexpected invasionof the enemy that breaks our barrier ofarms and legs so that we can't go onmaintaining our initial structure. In both cases, Biu Tze Tao is theresponse to an emergency caused bya fortuitous act that prevents thepractit ioner from maintaining his

structure. Anyway, the philosophy ofthe style will force to use it again in atimely manner and return in theshortest possible time to take overthis characteristic structure thatperfectly defines the Siu Nin Tao.The why for this latter reasoning isbased on the idiosyncrasy of the WingTsun style that places the highestemphasis to efficiency and simplicity.In other words: simpler is alwaysbetter. Although, once reached thepractical level, there should bechanges in the modus operandi of thepractitioner. This point is not takeninto account very often and usuallyteachers, for various reasons, forcetheir students to stay in the initialstructure, in the FORM, throughouttheir lives.

A few days ago I heard an illustriouspractitioner saying a phrase I thoughtit was very successful and it brings upmy reference to the famous quotationfrom Bruce Lee. This prestigiousmaster said something like "if you canrecognize your position and point outyourself as Wing Chun.... then is notWing Chun." Of course we could establish a talkabout why searching the NO FORMfrom the FORM, but it seems obviousthat it is hard to fight againstsomething that doesn't have a fixedform and is constantly changing. PureTaoist philosophy… Pure Wing Tsun… Reflect... I find it quite successful. To understand this difference wemust study in depth the how and whyof the techniques of the third form. It'simportant.

“Master Lee defined his practice as the way to NO FORM. This poetic concept, hard to grasp for the

Cartesian view of Europeans, is a great definition of theWing Tsun Kuen search and other Chinese styles whichnot always have been properly explained, so surely

they have been misunderstood by many.”

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ENCYCLOPEDIA OF OKINAWAN WEAPONSby Taira Shinken(translated by Eihachi Ota)

Taira Shinken is considered by many to be the Gichin Funakoshi of Okinwawan Kobudo, as it was he who preservedthe forms that he learned from his teacher Yabiku Moden.

The 184 pages feature the Master himself performing many of these traditional forms including bo, sai tongfa andnunchaku through 415 photos and 59 line drawings.

Only a Master can demonstrate and perform the katas of these uniquely Okinawan weapons in the exact and preciseway he was taught them. These forms have been preserved for generations to come.

Not only is Encyclopedia of Okinawan Weapons filled with photos of forms, it also goes into the complete history ofOkinawan kobudo and many biographies and personal backgrounds of some of the Masters. The text was translatedfrom the original Japanese work by Eihachi Ota with the aid of Michael Rowens. Ota Sensei is a well known KobudoMaster and a student of the late Nagamine Shoshin who was a student of Taira Shinken’s.

184 pages $29.94 paperback

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Use of Force and a Defensive Mindset by Avi Nardia & Benjamin Krajmalnik

As a civ i l ian f irearmsinstructor, I oftenencounter an absolutemisconception withrespect to theapplication of force inthe defense of one'sself or others. Whilestatutes between statesvary, many people haveinternalized that becausethe law, as stated, allowsthem to use deadly forcein the event of, forexample, a home intrusion,they are totally justified indoing so.

n most cases, these individualshave not thought out therepercussions of being involvedin a shooting. Even if the saidshooting is deemed to bejustified, and therefore there are

no legal ramifications, there are manypsychological and social effects whichwill unfold which will be life changing. Iwill not delve into these within thescope of this article, but rather explainwhen use of force can be used. I amnot a lawyer, so if you carry a firearmfor self defense, I recommend youconsult a lawyer in your jurisdiction toget legal advice. I am strictly speakingfrom a tactical defensive perspective.

One of the biggest misconceptions isthat if one feels threatened (sincestatutes usually use this terminology intheir use of force criteria), one mustengage. This is an absolutemisconception. To illustrate this, I willexplain the differences in types ofengagements. There are essentiallythree types - military, law enforcement,and civilian.

Under the first type of engagement(military). a threat is identified, and our

objective is crystal clear - engage andneutralize the threat. We do not havediscretion as to whether theengagement is to take place or not,when given the order we have nooption of retreating (unless as a resultof the engagement that is thetactically sound option), and we are touse all means at our disposal in orderto neutralize the threat. Our objectivehere is to take the object out of thefight - either by severely injuring him(which will take additional troops outof the battle as they attend to him) orby killing him.

Our second type of engagement isa law enforcement engagement.Unlike the military, the mandate of lawenforcement, when a threat isperceived, is not to neutralize it bykilling it, but rather to apprehend andbring to justice. As in the first type ofencounter, law enforcement does nothave a choice - it is their job toapprehend the threat. Theapproaches may vary, leavingdiscretion as to where and how toeffect this. While normally it is notadvisable to break contact with the

threat, in some cases a tacticallysound decision might be to breakcontact while maintainingsurveillance, and apprehend underconditions which are more favorableto the law enforcement unit or wherea lower level of threat will be presentto the public. IF in the course of theapprehension the subject is killed willbe a matter to be investigated as tothe acceptable levels of use of forceby the department.

The type of engagement which weare concerned with is a civi l ianengagement, and I will go more intodetail. Regardless of the legalese ofany statue governing use of force inthe defense of one's self (and this ismore critical in Castle Doctrine stateswhere individuals may feel that thelaw is “on their side”), we must beable to articulate a defense for ouruse of force. To do this, there arethree components which must beaddressed - the triangle of Ability,Opportunity, and Intent. If we canprove that the assailant or perpetratorhad the ability, the opportunity, andthe intent to inflict severe bodily harm

Use of Force and a Defensive Mindset

I

or death, then one's deployment of deadlyforce will be justified. These three factors donot relate only to the assailant, but also to theperson deploying force in self defense.

Unlike the military and law enforcementengagements, as a civilian we have one objective- survival. Anytime you use force in self defense,you are going to have a level of legal liability, sothe best course of action is always to flee. We donot carry a firearm for ego, and we do notengage to make a point. I do not carehow skilled one thinks he may be -anytime an engagement takes placethe outcome is unknown, and you maybe on the losing side of theconfrontation. Your best course ofaction is always to flee - and this isregardless of whether the use of forcewould have been with a firearm or emptyhanded.

I will present a hypothetical scenario. Youwake up in the middle of the night to thesound of something shattering in yourkitchen. There are various courses ofaction you could take.

Option 1: You take your handgunand go down to the area where youheard the noise to engage theperceived threat. As you arrive tothe kitchen, you see an unknownsilhouette, and “fearing for your

life”, you fire a shot into the threat and take it down. Didthe suspect have the Ability to inflict bodily harm? It woulddepend. Let's take a scenario where you encountered alarge male. After he was already on the ground, you seehe is significantly stronger than you, and next to his bodyyou see a crowbar which he used to break into your house.In this case, he would have the ability, since he had boththe physical potential as well as the means to do so. Didhe have the Opportunity? At this point, absolutely not -until you closed the distance to engage him, he wasoutside a reactionary gap which would give him theopportunity. Did he have the Intent? Well, from the datawe have at this point, his only intent was to stealsomething from you - no overt threats were made. Unlessthe subject were to act in a threatening manner uponseeing you, if you were to shoot it might very well bedeemed unjustified and you could be criminally liable. Butnow, let's make it even more interesting. After you take theshot and approach the subject you see that you just shotyour son's friend, who unbeknownst to you, came backfrom a party slightly inebriated and stumbled while tryingto get some water. Now, we go into the social andpsychological effects in the aftermath of the shooting. Youjust took the life of an innocent person, and more so ofsomeone close to you. Do you think you will be able tolive with yourself in this aftermath? What about theramifications in your social circles? Life will indeed be verycomplicated for you post-conflict.

Option 2: You take your handgun and carefully go downin an attempt to escape. In the process of doing so,

the suspect sees you and threatens you. Thesuspect is totally drunk and unable to

walk straight. He has one ofyour kitchen

knives. Youare 5 feet

f r o mt h e

door, and he is 30 feet from you. Do you engage him?First of all, by taking the course of action of fleeing, youhave already shown that you had no intent at using anylevel of force. Now we analyze the subject based on ourthree criteria. Did he have the Ability? Well, that would bequestionable. He did have a weapon which hebrandished, and may be able to close in on the distancefast enough, but until he begins to do so it is marginal atbest. Does he have the Intent? Absolutely - he has madean overt threat and is brandishing a weapon. Does hehave the Opportunity? In this case, it is very much like hisability - if he starts closing the gap faster than you canescape, then yes. Otherwise, no. Use of deadly force inthis case would depend on the posture that the suspecttook when he saw you were fleeing. Any attempt toapproach you would indicate that burglary was not his soleintent.

Option 3: The layout of your house is such that youcannot safely escape avoiding detection. You dial 911and call the police. You inform them of your exactlocation inside the house, of the threat that is inside yourhouse, and also inform them that you are armed. Youkeep the line open, and shout to whoever is downstairsthat you are armed and any attempt to come upstairs willbe construed as a deadly threat resulting in the use ofdeadly force. You take a tactically sound position upstairssuch that if the threat comes up to engage you, you willhave the advantage. By following these steps you havegiven yourself the maximum of coverage you couldpotentially have. You have called law enforcement forthem to take care of the assailant, you have issued awarning, which is now recorded, as to your willingness touse deadly force only in the event he comes up, and youhave taken a tactically advantageous position. Thesuspect starts coming up the stairs, in total darkness.You see an object in his hand. He has been warned aboutnot coming upstairs. You are already in a defensivemindset. He is closing that gap, and he has been warned,so therefore he has the ability and opportunity, and sincehe has the object in his hand, intent to do harm. Do youtake the shot? Rule #1 - you do not fire until you haveidentified your target. The “suspect” coming up was your

son, coming from college for the weekend,unannounced. The object in his hand is his Ipod,

through which he is listening to music and was unableto hear your warnings.

Perception and reality, especially while under stress,are very different. But having a plan ahead of time,following it, and following basic safety an tacticalrules will minimize the chance of you having to usedeadly force. It is always preferable to have thethreat come to you, and not the other wayaround. You do not know what the threat iscomprised of - by taking a tactically soundposture you minimize the chance of being on thelosing side of the engagement. You will not betaken by surprise. But even if you have taken allof the correct steps as in our Option 3, never fireuntil you have identified your target. A fewmonths ago, a famous South African runnershot his girlfriend. She was in the bathroom, heclaimed he woke up to sounds in the bathroomand thought someone had broken into hishouse. He fired his gun through the closeddoor killing her. I would hate to be his lawyer.I cannot know if it was murder or not - that isup to the courts to decide - but he isabsolutely guilty of homicide, having firedwithout identifying his target.

Use of Force and a Defensive Mindset

The master behind the systemGermano combines an impeccable and unrivaled

technique with the mental resilience of a fighter.Germano is endowed with great teaching skills that hedevotes entirely to helping his students achieve selffulf i l lment and it goes way beyond the simpleacquisition of a martial art 'know-how'.Actually, his acute perception allows him to detect

immediately the flaws in the way his memberspractise. He is then in a position to, progressively,bring them to correct themselves and improve beyondtheir own expectations.In the course of the 90's, Germano had the pleasure

of meeting Christian Maistriaux, who initiated him toFilipino martial art and at the same time improving hisboxing foot stance and punch technique. Thepractice of this art is uncompromising and purelyinstinctive. He notably took part four times in theBelgian Escrimadors' challenge in the late 90's.These competitions were broken down into fourtypes of combats with KO : kick &punch, with the useof foam rubber covered baton, with a knife and finallya fight using a baton made of rattan with limitedprotective equipments. Since back then, Germano applied all his energy to

promoting the filipino martial art in Europe and even,re-inject enthusiasm into the whole organization ofthis art which, for human-related reasons, wassomewhat in decline.To that end, Germano Monosi was allowed, in

2009, by Oliver Bersabal to relaunch the ArnisKoredas Obra Mano in Europe. Oliver B. He becamethe first Decolores Master in 2011 after havingpresented in CEBU(The phil ippines) to OliverBersabal a structured and progressive programfacilitating the teaching without being detrimental toits efficiency.Concurrently with his activities, he collaborated, in

the early 2000 years, with GM Raoul Giannuzzi , theinternational representative of the SGM Caburnay-Lapunti -Arnis -de- Abanico- cebu style.With a wealth of experience , his encounters along

the way , the martial and human interractions ,Germano Monosi has expressed the desire to sharehis l ifelong experience going way beyond thetechnical aspect of the art itself. In order to achievehis objectives, Germano has developed a systembased on the practice of the filipino martial art : The'

MAS' acronym standing for Monosi Arnis System, butmeaning 'more' in spanish almost inviting you tosurpass yourself and do'more'.

The systemThe MAS is a contemporary combat system

originating from a combination of currents fromdifferent filipino extractions but Its practice stillremained traditional.In the bosom of the system, we work with the short

baton (53cm) and the long one (70cm) either onebaton or with a second one, a knife, the pocket stick.We also train the mano-mano (one-on-one combatwith bare hands).The system, presented by Germano Monosi, turns

out to be redoubtably efficient. For its pedagogy,based right from the start on the reality of combat-and not on the reproduction of conventional codifiedmovements (making it 'fancy')- , rel ies on thesimplicity and repetit ion of simple, direct andpercussive movements.This method was developed in order for our

students to progress rapidly and acquire real martialart competences whether they be technical, mental oremotional.As far as the MAS is concerned, there are three

combat distances to consider during a confrontation,the long one (largo), medium one (medio) and theshort distance (corto). These three distancescorrespond respectively to the reach distance of akick, the reach of a punch and the clinch. Few martialdisciplines, filipino or other, integrate the distanceconcept into their training.The learning process of the MAS starts with an

intelligent and coherent wielding of the baton, used ofcourse as a weapon but more especially as apedagogical method facilitating the practice.Indeed, the baton makes it easy to assess the

distances, practising accurate strikes and assumingappopriate body posture in accordance with thesituation (offence or defence). Through that process,the student will manage to feel at ease in all comabtscenarios with the use of weapons or not.The MAS techniques are polyvalent. That's why the

principles applicable to the exercise with the batonwould just work as efficiently for a hand to handcombat.

Germano Monosi prides himself on having acquired a solid experience in thefield of protection and in the martial arts circles. Thus, he has set foot in themartial art world a little bit more than four years ago (judo) and as boxingtrainer, art he has still been practising since 1988.Professionally, he has been working in security for private and public

sector for 25 years.Within the scope of his profession, he has had the opportunity to develop

real competences pertaining to security and he is a nationally recognizedinstructor for the management of violence.

The pedagogyIn the MAS, there isn't any defined

and fixed conventional form. Thelearning process base relies on theacquisition of reflexes, suppleness,fluidity, rapidity, precision and intuition.The system advocates the following

teaching methods :• the study of the basic 12 striking

angles with defence (one or severalcounters).• Exercices for body moves,

footwork for fast moving about,alongwith combos of angle punches anddefensive postures .

• Wielding the short baton whileapplying the striking angles techniquethrough high-precision exercisesexecuted at medium distance (medio).• Performing exercises at 'largo' and

'corto' distances.• Placing the students into various

real-life situations mostly revolvingaround a maximum body protectionaccording to the student's level ofskills.• The baton-aided weapon

disarming technique with angle strikesand defense ( introduction to theconcept of joint locks)

• Working on defense and counter-strikes with or without weapon againstsingle short/long baton, double batonor knife.• Free sparring of hand-to-hand

combat, self defence, attacks andcounter-attack.• Groundwork• Handling of the pocket stick (

impact weapon hardly longer than thehand width)• Self-defense moves against

opponent armed with a knife• relaxation through deep breathing

and sharing/analysis of the

participants' felt experience about thewhole session.Germano Monosi has created a

system specialized in close combat,all parts of the body are used to strike(fist, open-hand, fingers, knee ,elbow,head, feet,….) at extreme velocity andwith a lot of fluidity in the movements.The MAS is a realistic defense

system relying on principles taught ina progressive manner through ancleverly selected and well designededucation program. Besides, thestudent will be trained to attack theopponent's weak points thereforeallowing anyone, regardless of hisbuild or strength, to be extremelyefficient.By assimilating this system, the

student, with a specific martial artbackground or not, will evolve towardsa better self-control, a stronger self-discipline and better abil it ies toconcentrate when facing aggressionduring which the stress factor will,automatically and intelligently, betaken into account. The ult imatepurpose of the counter strike is toneutralize the violent opponent withinthe legal framework of legitimate self-defense.This purpose-built and sensible

approach makes the MAS system anexcellent self-defense method.However, to achieve that objective,

the student will absolutely have towork on his own 'flaws'. That's why

Germano Monosi has integrated intothe teaching process, the truepsychological aspect of combat thatthe student must grasp and master.Indeed, during an assault, in spite of

the preparation and anticipation youmight have acquired technically if notintellectually, it is undeniable that thesituation can rapidly degenerate. Theindividuals being under attack will endup ,very often, being overwhelmed byemotions (fear, anger, …) mwhich willlead them to respond inappropriately.This sudden loss of control may be asdangerous for the assaulted person asit would be for the aggressor or thethird-person who would want tointervene.

A genuine, honest andhumble self knowledge is requiredIt is no use training to keep control

of a confrontation against anaccomodating partner who wouldfollow a predetermined fightingpattern which would absolutely fail toreflect reality !!! - if you're a realmartial art enthusiast- In any case, ifyou seek the path of a warrior and youclaim to be practising that art in themost noble way.Thus, the pedagogical progression

of the MAS is not simply centered onthe acquisition of knowledge in thefield of self-defense but tangible

competences in the anticipation andconstant adpatation of your responseduring a confrontation.According to Germano Monosi, the

only way is the permanent calling intoquestion of the practitioner and theacknowledgement of his mistakes.This can only be achieved if he stopslying to himself (about his real level ofcompetence !) and especially, if hestops letting himself be lulled into theillusion, quite unfortunate, of securitygiven by more conventionaltechniques which depart further andfurther away from the primal cause oftheir very existence… Survival.It should be noted that many

practitioners heave been spendingyears drawing fictitious forms in the airwith their baton, or reproducing seriesof techniques as a recreational activityand not for the real purpose of martialarts. However, very few of them turnout to be competent enough to applythese techniques in a real-l ifeconfrontational situation. Theassessment of al l this isincontrovertible, they have beenwasting their time !Moreover, the MAS asserts that an

effective method of self-defense mustallow each individual to come up withthe necessary technique to counterone of the possible multiple attacksand do it in a instictive, instantaneousand efficient manner ! Thinking interms of a program containing

technical instructions to learn is a utopiaand it wil l never encompass all thescenarios a practitioner may face.The only path is to condition him to

develop on his own a multitude oftechniques through the acquisition of aneffective emotional management andperfect body control (balance, psychomotorskills, footwork,…)The only way is to practise in constant

motion, permanently anticipate the assailant'sactions by a good peripheral vision andassimilate the combat principles from thesimplest to the most elaborate, on by one, in aprogressive manner, with patience and work.Philosophically speaking, this compelling

journey will lead you to inner peace ofwhich only you is the craftsman. In the end,the MAS only serves the purpose of guidingyou on this path.So Germano Monosi, for all these years

he's been teaching the management ofviolence through martial arts, has come tonotice that his students never described thismartial art as being effective or the ultimate

technique, instead, they would go on abouttheir evolution in terms of personal well-being,calmness, better stress management, « joiede vivre » ……. That's Germano's biggestachievement as a martial art instructor.

One last word from the Master« don't let yourself be daunted by the

outward form of the MAS practice, veryeffective and uncompromising… It only isthe result of a more and more elevated levelof consciousness attained by thepractitioner and allowing him to master hisown violence.Do experience combat without hurting

yourself through a structured and credibleprogressive pedagogy.

Come join us and learn to know us... toknow yourself !!! »

Init iators, monitors and instructorscourses are regularly organised.

For further information go towww.monosi-arnis-system.com

“Do experience combat without hurtingyourself through a structured and credible

progressive pedagogy.”

The term “Self Defense” has a negative connotationthat from the start can yield failure for the user.  Theproblem is that this label already portrays in themindset that the individual is a victim of a violent actor aggression and that the practitioner shouldperform a defensive action.  This premise of actingafter the fact is why most people succumb to theaggressors’ actions and never fully recover from theinitial attack or fear inducing situation. The Womanmust not become defensive; she must be aware ofher situation and not dismiss or ignore possiblethreat.   She must become proactive and gain theinitiative and momentum while forcing confusion inthe attackers’ mindset to have a possibility ofadvantage. Kyusho Self Protection is a vital trainingprocess that deals in the realities of an attack. It issimple yet powerful training process that enables thesmaller, weaker, slower or older less aggressiveindividual a chance against the larger, stronger, moreaggressive and potentially crazy attacker. By usingthe weaker anatomical targets of the body inconjunction with your own natural body actions andtendencies you can easily protect yourself or others,even under the stress and physical limitations whenyour adrenaline kicks in.  And by working in astepped and progressive manner with your owngross motor skills (instead of someone else’stechniques), your chances victory are eminent. Andby working in a stepped and progressive manner withyour own gross motor skills (instead of someoneelse’s techniques), your chances victory are eminent.

REF.: • KYUSHO-21REF.: • KYUSHO-21

EMELIANENKO FEDOR: THE LEGEND OF MMA

The hazardous and stunning realm of MMAwas dominated with an iron fist by thefearsome sovereign Emelianenko Fedor, hisauthority was unquestioned and his throneunmovable, a story that lasted ten yearssubjecting his opponents, one after another,who were unable to dethrone him. After his retirement, Emelianenko has

granted very few interviews and he's alwaystried to stay away from the spotlight, butFedor has spoken to readers of "BudoInternational", and when Fedor speaks... theworld listens!

Text: Ricardo Diez Sanchis. Photos courtesy: Dream Stage Enterteinment (www.pridefc.com)and Archives Budo International

Budo International: Currently,how is your life outside thecompetition world? Fedor Emelianenko: I am now

Counselor to the Ministry of Sports ofRussia. I am responsible for thecommunication of all Martial ArtsFederations with official institutions,resolving conflicts. I am also presidentof the Union of Russian MMA. We arestriving to develop MMA in ourcountry, by uniting the three majorchampionships of Russia. By this Imean that each year we have betterfighters, very high level fighters. Eachtournament brings together youngpromises will ing to fight for theirregion, and for the country in theinternational arena.

B.I.: What would you say to thosewho are considering the idea ofpracticing Sambo?

E.F.: Sambo is a beautiful andexciting good sport. It consists of avariety of submissions, chokes andtakedowns. The name Sambo meansself-defense without weapons, so italready has the ideology of a sport.

B.I.: Except in Russia, the rest ofthe world regards BJJ as the bestway to improve ground fighting;however, Russian fighters are fearedand respected worldwide for theirgreat technical arsenal they haveacquired thanks to Sambo. Is Samboa good supplement for MMA? E.F.: Everybody selects his own

sport, it's our choice. In my case,Sambo - our national sport - is theone suitable for me. I think the art ofSambo is not worse than BJJ.

B.I.: What benefits does Sambobring for children?

E.F.: In Russia Sambo is one of themajor sports. There is an aura ofinvincibility surrounding it. It is anincentive for children to go to the gymand promote healthy living. Samboalso develops agility, endurance andthinking skills.

B.I.: In your opinion, who iscurrently the best MMA exponent?E.F.: Now there are many great

fighters. I am satisfied with thesuccess of our athletes abroad.

B.I.: What advice would you giveto young people who are nowstarting to compete in MMA? E.F.: The main thing to be

remembered is that MMA is a sportand always, in any situation, we mustremain being human; respect ourteammates, opponents and coaches.It’s very important to working on

yourself. If we don't train hard, wewon't be able to bring about goodresults and achieve victories.

B.I.: Some people say that theUltimate Fighting Championshipsmay reach Russia, is it just arumor or you think it's possible? E.F.: Well, I have no information

about UFC wanting to bring itstournament to Russia in the nearfuture.

B.I.: The eternal question: Willwe see you fighting in MMA orSambo? E.F.: I finished my sports career in

2012 and I will not return. I am nowfully engaged in the development ofMartial Arts and transmitting myknowledge to young athletes.WMMAA is carrying out trainingseminars throughout the country.We are currently preparing a filmabout the art of MMA.

B.I.: What was the real reasonfor which you ceased to competein MMA tournaments?

E.F.: I'd had a good sports career,but I felt it was time to put an end to

it. I still have the strength to fight,but I decided to give up competing.

B.I.: What is the type of workoutyou like best? E.F.: Now I keep training, but not

in the way I used to. I like to gorunning regularly to the park, go tothe gym, sometimes do somesparring...

B.I.: Essential Question: Whenwill we have the chance to seeyou in Spain, giving a seminar? E.F.: I'd love to go to Spain and

do seminars and share myknowledge with the Spanishathletes. Moreover, we know thatSpanish fighters are doing very wellin Russia. The "España Imperial"team is constantly participating ofour major events. So I'll go as soonas we find the right time and at theearliest opportunity. I can't close without thanking Mr.

Chinto Mordillo, representative ofM-1 and WMMAA in Spain, withoutwhose help, this interview wouldhave been impossible.

“I finished mysports career in

2012 and I will

not return. I am now fullyengaged in thedevelopment ofMartial Arts

and transmittingmy knowledge

to youngathletes.”

https://www.facebook.com/FedorFanPage

https://www.facebook.com/FedorFanPage

http://www.warrenerentertainment.com/

https://www.youtube.com/watch?v=Ked9vBq5GUE

Ijutsu: The Medicine of the Shizen people

Ijutsu (医術) is translated from theJapanese by Medicine or, in a moreliterally and correct way, by HealingArt. The Ijutsu that is studied inthe tradition of the Kaze noRyu school, is a broadbody of knowledgeand therapeutictechniques used forcenturies by theShizen and theinheritors of thistradition.

or this reason, its antiquity - especiallywhen compared to the great technologicaladvances and modern research regardingthe health sciences and medicine - thesetechniques should be considered not as aset of alternative therapies, but as

complementary to the most modern and advancedtreatments. During the twentieth century, they wereevaluated and reorganized both in its precepts and itstechniques by medical professionals in the OgawaShizen Kai, to separate the mystical and fanciful fromwhat it was prospective and healthy. Today, learnersand practitioners are even further required to countfrom the start on the established basis of the criticaland scientific analysis to avoid ineffective, or what isworse, counterproductive techniques, without leavingaside the traditional method. Although some of these techniques come from the

vast Eastern traditional medical knowledge, such asAcupuncture or the so-called Do-in (Acupressure),others, such as massage therapy techniques, Anma,also known as "Yugoe", through the root "Sayugoe" -

F

https://www.facebook.com/KazenoRyu.Bugei

a term in the original dialect - are the genuine form of the Shizen identity.Yet in any case, every technique was adapted to the original therapeuticprinciples of the Shizen, for a proper harmonization in its application. In addition to this knowledge, ancestral knowledge on herbs, teas and

foods are of fundamental importance. A forest people as the Shizen, hada pharmacopoeia and a remarkable knowledge of herbs, known asKusajutsu. As a supplement to manual techniques, among otherapplications, the use of herbs, cooked or in infusion, applied in plastersor balms, oils and ointments, as well as a diet suited for the condition tobe treated, increased greatly the complexity and dimension to thetherapist's intervention. In their ancestral vision of the disease, the Shizen distinguished every

ailment in a unique way and regarded the human being in his wholeconception: body, mind and spirit. A disease supposed a poisoning thataffected all levels. Hand manipulation techniques aimed detoxify andirrigate bones, muscles, tendons, skin, circulatory system, etc., in orderto balance the organism. In the past, its application supposed well-beingfor the patient to deal with the illness that afflicted him and though itstechniques were insufficient for a variety of ailments, body balanceallowed the patient to be in a better mental and physiological dispositionto cope with disease.As we previously mentioned, the most genuine treatment techniques

and therapy are known as Anma (按摩) and although this name usuallyrefers to the almost family care and massage methods of ancient Japan,in our case we refer to the original source of the Shizen therapeuticknowledge. Let's make now an introduction to such practices.

Brief historical notes In ancient Anma treaties, the method consisting of diagnosis and

treatment is described. That was the first comprehensive approach tomedicine. About a thousand years ago, Chinese medicine wasintroduced in Japan. At that time, Anma method was well known bythe medical profession and it was considered easy to treat the human body.During the Edo period (about three hundred years ago), Japanese

doctors were required to study Anma, in order to clearly understand andbe familiar with the structure of the human body and its functioning. Thepreparation of these doctors in this type of manual therapy, allowed themto make diagnoses, prescribe Chinese Medicine herbs and locate the so-called "tsubo" or acupuncture points, seeking to make treatments easier.

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Unfortunately, this ancient manipulation method wasintended only to treat simple problems such as hardenedshoulders and back tension. It was a suitable professionfor the blind... and being as they were in a disadvantage toreceive formal training in the diagnosis and treatment,Anma gradually was associated with pleasure andcomfort. Anma is one of the oldest and most traditional Asian

methods of treatment. It is not known exactly how long agoit began to be practiced, probably some 5,000 years, and itwas first described as a treatment, 2,500 years ago.In Japanese, Anma means massage person or therapist. The Japanese character for the word "AN" means

penetrating pressure, small movements. It's considered Yinand is used for sedation. The "MA" character means massage and vibrations with

more vigorous movements; it's considered Yang and usedto tone. Anma is a technique that involves making muscle

massage, using fingers, hands and arms, to improve bloodand lymphatic circulation, providing improvement in theskin, the stress and in muscle contracture.According to specialists, massaging our own body is the

easiest way to get rid of muscle and joint pain, relieve

emotional tension, stimulate circulation and improve ourenergy flow.

The Ki Energy in Anma Several theories regarding the use of the universal and

body kinetic energy are but "KI". Ki was discovered in Indiaand China. Then it arrived in Japan. Its origin and point ofview are cited in the "Su Wen", the "Classic of InternalMedicine of the Yellow Emperor", the oldest medicaltreatise which has come down to us. As we can see, Ki can be understood at two levels: On the one hand, it represents the One, the original

chaos conceived as Blow, without organization orleadership, where the double articulation of Yin and Yangwill originate, the polar and complementary principles thatwill provide it the first demonstration momentum.On the other hand, Yin and Yang produce the three

blows or fundamental energies: the pure, the impure andthe mixture of both which, once amalgamated, willconstitute Heaven, Earth and Man. As J. Schatz warns "To the ancients, the wrapping of heaven and earth,

heaven and earth, the interval heaven / earth and all beingsthat have an ephemeral abode there, are only an

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accumulation of blows, with no interior,no limits, precarious and related".For Taoism, such correspondence

between natural phenomena isresponsible for the overall vision ofman and, consequently, the medicine itwould engender: Traditional ChineseMedicine. The body, in the Taoist sense,

reflects inside the same topology takenfrom the outside: mountains, valleys,rivers, lakes, plains, and estuaries thatconform not only the environmentalaccidents resulting from themanifestations of Ki, either in its Yin orYang aspects, but also, to the sameextent, in the human body, which willemerge configured with a similartopology.They are named in accordance with

the parity, by what they represent inregard with their location and influenceeither on the surface, or inside thebody structures. Therefore, in order toknow the man parting from thesecosmological conceptions, we must beaware of their nature and thesurrounding nature, the environmentthat sustains and shelters us, becausethe microcosm (man) is a tinyrepresentation of the whole Universe(macrocosm), governed by the samelaws and suffering the influence of thesame phenomena.Another pioneer Chinese thought is

to articulate the way in which matterand energy are impregnated. Unlikethe West, where such notions arerelatively modern, Orientals rightlydistinguished themselves by therelationship between the two sets of

phenomena, understanding from longthe bio-energetic synthesis. It isimpossible to conceive Yin withoutYang and vice versa, each one havingwithin it the germ of the other,expressed graphically in the smallopposite circle each one holds: thewhite circle representing the youngYang within the old Yin and the darkcircle representing the young Yin insidethe old Yang. From here results the lawthat prescribes that all Yin will becomeYang and all Yang will turn into Yin.Thus, mutation is not a transformationoccurred only from the outside, butalso an implicit internal development,dictated by the course of nature itself,which reinforces the notion of theopposite and complementary. From the standpoint of energy

patterns, you must address thisfundamental opposition andcomplementarity: Yang means theEssential Blows, while Yin meansBlood. Each body structure (bone,organ, tissue, cell, etc.) has a givenproportion of Yin and Yang. Themultiple meanings that theseEssences and this Blood acquireand express in the context ofTraditional Chinese Medicine arequite different from the Westernanalogous notions.

Anma in Practice The Anma considerations take

into account the Byoonin (病人), thesick, the patient, and the Shisei (姿勢), the postures, which he canassume during the massage:

1.0 一文字 Ichimonji

LAYING DOWN (Yokotaeru 横たえる)

1.1 Supine (Joutai 常態) 1.2 Prone (Utsubuse 俯せ) 1.3 Lateral decubitus

2.0 Tate Ichimonji 立一文字2.1 Hanza 半 座 - on the knees

with the body straight up2.2 Seiza 正 座 - sitting on the

knees 2.3 Tachi 立ち - standing 2.4 Shinza 伸 座 - sitting with legs

stretched 2.5 Agurawokaku 胡 座 を か く

sitting cross-legged 2.5.1 Ashi 脚2.5.2 Ryouashi 両脚

Similarly, the therapist, CHIYU NOSHISEI (治癒 の 姿勢) can also takedifferent postures and positions:

1. Hanza 半座 kneeling 2. Seiza 正座3. Tachi 立ち4 Shinza 伸座 legs stretched 4.1 Ashi 脚4.2 Ryouashi 両脚5. Agurawokaku 胡 座 を か く

(sitting cross-legged)

Healthy states, KENPI (健 否 ), areclassified old way and therefore we willsee mountain (Yama, 山), rock (Iwa, 岩)and tree (Ki, 木).

Depending on the type ofmanipulation or the emphasis on thepressure applied, we will find the six elements, ONYOUMUGYOU (陰陽六行):

1. Fire (Hi, 火) 2. Water (Sui, 水) 3. Air (Kuuki, 空気) 4. Earth (Chi, 地)

5.Wood (Moku, 木) 6. Metal (Kin, 金)

Regarding the areas ofperformance (Bumon, 部門) , we can work on thebones (Hone, 骨 ), muscles(Suji, 筋), tendons (Ken, 腱)and skin (Hada,, 肌 ) fordifferent purposes, such asrelease (HodoKu, 解 く ),vibrate (Furu, 振 る ) ,circular (Mawaru ,回 る ),drain (Hosu, 干す) by usingvarious techniques:

Traction (Keninryouhou牽引療法) Rotation (Senkaiundo 旋回運動) Stretching (Nobasu 伸 ば

す) Fitting (Hamekomi 嵌め込み) Flection (Mageru 曲げる)

Also, by working particularly the muscles (suji 筋 ), you cansee:

Te not Gikou (Hand techniques - 手の技巧):• Oyayubi (Thumb - 親指) • Ryou Oyayubi (Both thumbs - 両親指) • Kaigara (Hand in shell - 貝殻) • Te no Hira (Palm - 手の平) • Tenoku (Back of the hand - 手の甲) • Shukotsu (Hand bones - 手骨) • Goshi (Five fingers - 五指)• Tesaki (Fingers - 手先)

Ude no Gikou (Arm technique -腕の技巧): Udema (Polishing - Rubbing -

With the arm - 腕摩)

As it follows ancient principles,Anma has Classical Elementarypostural classifications(NORIGEN - 法 原) based on thenature and objects of everydaylife:

1. Fish (SAKANA - 魚) 2. Shrimp (EBI - 鰕) 3. Lobster (KAEBI - 大鰕) 4. Grasshopper (INAGO - 蝗) 5. Scorpio (SASORI - 蠍) 6. Dog (INU - 犬) 7. Cat (NEKO - 猫) 8. Snake (HEBI - 蛇) 9. Bow (YUMI - 弓) 10. River (Kawa - 川)

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11. Waterfall (TAKI - 瀧) 12. Tree (KI - 木) 13. String (HIMO - 紐) 14. Boat (FUNE - 舟) 15.Wave (NAMI - 波)

As seen above, in practice Anma uses techniques of pressure, percussion,friction, vibration, pinching and imposition of fingers and hands on specificpoints and areas of the body, besides joint movements and handling ofmusculoskeletal structures in order to act in the flowing of "energy"through techniques meant to invigorate, sedate, regulate, purify and warmup, and promote organic homeostasis, and especially psychic energy.By using his thumbs, palms and even the elbow, the therapist presses

certain points along the meridians of the body in a rhythmical andmodulated way. With such pressures he gradually unlocks the patient'svital energy. Besides, he also uses manipulation techniques, stretching ofmuscles and tendons, joint rotations, pressure on sore or tensemuscles to improve blood and lymph circulation. As a result, musclesand nervous system are relaxed resulting in a more efficient pace ofbreathing and a better energy balance.

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SCS meets Vicente Inting Carin style One day on a basketball court in the Philippines, a master

of Doce Paris Eskrima gave a brilliant demonstration ofEskrima. I remember it was scalding hot and humid. Thismaster was performing 'arcos' in a graceful manner. I wascertainly impressed with his performance , and the rest ofthe audience was watching breathlessly and gave a bigapplause when he was finished.

obody in the audience was aware of the factthat there was an old man silently watchingtoo and also enjoyed the impressiveperformance of the arcos. This old man, withpiercing eyes, l i t t le in appearance andscarred by life, stepped forward from the

crowd . The old man told this man to attack him in anymanner he would find suitable. Immediately the manattacked, very, very fast. The old man blocked the attack and countered with just

one very aggressive stab at the eyes and simultaneouslydropped his stick to the ground and walked away. What Isaw was a realistic and effective style, performed by this oldman. The actions of the old man really contrasted the greatperformance of the Eskrima master, it signified in many waysthe effectiveness of Eskrima. I instinctively understood whatthis meant: I just encountered Vincente Inting Carin, themaster and legendary fighter of Cebu.

Influenced and inspired Sometimes during your lifetime you meet people, who

impress, influence and inspire you more than anyone else. Forme this was Vincente Inting Carin. This remarkablepersonality radiated a certain force and energy you seldomencounter. Unfortunately in 2004 Vincente Inting Carin passedaway. From my own experience, I'll tell you about VicenteInting Carin, the legendary fighter from Cebu who had a greatinfluence on my way of thinking about Eskrima. Inting Carin isalso known for the documentary 'Way of the warrior'. I met Inting Carin in 1998 in Cebu. Now I have met a lot of

so-called and self-proclaimed masters. Nowadays it seems tome that there are more masters than students. This guyhowever was something completely else. An authentic fighter,who had been in actual combat and fought in the guerrillaarmy against the Japanese invaders during the second worldwar. He was only eighteen at that time. During the occupationof the Japanese he fought the enemy with his machetes andbolos. Aged 16, he learned Eskrima from his uncle PonsingYbanez , who was also a great stick fighter. Inting Carin alsoproved himself in combat without protective armour. Carinstudied with the grandmaster Filemon "Momoy" Canete. hemodified espada y daga, knife-fighting and his battlefieldexperience, he incorporated into his style , which is calledVICAR. He is a true Philippine grandmaster.

Training with Inting I trained several times with Inting Carin and I was very

impressed with his realistic look on Eskrima and his knifefighting. Inting Carin highly appreciated my style and oftengave me compliments on my aggressive and direct style offighting. He liked it because it was effective. That is also a

Eskrima

“I trained several times withInting Carin and I was veryimpressed with his realistic

look on Eskrima and his knifefighting.”

N

trademark of Inting Carin. My respect forInting Carin is great , I often call my knifefighting techniques Inting Style. His knifedisarming techniques with balancedisturbances are most significant andnot seen or found in other styles. IntingCarin and I agreed that many Eskrimastyles cannot be used in actual combat .I know he had disliked Eskrima stylesthat only play with the stick and seemmore like acrobatics than real Eskrima .Prior to his death , He sent me a letterwherein he urged me to keep on traininghard and keep on developing my style .Like I said he also was of greatinfluence. Inting Carin passed awaywhen he was 82 years of age.

Inting Carin Doce pares Inting Carin created his own style .

VICAR Style (VICAR , VICENTE INTINGCARIN) , but he also was a member ofDoce Pares. Inting was challenged agreat many times by Eskrimadors andfought in the name of Doce Pares. Thesefights were fights without protectivematerialsor, sometimes even fights of life and

death. He excelled in knife fighting.Inting Carin told me many stories abouthis fights. One of his most famousbattles is re-enacted in the documentaryEskrimadors.

Simplicity The style of Inting Carin was his

personal style . Created from hisexperience in real battle. I can stil lremember an anecdote when I askedInting Carin about his best knifedisarmament . He looked at me andlaughed and said, " Frans rememberthis, keep it as simple as possible in aknife fight , one error can cost you yourlife". Then I put a knife to his belly and ina very simple way , He disarmed myknife with a technique, called "thesnake" . This "snake " also points to hishallmark , simplistic and realistic.

The legacy of Inting Carin lives onIn July this year , I had a very pleasant

meeting with the sons of Inting Carin ;Alfredo and Vicente Carin junior inPhilippines . Their task is to continue thelegacy of their father . The style alsoVICAR style stands for no unnecessarymovements but every action is meant tofinish off their opponent as quickly aspossible . The nice thing is, that his

Eskrima

Eskrima

youngest son Carin junior not only looks a lotlike his father, but also his way of fightingreminds me of his father, realistic, hard blowsand with forward aggressive footwork . Themeeting was very interesting and we talked a lotabout the past and also my special bond withInting Carin were discussed. What few people know is that I have put the

whole style of Inting Carin on film in 2004, Wefilmed it all in two days and I must say it was areally interesting time and the DVD is fantastic. On the DVD Inting Carin himself explains a

great many techniques and shows how toperform them.

Further development The sons of Carin have developed VICAR

style and made it accessible to all who wants totrain. Trained by their father, not only technicallyand tactically but also in his spirit. Eskrima ispassed on to them. My vision of Eskrima is thatit should be hard , realistic and fast. Rememberwhat I already told Vicar Style developed byInting Carin evolved from his experience inactual combat. Not from the tournament fightingor competition, but from real fights to the death.There are few masters who can claim that.

The Future of vicar style Led by Alfredo and Vicente Carin junior, the

future of the VICAR style looks to be very good.And they are not just fantastic Eskrimadors butalso a great teachers. I'm sure their father wouldbe very proud of his sons and he assured thathis legacy wil l be passed on to the newgeneration. In summer 2015 I am organizing atraining trip to the Philippines for anyone whowants to come with me and would like to trainunder these Filipino masters. Alfredo andVicente Carin will train my students and I amconfident that my students will be impressed bythese Eskrimadors. For now I welcome you intomy world, the world of Eskrima!

You can visit my websitewww.scseskrima.com or

www.knifefightsystem.com for moreinformation contact me info@scseskrima.com

“Led by Alfredo andVicente Carin junior,

the future of theVICAR style looks to

be very good”

Kung Fu

Grandes Maestros

Sifu Cangelosi has been one of the Masters who has broken moreschemes throughout his career. The first, for which he was heavilycriticized (hard to believe today!), is that he dared to practice andmaster more than one style of Kung Fu. In fact, for him Kung Fu hasalways been only one, a complete Art with a very rich range ofvariations and traditions. Not satisfied with that alone, he committed ??his second sin:

becoming a Muay Thai expert! Horrible treason! A non-Chinese art! And his third and no less mortal sin was not having slanted eyes,

that is, being a Western.All this appears documented in his several books and in what

probably is the most extensive collection of instructional videos onKung Fu (and not only that!) ever made by a single individual to date.That's why we bring this Grand Master to our cover page andcelebrate the many years of joint work, making available to ourreaders and customers a special offer on the products that bear hisseal, both books and videos, of which you can benefit to complete yourcollection ... or to start it!Cangelosi will never disappoint you! Today some of these considerations may seem simply ridiculous to us,

but believe me, just a few decades ago things were quite different. SifuCangelosi was and is a pioneer in a new broad and holistic approach toMartial Arts, to combat, to energy, internal or external; to him,they're all phases of one same essence that not only can be combinedin the apprenticeship, but also, as many of his students havedemonstrated throughout the years, makes better and more completemartial artists.All those who know him speak highly of him because he has a well-

earned reputation through hard work and earnestness beyond dispute,something that has undoubtedly been a great incentive that has helpedKung Fu, subjected to such denigration in the 70s, to find a new imageand a new space in the West in our days.

Alfredo Tucci

An emotion that has united the West to the East

It's an emotion what triggers agreat energy that can lift the worldon one finger.

I started in martial arts in the latesixties, with Ju Jitsu. I lived in avillage near Genoa, where martialarts were not yet known; I had onlyheard of judo and karate to someholiday makers who came from thecity.

When Master Nicolino Rosaarrived in our little town, "Casella",bringing the Japanese wrestling, Iand a handful of other children werethe first to enroll; it was where mypassion for Martial Arts was born,which were to become the reasonof my life.

After my family moved from thevillage to the city of Genoa, myhorizons to the Eastern disciplinesopened. It was in 1971 that I metmy first kung fu master, the greatSifu Fu Han Tong, a Chinese masterfrom southern China that hadmigrated from the Celestial Empirein the mid-sixties, and after severaltrips that took him from China toAustralia, California and France, hefinally had arrived in Italy.

Fu Han Tong was a specialChinese person, he spoke a bit ofEnglish and knew many Chinesedialects, but the extraordinary thingis that he had a huge culture andskill in Chinese martial arts and an

unusual knowledge, because hehad grown up with different mastersand had learnt different styles ofboth north and south, from internaland external school.

At first, I was not aware of hisgreatness, for me was a man withalmond-shaped eyes that madekung fu and therefore a kind ofsuper hero.

I don't intend to turn this articleinto a disclosure of my own storylike in a book, so I will just explainmy first experiences of study andpractice in the art of kung fu.

I was 11 years old and MasterHan Tong worked in a carpenter'sshop located in the Historic Centerof the city, and he also traded withporcelain statuettes through aChinese shop in Genoa andanother one in Turin. I rememberthat almost every day I stopped byhim and in his spare t ime heinitiated me in kung fu. After a fewbasics (greetings, positions andsome small technicalcombinations) he began to tell meabout styles... It was a fascinatingworld, because of the enormousdifferences that I could seebetween one method and another.When I started to become aware ofwhat I was doing, I realized that Ihad already begun to study threedifferent styles in this order: WingChun, Tang Lang and Tai Chi.

It was still very young, but thesurprising thing was that the third

Great Masters

Kung Fu

Great Masters

Kung Fu

internal style had, for me, a particularfascination, I was captivated by its slowmovements and the capacity ofconcentration reached during practice.Contrary to what it might be thought anddespite my young age, Tai Chi had anextraordinary power over me; Fu Han Tongwas trying to make me understand thatthese slow movements were necessary forthe energy to f low, to keep the bodyrelaxed and therefore to be faster andmore agile. During the study of the largeform, he made me appreciate i tsapplications to make it clear that it waspure Martial Art; at the same time, hestressed out i ts ??healthy aspectsbringing me to the knowledge of Taoistphilosophy and discipline. It was for thesereasons that I never abandoned thepractice of Tai Chi.

Meanwhile, in the practice of Wing Chunand Tang Lang, I saw an exercise thatstimulated my body and required athletictraining with complex dynamics. The charmof the paw of the mantis, its speed inalternating the arms and the strength of itstechniques were amazing; but also its bodydynamics and foot-work showed anincredible elegance. Workouts were oftenvery hard in conditioning the limbs that

were to become strong and robust as thoseof the praying mantis. What it was reallycurious to me was the fact that within thesame style, there were different schoolswith different technical interpretationsdespite being the same animal. The stylehad been developed in a region of northernChina and spread over time in differentregions to finally reach the South.

At the same time, while practicing WingChun, the interesting thing was its posturalaspect, its action principles, the fluidity andcontinuity of his techniques that made itfascinating and effective. At that time, thisstyle was not yet popular, it was thanks toactor Bruce Lee that Wing Chun began tobecome known and create an interest inmartial arts practitioners.

And it was just with this information andsensations, that the beginning of my kungfu opened for me vast horizons that made??me fall in love with martial arts in theirtotality of practice and culture.

It was my master "Tong" himself whotaught me not to seclude myself in only onestyle, not to fossilize in a single language,but to enjoy all the celestial of Heaven. Justlike a famous quote said by Bruce Lee inone of his films during the scene of histeaching a student.

Great Masters

“My teacher told me that it wouldn't be aneasy path, but with constant and intensepractice, results would come along with

real awareness of the true Way.”

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Great Masters

My teacher told me that it wouldn't bean easy path, but with constant andintense practice, results would comealong with real awareness of the true Way.I was too young to understand, but I hadmade up my mind and I had already takenmy determination, so I trained every daywith an average of 6 to 8 hours a day andmy progress increased weekly; thisimpressed my master also and, at thesame time, stimulated him to teach me, sohe increased the training programs byintroducing new styles, some only assmall experiences, but others with greatdepth and specialization. I kept onpracticing these styles with him for years

for as long as he stayed in Italy, whenarrived the moment of his return to hishomeland.

I was 17 and I promised myself that assoon as I came of age, I'd arrange to goto China and continue our relationship.

In the meantime, I began teaching kungfu and in a three year time, once laid theroots of my young school, my dreamcame true; I found myself in the SouthChina again in front of my master, Fu HanTong. Re-established our contact, fromthat day began a relationship that lastedfor many years through a continuoustravelling, with constant improvement andnew experiences in Eastern disciplines

Kung Fu

Great Masters

Kung Fu

which I directly l ived in mymaster's homeland.

It was thanks to this constantfrequency that I got to knowsome friends of Fu Han Tongwho were experts in variousfields of martial cultures; thanksto them my kung fu could grow,expand in various lineages ofdifferent families and specializein some styles I had studied inthe past.

It must be said that noteverything was simple andeasy, because many of thesepeople were not used to dealwith Westerners; not so muchthe masters, but especially thestudents, the members of theschool, they were notsympathetic and courteous tome; I could feel a certainjealousy and envy that oftencreated an atmosphere ofrivalry and competition. Therisk for me was high but it wasworth it.

A new experience, somehowtough, began for me: that ofcombat. You had to conquerthe esteem and respect. MasterFu Han Tong himself gotsometimes embarrassed infront of his friends, unable toexplain to them why it waspossible that a white guy knewmore than Chinese students.What I want to try to make youunderstand, is that behind any

acquired knowledge there areenormous sacrifices that havecharted a road and illuminate, ifI may say so, a lot of people.

Today I can recognize theStyles, the Ways and the Arts,but I realize that in essencethere is no difference, is theman who, with his commitmentand perseverance can crossseas and mountains in theinfinite knowledge.

In the words of a greatmaster of Japanese sword:"The man who reaches theknowledge of a path, knows allthe paths". Myamoto Musashi.

I hope to find the time tocontinue this story anddescribe what I've gathered inthe past 45 years of practice,and I hope to be able totranslate in the best possibleway the stylistic differences, mysensations and myexperiences.

I wish I could remove theignorance of some martial artspractit ioners who keepscorning and vilifying peopleonly because they practiceother methods different fromtheirs or simply belong to adifferent school; let us notforget what we're doing, MartialArts teach everyone respectand gratitude.

See you soon.

“In the practice of Wing Chunand Tang Lang,

I saw an exercise thatstimulated my body and

required athletic training withcomplex dynamics.”

Sifu Paolo Cangelosiwww.sifupaolocangelosi.comemail: cangelosipaolo@libero.itSchool: Salita delle Fieschine 17r Genoa- Italytel. +39 010 8391575

Kung Fu

Great Masters

Fu-Shih Kenpo. In search of theAUTHENTIC COMBAT SENSE INSOME OF KENPO STYLES

Muneomi Sawayama (1906-1977)

Because of his weak physicalcomplexion as a child, when MuneomiSawayama entered high school in1919, decided to improve his healthand strengthen his body throughexercise. To that purpose heacquired several books onbodybuilding and started workingout on his own.It should be remembered that at

that time, bodybuilding wasn't stillwidespread in Japan. He also started

practicing Judo.His strenuous endeavors led him to

achieve great progress in a short time. In1925, he joined Kansai University, where hecontinued with Judo reaching the rank of 5th Dan.

His passion for another activity, street fighting,took him to hang around slums and infamousquarters in Osaka looking for trouble, and if hedidn't find what he wanted, he would readilycreate the proper situation to start a fight. It istold that he used to comment with his friendsthat "he couldn't sleep well if he hadn'tbusted a few heads before." That liking forquarrel, at least in their youth, was acommon feature among Tatsuo Yamada(founder of Nihon Kenpo Karate-Do),Choki Motobu and MuneomiSawayama.

Continuing his studies in Judo, andbeing as he was a rowdy typeperson (a street f ighter), hewondered why Judo didn't use

punches and kicks, which arethe most effective andindispensable techniques for astreet f ight. From hisexperience he startedquestioning the sense of hisMartial Art. In response to his question, his

Judo master gave him the task ofresearching and studying thepercussion techniques in classical

Ju-Jutsu, since they had beeneliminated during the process ofsetting up the art of Judo.

Texto: Sergio Hernandez Beltrán

Kenpo

So Muneomi Sawayama beganstudying atemi techniques in Ju Jutsu. But most of the percussion

techniques of Ju Jutsu weredesigned to carry a sword and whileit was true that they were performedempty handed, they werenevertheless assimilated to the useof the saber. For example, one of the samurai

techniques consisted in hitting withthe end of the sword hilt (Tsuka) thatwas carried on the left hip. This blowwas performed by grabbing the endof the sheath (saya) and, supportingthe thumb on the guard, i t wasextracted forward in order to hit thestomach or the solar plexus of theopponent.In classical Ju Jutsu, this technique

was trained under the form of a stroke

made with the left f ist. Thus,percussion techniques in Ju Jutsu aresecondary and limited. At least suchwas Sawayama Muneomi'sconclusion. It was then that he heardof a Karate master who had settled inOsaka, Kenwa Mabuni, founder ofShito-Ryu style, under whose directionhe began studying Karate. Unbeknownst to his Master, it seems

that Muneomi Sawayama continued tofighting on the street. In disreputableneighborhoods, he met TatsuoYamada, flittering around the placepossibly for the same reasons. Yamadatold him he was a student of ChokiMotobu, of whom he had heard fromhis fight against a boxer. Later heasked Kenwa Mabuni about ChokiMotobu's Karate, and the masterreplied:

"It is true that Motobu is strong, butthat's not real Karate, because he hasachieved his strength as a result ofparticipating in street fights. A truekarateka must integrate moral in hisstrength. This is exercised throughkata. Motobu's Karate deviates fromthe fair Way."But the phrase "he has achieved his

strength as a result of participating instreet fights," caught his attention.Through Tatsuo Yamada he met MasterMotobu whose strength in combat andtechnical ideas marked him strongly.In those years, he also met Master

Yasuhiro Konishi (founder of theShindo Jinen Ryu style), who trainedwith Mabuni and Motobu. In KansaiUniversity, Muneomi Sawayamaformed a Karate club. Rather thanfollowing faithfully the teachings of

Mabuni, he researched in order todevelop a type of Karate more real. Infact, Kenwa Mabuni's teaching, likethat of Gichin Funakoshi, was basedon the exercise of kata. UnlikeFunakoshi though, Mabuni was notreticent to sparring practice; he eveninvestigated to develop combatexercises.In order to be able to exercise safely

in combat, he tried different makeshiftprotections. In regard with the combat research,

Sawayama Muneomi's trajectory wasfaster and more radical than that of hismaster. At the University, he developeda training method perfectingconventional and free sparringexercises. Relying on free sparringexercises, he continued to developnew exercises. At that time, in Tokyo, students of

Gichin Funakoshi like Hironori Otsuka,T. Shimoda and Yasuhiro Konishi wereprudently investigating models ofconventional combat exercises startingfrom the kata.

It must be mentioned that MuneomiSawayama had a great advantage overthem. It was the time when Tokyostudents of Gichin Funakoshi, werebeginning to practice free sparring withthe sundome system (stopping theblow before touching), that otherswould adopt several years later. Youcould say it was the precursor of thecurrent dominant system. MuneomiSawayama quickly abandoned thiscombat practice, since the controlsystem stopping the blow was notenough for him.Mabuni did not agree with the path

followed by Sawayama, who, in 1932,separated from his master, to form hisown school, which he called "DaiNippon Kenpo", the origin of thecurrent Nihon Kenpo.The same year he joined the army as

a volunteer officer. He continueddeveloping and systematizing hismethod. Same pattern could bepreviously found; when studentsbegan the practice of combat,Funakoshi broke up with them. It was then, through the conception

of combat, when Karate problemsstarted. At first, with the sundomesystem, Muneomi Sawayama practicedcombat unprotected, but in real fights,accidents were inevitable and wheninjuries occurred, they were often veryserious. In addition, he observed thatwith this form of combat, defensetechniques proved to be poor becausepeople were used to blows that actuallydidn't reach the target.Thus, it seemed necessary to

develop protection equipments, sotaking the Kendo protective equipmentgear as a model he designed the

protections to be used during thecombat exercise. According toMuneomi Sawayama, comparatively tothe saber, the method of Karate is indelay, corresponding to themanagement of the sword of theMiddle Ages - where it was mainlyexercised through kata - and inparallel, they trained with a real saberor a wooden sword controlling theblows. With protective armors, fromthe late eighteenth century, the art ofJapanese sword made ??tremendousprogress in accumulating theexperiences that provides free fightingpractice. In Karate, on the main island of

Japan, none of the masters, exceptChoki Motobu, were able to teachcombat.The type of Karate that Muneomi

Sawayama found, had no experience,or method, or combat system,therefore he judged that the Karatemethod was underdeveloped. From 1934, he began direct ing

combat exercises with protections. Inthe combat of h is school, blowtechniques throws and keys weremade. Such approach was normalgiven his training in Judo. In 1936,Muneomi Sawayama made ??apubl ic exhibit ion. In 1937 heorganized the first meeting betweenthe Universi t ies of Kansai andKansai-gakuin. It turned out to be abig success that won publ icappreciation and a good start.The Sino-Japanese War broke out.

The mil itaristic atmosphere wasreinforcing day by day. Meanwhile,Muneomi Sawayama continued todevelop his training method and the

system of applying hisdiscipline, until 1940 when hewas mobilized as an infantryofficer and destined forChina. While in China, he became

interested in Chinese martial arts andthere he met Kenichi Sawai, whostudied Yi Quan under the direction ofWang Xianzhai. Today there are two tendencies in

Nihon Kenpo: Eastern and Western.The Western group technique reflectsmore that of Muneomi Sawayama withgentle, circular movements, absent inEastern technique.Everything seems to indicate that he

learned these elements during themeeting with K. Sawai and later heintroduced them into his teaching. In1946 he returned to Japan and re-established his school. Japan was sunkin misery. The major concern of thepopulation was "eating every day" ...Under these conditions, few people wasinterested in the art of combat. When heorganized a demonstration theycriticized him saying "it's a wrangle ofbeggars." Muneomi Sawayama lived interrible material conditions. Finally, in1953 he organized a demonstration byNihon Kenpo in center of Tokyo with his70 students, which caused a sensationin the world of martial arts. Then severaluniversities joined. In 54, KansaiUniversity, where Muneomi Sawayamahad studied, adopted Nihon Kenpo asan official discipline and he wasappointed professor.Today, Nihon Kenpo is an important

martial stream in Japan, with dojos inschools and in public and privateUniversities.

Kenpo

There are perceptible differences between "Nihon Kenpo Karatedo", founded by Tatsuo Yamada, and "NihonKenpo", founded by Muneomi Sawayama. In Nihon Kenpo Karatedo, combat practice is carried out with boxing gloves, while Nihon Kenpo uses protection

equipment and percussion, projection and immobilization techniques are allowed. Despite their differences, both disciplines are close because of their content and especially because of their basic

idea: the development of combat.

www.ambogalaxy.com

maro Bento soon started its practice ofMartial Arts. Being only12 years old began ajourney that took him from Shotokan Karateto the art of Pencak Silat in which heobtained the 3rd Dan grade, but not beforeexperimenting and refining his experience as

a practitioner of Judo, Traditional Ju-Jitsu, Kung Fu, KickBoxing, Olympic Boxing, various forms of Krav Maga anddifferent weapon handling systems.As a competitor, Amaro Bento also experienced the

ring emotions dozens of times, both in Kick Boxing andThay Boxing, and he was also proclaimed 5 times PencakSilat Swiss Champion. His students have won 112 Swissnational titles in Sanda, Pencak Silat, Lei Tai and OlympicBoxing, among other disciplines. As a coach, asparadoxical as it may seem, Amaro Bento has taught

Krav Maga in various countries, the main ones beingPortugal, Jamaica and Israel. Yet, his great influence on the way of understanding

martial arts emerged through his professional experienceoutside the "ring" and the "tatamis".Indeed, Amaro Bento soon began his professional

experience in the field of private security. At 18 he startedcarrying out timeshare work contracts and high-risksecurity and personal protection contracts in countriessuch as Belgium, Switzerland, Germany, Spain, Russia,Kenya, South Africa, Mexico, USA, Paraguay, Colombia,and some Middle East countries. He also made varioussecurity services and training for a Jewish company. Currently, Amaro Bento owns a firm of Private Security

and Training, registered in Zurich, Switzerland, theASISGROUP (Ambo Security Instruction & Services).

Amaro Bento, born in Angola in 1970, moved to Portugal in 1975. Later, in 1985,he immigrated to Switzerland where he worked until 2009, when he returned toPortugal. This cosmopolitanism marked forever this man's vision of Martial Artsmolding his character and the way of understanding and interacting with thedifferent forms of defense arts, attack, protection of others and teaching adults andchildren.

A

Self Defense

This experience in real scenarios, soon enabled him tounderstand that many of the teachings that he hadreceived in various Martial Arts from renowned teachers,didn't correspond to real life outside the "Dojo" or ring,since several times in the exercise of his securitymissions he was confronted to attackers who not havingexperience in Martial Arts, presented nevertheless levelsof violence and determination in the fight which nullified

the pattern shape with which Amaro Bento put in practicethe techniques he had learned in the "traditional" training.Amaro Bento thus understood the need to change

much of what he had learned to successfully exert hisfunctions in the Private Security. So he began to develop what would be his system of

defense, combat and protection, ACDS - Ambo &Defense Combat System, dedicated to the competitive

https://www.facebook.com/amaro.bento

sports training, self-defense and protectionof others, adapted to the reality of the XXICentury, obviously without forgettingeverything that had influenced him in themastery of traditional eastern and WesternMartial Arts.Indeed, if when these arts were

developed it was customary for people towalk down the street with a sword or asaber, today, on the street, usually peopledon't carry but a small knife or any otherobject of everyday use as a means ofdefense or aggression. Then it wascommon practice to defend or attack eachother with "Bo" or "Nunchaku", today weuse infected syringes, pepper spray, guns,or Tasers. If at that time teaching and

practicing martial arts was restricted to aminority and the word "master” wasunderstood as "doubtless ", today iswidespread the free access by any citizento the "dangerous" world of Martial Arts,decontextualized of their genesis, andnobody respects the status of "GrandMaster" outside the "Dojo", who is alwaysconfronted with "challenges" and "tests" ofthe effectiveness of the methods heteaches.That is, the world has changed and

Martial Arts evolve or they simply becomeineffective in their ultimate goal of ensuringthe defense and protection, losing that of"good against evil." Two of the fields that stand out in the

Self Defense

https://www.facebook.com/amaro.bento

Self Defense

Amaro Bento system are theAmbo & Defense CombatSystem - ACDS and theChameleon. To structure his defense,

protection, teaching andcompetition ACDS, AmaroBento parts from the question: How to combine the

different requirements, veryparticular of each Martial Art,in a system?For many people, the goal

of Martial Arts training ismainly to provide anincreased overall physicalfitness and self-confidence,others want to learn todefend themselves effectivelyat al l t imes, against asurprise attack... At the same time, fewer

and fewer people are willingto invest years of study in ahighly complex Martial Art,which unfortunately is notapplicable in the manysituations of nervousnessand violence that can arise.For people who want to

compete sportingly in the ring,the training process shouldtake into consideration thathigher demand; for those whoare looking in Martial Artseffectiveness in hand to handcombat, training should befocused in a realistic self-defense and protection ofothers. Let's add that for security

forces, police, mil itary,private security, trainingshould be even morerealistic. There was also an urgent

need to reconcile thefundamental differencebetween adult education andtraining for children. In short, expectations and

difficulties couldn't be moredifferent. To meet allrequirements, ACDS wascreated.

What is ACDS? Without any doubt, the

ACDS is one of the mostcomplete systems to meet the

requirements of various groupswhich are subject of attacks. The idea has been

deliberately not reinvent thewheel. ACDS is a mixture ofdifferent Martial Arts evolvingfrom the practical experienceof its founder. Defense and projection

techniques, punches andkicks, and immobilizationtechniques are practiced. Training for adults, from blue

belt, also contains disarming ofaggressors and manipulationof various defense weapons(pepper spray, baton,Kubotan), defensive driving,anti-car jacking, training in lowlight, tactical shooting, first aid,current laws, teachingmethodology for minors,among others.Odd feature is that for sports

competition combat, alltechniques are known by anumbering system and notwith the traditional designation.For example, in ACDS, theequivalent technique to a jab orcross is number 6, and thefront kick is 40. This systempermits a much fasterinteraction between the coachand the athlete while fighting. In addition to training,

advanced training includes asearch for weapons andshackling. There is also a special

training for those who intendto fight in the ring.ACDS is a modern system

and it will remain so, thusnew evidence from thesporting and medical point ofview wil l be constantlyintroduced into this system. The organization of schools

raised by Amaro Bento forAmbo Training Martial ArtsInternational possesses rightnow schools in Switzerland,Portugal and Italy, and soonthere will be also in Franceand other countries. Come to train and shape

up with us. We have a team of

professionals!www.ambogalaxy.com

I realize this is controversial, it willupset some, it will anger others, butthat should not prevent it frombeing said. I know much of mycareer and especially the series withBudo International, was all about

Kyusho Points, but the term isincorrect and the new pathwill help you understandReal Kyusho even more.

There is no such thing as a pressure point...

“So for those ofyou Martial

Artists that didnot or do notbelieve in

pressure points,you were correct

(in part)”

e need to look at "Kyusho" in properperspective and common sense... buta bit of a disclaimer first:I am a Kyusho Addict, I live Kyushoevery day for 8 to 10 hours... and Ihave been at it for decades, full time

professionally. I have been involved with all of thenames you hear about from all organizations and manymore you do not. I have written 7 books, produced over30 videos and flown over 2.5 million miles all over the

globe helping people learn this information (realistically).Currently we have spawned over 689 affiliates (not allcurrent at this time), in 35+ countries with over 10,000members. I was involved in many medical studies,brainwave studies and several other scientific modes todiscover what Kyusho did and what it did not do. I ama certified in Tui Na (Chinese version of Shiatsu) and ChiGung practice and therapy... and have worked and stilldo professionally in this field as well since 1995 (so I

know the TCM as well ) . I taught pressure pointsthrough the decades in severa l paradigms f romelemental , to t r ip le warmer, to dermatomal , tophysiological (tried them all and kept looking further). Inshort I have been around the block. . . a lwaysquestioning and challenging the accepted dogma.That said, I no longer believe Kyusho is pressure pointsand to take it further I no longer believe there are pressurepoints.

“That said, I no longerbelieve Kyusho is pressurepoints and to take it furtherI no longer believe there are

pressure points.”

W

Hey I am as shocked as you... but have been travelingtoward this conclusion since the beginning and can nolonger deny the findings. First let's go back in time tothose that passed the science down generationally(although discreetly).None of the old charts, drawings, scrolls, texts,instruction (from an older practitioners, not the newergeneration) where a vital point has been shown ordepicted, calls it a pressure point. There are vital areaspointed out, where you can access the deeper anatomicalstructures that would or could damage or end the life ifattacked with a weapon or specialized hand/ footweapons. Some example names of the target areas are:Seigo-Ryu School translate into "Left Above Shoulder","Above Bone" (meaning you attack above that particularbone) and even a target named "Ugh"... yes that's a truetranslation for the throat area.Takenouchi-Ryu Schooltranslation "Gate Below","Left Rib" and "Dark Night"(at the eye).From Judo sometranslations are"Three Tongues" a

descriptor for the spine as the three processes that extendfrom each vertebrae shaped like tongues., "Dokko" (alsocalled out by Hohan Soken which translates to little hollowbehind ear) and "Hanging Bell" for the testicles (not a pointon the testicles).The list goes on with areas and descriptions, but notspecific or smaller points as believed today. Some hadmore targets, some less... but not the same as theacupuncture points and not all in the same locations! TheAcupuncture points would limit by exactness from schoolto school due to the exactness of the points in quantity,location, equilateral left right targets, nomenclature andother such standardized aspects.

Another thought to process is the ability tostrike an area larger than a singular point andstil l obtain the same results. Take forexample the points designated as P-6 & P-7,they are two small points (supposed), aboutthe "size of a quarter" dollar coin

(equivalent in size to a eurocoin or 1/2 inch). Yetpractically using thisarea there are 4inches we can

http://www.kyusho.com/

affect or 4 times that area we canuse... there are no point designationslike P6.1, P-6.2, P-6.3 prior to gettingto P-7. It is an area we are attacking(with underlying anatomical structure– a section of nerve in this case) asopposed to a finite point. So if wecan still cause the same affect and bymissing the exact point by an inch ortwo, then the point description isproven invalid.Next we can look into depth... if apoint overlies vascular tissue, howdeep can you put that needle foracupuncture without damaging thetissue, however that is the mission forKyusho, to destroy the tissue that isnot the point... just somethingunderneath one... but again not just atthat point. Now of course someKyusho targets are underneathacupuncture point designated spots,but as the Traditional Chinesemedicine hold that there are as manyas 2,000 acupuncture points on thehuman body... they of course willoverlay the Kyusho Targets, but thatdoes not make them the acupuncturepoints the valid targets.Many also make the argument thatthe points are connected by a non-tangible designation cal led ameridian, well if you are attacking anon-physical imaginary l ine, thatwould in affect not be a point either.And to take it one step further if weare attacking a non-physicalanything, it cannot therefore be aphysical point.

Brachial Plexus MythAs another example; for decadesthe martial arts and law enforcementagencies have be using the term“Brachial Plexus” to describe or labela strike to the side of the neck. It isused to stun an opponent orperpetrator so that further control orescalation of force is, more easilyapplied. Many Kyusho Practitionerslabel this LI-18 (Large Intestine 18).First please look at 3 areas in thegraphic, one is the pressure point calledLI-18 (circled in yellow)… rather difficultto target accurately in combative use.However as we see the vast branchingof the Great Auricular Nerve (circled inred)… is significantly larger and thewhole of it will render the same affectsas the so called LI-18. So why wouldyou work with only a small coin sizedarea when it is actually much larger andnot a point but a section of the neck.And if the entire area affects the sameresult it is not a point… we mustunderstand the anatomy more tounderstand Real Kyusho. This is where the Law Enforcementand other agencies are instructed to

use, however it is not the Brachialplexus as described by so many. Butthere are many factors that must beexplained and many misconceptionscleared about this target area andterm “Brachial Stun” and theconcerns each should have about thisstriking method. We would like tooffer a safer method as well as correctanatomical understanding.First and foremost the BrachialPlexus is very deep in the body andvirtually inaccessible with the barehand… from striking in the neck thereis also too much muscle in front ofit… you can reach it from the hollowbehind the collar bone, but notwithout a highly trained hand weaponor actual weapon. The actual weaponwill also remove this from being alegal target to totally illegal for lawenforcement and ourselves. Andthere are other targets easier toaccess and safer as well.

So we look at the area in questionand ask a few questions:

1.What are we actually targeting?2. How do we target it?3. What are the health implications?4.When can we best use it?5. How can we do this safely?

We see that the Brachial Plexus istoo deep and not the real target, it hasalso been mis-named over time…sowe should not use this nomenclature.We will only learn greater amount anddetail when we get past inappropriatelabels and use correct names andstructures. And once we begin tounderstand and use these we will alsosee that they may not be the bestanswers (especially for LawEnforcement in this case), as it will let

us also understand the damagepotential associated with it.The Side of the neck when struckstraight in may cause damage to thecervical vertebrae and cause severeproblems:

1. Can damage the vertebrae(permanently)

2. Can cause Cessation of breath3. Cause Para or Quadriplegic injury4. Can cause compression ofcarotid sinus

5. Can cause loss of blood flow tobrain

6. Possible initiation of stroke7. Severe drop in blood pressure.

The better target is the moresuperficial nerve called the GreatAuricular Nerve but with a differentapproach, tool and trajectory. Thebest tools are a small bony knuckle asat the heel of the palm… also the ironbone hand or bushiken. The forearmcould do the same but will need moreforce as the weapon is a largerstructure and will be prone to accessmore surface area not transferring thekinetic energy into the nerve, spineand brain as described in the film.The trajectory is the crucial part… itis not simply a matter of angle anddirection, it is also how deep you takethat and how well you penetrate in akinetic sense. If we target straight inas most proclaim we will have theabovementioned health risks. If weinstead apply downward trajectoryand force, the damage is negated aswe will be working into a strongersupport structure of the body.However the nerves will also transmitthe neurological signal more efficientlyfor even greater affect with far lessstrength or power factor.The main point of this article is tohopefully open your mind andpotential by getting you to realize thatthere are no "Pressure Points"involved in the study of Kyusho. Theyare anatomical structures (realphysical structures, not imaginary orsupposed points and lines) and theycan be attacked to cause lessdamage and alter physiologicalfunction. Or with increase forcecause more damage andphysiological malfunction.So for those of you Martial Artiststhat did not or do not believe inpressure points, you were correct (inpart). Kyusho is not and was notpressure points to the old schools,they are areas in which you can moreeasily reach a real anatomicalstructure that wil l dramaticallyincrease your potential effect on anopponent (and far easier to target inreal combative application). But Kyusho is REAL.

“Kyusho is notand was not

pressure points tothe old schools,they are areas inwhich you can

more easily reacha real anatomicalstructure that will

dramaticallyincrease yourpotential effect on an opponent)”

http://www.worldkarateorganization.com/assets/wko-newsletter.pdf

Book Review- KodokanJudo by Hikoichi Aida,9th Dan

Translated and edited by EJ Harrison

Edited for this review by HalSharp, 9th Dan

Hikochi Aida, 1893-1973, was astudent of sensei's Kano, Yamashitaand Nagaoka all of whom werefamous 10th Dans. His original book inJapanese , t it led, “Zukai Judo”,meaning “Il lustrated Judo” waspublished in 1951 and was acclaimedas one of the greatest books on judo

by the Kodokan and by many high-ranking sensei's. The book wastranslated into English by E.J. Harrisonand published in 1956. Sensei Aidawas one of Jigoro Kano's favoritestudents whom he took to Europe in1920 teach judo. For the next 10 yearsAida taught judo in England, Franceand Germany. There he met achallenge of teaching relative novicesthe skills in judo that he had learnedthe hard way in Japan. After he hadreturned to Japan he spent the rest ofhis years teaching judo at a Japaneseuniversity. Aida was motivated to writethis book as a teaching tool especiallyfor novices. During his lifetime, judo

competition was based on “IpponJudo”. If either player within the timelimit (sometimes there were no timelimits) did not win by Ippon, then thefight was declared a draw. In mosttournaments the player who won hadto continue to fight other players untilhe either lost or there was a draw. Theconcept of championship type judo,where there had to be the winner, evenby decision, for each match did notexist at that time. Also, there were noweight divisions. There werepromotion tournaments within whichplayers fought others of a similar rank,team tournaments and regionalkohaku (red & white) tournaments, allof which were based on “Ippon Judo”.Just imagine a time when there wasno television, computers, video or judobooks and players usually practiced 6-7 days a week with the workoutsbeing primarily randori (sparring)against powerful players. Therefore,one had to be in excellent physicalcondition, flexible, knowledgeable ofmany techniques and in competitionhave the ability to read the opponent(mental eye), find a sweet spot andquickly react to take advantage of hisopponent. Other than a penalty forforbidden acts, rarely done, they didnot have International Judo Federation(IJF) type penalties or award winsbased on decisions. In fact the IJF didnot exist at that time.The translator and editor was E.J.

Harrison was an English journalist andamateur wrestler. He arrived in Japanin 1897 to work for a Yokoyamanewspaper. Shortly after he arrived inJapan he had an encounter with ajujutsu player and was easily thrown.Being impressed by that skill, Harrisonpracticed jujutsu. He thought he wasdoing quite well, however, when hewent to the Kodokan in Tokyo he waseasily thrown by the judo players. Atthis point he devoted his timepracticing Kodokan judo. Hediscovered that the competitive skillsgained in randori and shiai were morehighly developed at the Kodokan.Harrison became one of the firstforeigners to be awarded a black beltat the Kodokan. Throughout his life(1873-1961) Harrison wrote manybooks on judo including the translationof books by Kawaishi, Oda and Aida.He also wrote a book titled, “TheFighting Spirit of Japan”, which isrecommended for the Budoenthusiasts. Harrison's writings werewritten in the style used by Britishjournalists in that day which to someof us may seem archaic and difficult tofollow. Compounding the problem isthat this book is a translation fromJapanese. I, Hal Sharp, have been ajudo educator for over 60 years andown an extensive l ibrary of judo

books. My greatest treasures arebooks written by E.J. Harrison. It is apity that Aida's book is out of printand is only available as a used bookon the Internet. Nevertheless, Iconsider this one of the best booksever written on judo and want to sharesome of the writers teachings withyou.

Editor's Notes: (Hal Sharp). When Iwas in my 20s during the early 1950s Itrained in Japan for almost 5 years. Atthat time we trained hard 6-7 days aweek. Most of our training was hardrandori with few formalized classes.Generally you learned the hard way bytrial and error and by observing others.Most judo experts were known fortheir knowledge of special techniques.A few l ike Oda who developed anewaza system where you couldtransition from one technique toanother. Their knowledge was notfreely given, you had to be acceptedby them as a student before youstudied under them. Therefore, whenAida went to Europe he could easilydefeat European judoka, however hehad to learn how to teach on his own.The fruit of his experiences as ateacher are brought out in his book.During this period I fought inapproximately 100 tournaments, 99were based on “Ippon Judo” and onlyone was a championship type which Iwon by decision. I only mention thisexperience because this is why Iunderstand the background andmindset of sensei Aida. Below is aphoto of myself and sensei Kawakamiand he is son (Rei). SenseiKawakami,1897-1987, had trained atKodokan with sensei Aida in hisyounger days.Getting back to judoeducation in Japan, I once had achance to film sensei Kawakami”stechniques. He demonstrated manytechniques, some of which were hisspecialties. His son was his partnerduring the filming. When we finished Itold his son that he was lucky to havea father who knew so much judo. Hisson said that this was the first time hehad seen these techniques, his fatherwould never teach him and just toldhim to go to the dojo and practice.Learning judo in Japan was like pullingteeth. This book was designed to helpthe student apply these techniques inorder to win by “Ippon Judo”. Sensei Aida does a brilliant job in

explaining how to train and how tomake the techniques workemphasizing both the physical andmental attributes of the Nage-no-Kata.Within each of the throwingtechniques he describes various waysof applying the throw, defenses,counters and how to practice byoneself. For mat techniques he covers

transitions and escapes. At the end ofthe book in about a dozen pages in asection titled “Judo Orbita Dicta”sensei Aida summarizes his thoughtson how to train and take care ofyourself in judo. Fortunately thepublisher,W. Foulsham, has allowed usto reproduce the section. . The sectiontit led “Judo Obita Dicta” isreproduced in full text. Since thisarticle is only a book review I will limitmy writings to Aida's descriptions onhow to train and practice judo. Thereare too many individual techniques inthe book to describe. However, eachtechnique covers various applicationsmost of which are against an attackingopponent, including counter throwsand how to practice the technique byoneself. This is in contrast to thetypical judo book which only showsthe form of the technique applied to acooperating partner. In my latest booktitled, “Boys & Girls Judo & Self-Defense” subtit led, “Road toBlackbelt” by Amazon. I have includedsome of sensei Aida's teachings,reinforced by the inclusion of YouTubeinstruction videos because thesubtleties of kuzushi, kumikata,tsukure, kumikata ,taisabaki,opportunity, etc are very difficult todescribe in the book.

Attributes of Judo: In judo theresult of the ideal development of thephysique, the muscles and nerves ofthe body, is that the same actionbecomes smooth and swift, thiscondition is referred to as musclememory. Symptoms of fatigue are fewand staying power increases. Efficacyof body action improves. If wecontemplate the efficacy of judotraining in its spiritual aspect,character and morale are elevated,and arrogant and boastfuldemeanor is deprecated; hardshipsare lightly regarded; vacillation andimmorality are abhorred, and respectfor the etiquette of the game isfostered. Further: health is valued,courage enhanced, independentplanning studied and conduct basedon rapid judgment follows.Order of Judo Training: Judo training

seeks to temper the body andcultivate the mind or spirit in thepractice of both the defense andattack. Nagewaza or throwingmethods are a most suitable startingpoint of training because it offersgreater diversity; The23rerfc theory iscomplex and they offer maximum zestin practice. From a standpoint ofphysical training they are moreefficient. When the judoka begins withKatame waza it is using more difficultfor him to progress in Nage waza.There are three stages of training, (1)Randori or free practice,(2) Kata or

prearranged drills and (3) Shiai orcontest which is the ultimate measureof your physical and mental ability toapply your skills under duressThe Soft Controls the Hard: With

every judo waza you do not powerfullyresist your opponent's strength butsoftly adapt yourself to it and on thecontrary take advantage of it so thatwhen his forces reached itsculmination you execute your waza ineither attack or defense. The Tsukuriand Kake of judo are based on thisprinciple. They epitomize the actiondesigned to control the opponent, tolure him into a situation, physical andmental, has calculated to facilitate theexecution of the relevant waza whenhis strength becoming more and moreof a loss is less capable of resistance.Generally the skil l ful or awkwardmanipulation of the opponent'sposture becomes the turning-point ofvictory or defeat. That is why in judothe man with strong arms and of largephysique does not necessarily win. Union of Mind, Spirit and Strength:

To effect waza the mental attitude is aprimary consideration. The instant yourmind is aware of the opponent's lapse(literally, gap, crevice, interval, etc.), ina flash the operation of your mindresponse to it and the relevant waza isborn. In between there is not a singlegap. Thus,”mind” (Kokoro) is a serenestate of mind which senses theopponent's situation.” Ki” is the stateor condition operating in the mind'senergy. In conformity therewith is theworking strength, i.e. waza period.When these three relationships worksmoothly and harmoniously but swiftly,without an unreasonable gap betweenthem, mind, spirit and strength united,and when the student begins histraining on this basis, then actionadapted to changes in the presence ofopportunity is forthcoming. Whengrappling with an opponent the mostimportant points one should not losesight of are always to forestall theopponent, to seize favorableopportunities, and until one has thrownone's opponent not to relax one's ownoffensive. In a word, the retention ofthe initiative in attack is essential. Now the author goes on to explain

three technical terms which describethree situations where there is anopportunity to apply a technique.These terms originated in kendo,sword fighting.( Editor's note) I will usealso Osoto-gari as an example ofwhen the opponent attacks you.(1) Sen-no-sen or Kake-no-sen:

When you anticipate that theopponent is making a move againstyou. At this moment you can use thehand technique such as Ukiotoshi topick up the opponent's momentumand throw him.

Books

(2) Sen or Tai-no-sen: When theopponent starts the throwing action, inthe case of Osoto-gari the opponentsteps in with his left foot and swingshis right leg in the air. At this momentthe opponent is standing on one legand it is easy to directly apply atechnique like Ippon-seoi or Sumi-gaeshi. If the opponent manages tohook your leg then you can apply acounter,Osoto-gaeshi stepping backand reversing the throw on him.(3) Go-no-sen or Sen-go-no-

sen: When opponent's throw fails andhe attempts to recover his position. Inthis case Sasae-tsurikomi-ashi orpropping ankle throw can be applied. Although victory and defeat merge

he determined by seizure of theinitiative, if there is only the seizureand one is robbed of the spirit, themind here ceases to function. This is acondition called “Shishin”, literally“stopped mind”. If one lapses intoShihin the operation of a vigorousmind is lost; falling into a crisis youmay be defeated to defend yourselfeffectively against an opponent'soffensive read the opponent'sintention and so control it. Anotherterm is “Ken-tai” which is a conditionwhere your bent on attack and youleave an opening for the opponent todefend or counter you. Opportunities for Executing Waza:

to control your opponent you seize theinitiative, and take advantage of hisbroken posture to attack with the wasa you have in mind. The following isthe list of situations where you have anopportunity to attack.(1) Take advantage of the

imperfection of your opponentsposture; In a case where the opponentis energetic, alert and his posture doesnot seem to offer a gap. You may findthat he is concentrating most of hisattention on his right with a vacuum tohis left, is an easy for a gap to becreated on that side.(2) Take advantage of the start

of your opponent's attempt to executea waza: For example, if theopponent's “pet” throw is Harai-goshiand he tries to bring it off and turns hisbody into you, if you hold in in checkthe retort to Taiotoshi this may wellprove effective.(3) Take advantage of your

opponents bewildered situation: whenyou notice such situation you mustattack in the flash and throw him.(4) Take advantage of your

opponents static immobile situation: Ifan opponent hesitates it may causeyou to like ways become immobile foran instant. You must invigorate yourmental activity without a breakdominate his immobility.(5) Take advantage of your

opponent's excitement: Your

opponent when excited in a contestmay try to drag you with him so thatyour posture is easily impaired. Avoidbeing dragged along with him, retainyour possession and instead dominateyour opponent.(6) Take advantage of your

opponent's failure with his waza andthe disorder of his mind and body:When your opponents waza fails, thenfor an instant his posture wil l bebroken, and his mind and body arealso disordered. Take advantage of theinterim disorder of your opponent'smind and body to attack can throwhim.Methods of Executing Waza:

However skillful you may seize theopportunities, if there is a flaw in themethod of executing your waza thatwaza wil l not operate effectively.Consider the following points;(1) Take up a position at a

suitable distance from your opponent:This distance is called”Ma-ai”. If yourMa-ai is too far away, your waza levelfalls short of perfection; if, on thecontrary, it is too near then yourmomentum will be lacking in youraction.(2) The practical use of strength:

If your strength is recklessly appliedthe opponent can read your actionsand the unbalancing (Kuzushi) of youropponent is not skillfully affected thenyour waza may be wrongly executed.Originating from the principal that the”soft conquers the hard”, if it isexecuted in one breath the waza willbe cleanly decided.(3) Don't retract your opponent's

disequilibrium: Once having unbalanceyour opponents posture, until youhave thrown him, don't retract yourKuzushi but it more and more and asyou pull execute the waza.(4) Do not forget the union of

mind, spirit and strength: If the gapoccurs in your mind then your spiritand strength will not be effective andyou may not be able to control theopponent.Aiki: this represents a condition

whereby your opponent tries to pushand pull you around or sometimes justbecome static. Intuitively, you mayreact the same way. This condition isreferred to as “Aiki”. (Editors note: Thismay be similar to when someoneyawns you tend to also yawn.) Do notallow your mind to be wrested fromyou by your opponent, you must reallyoperate in accordance with your ownrhythm and move about with footaction of advance and retreat(Shintai).The other writings in this book or

more commonly known by judoka andis beyond the scope of this article.However, the following section titled“Judo Obita Dicta” is quite unique andis given in its full text.

Judo Orbita Dicta(Opinions of the author)Fundamental Attitude to Training -

There are no Secrets in Judo - Planand Training - Continuity of Training -Abuse of Waza - Improvement ofTechnique - Opponents in Practice -Management of Mind and Strength -Daily Care - Practice and Contest -Care Before Contest - Hints onTrainingFundamental Attitude to Training -

Nagano Shogo 9th Dan, speakingabout his pet throw,Uchimata (InnerThigh), is quoted as saying: “The factthat I can complete the technique ofUchimata is due to the practice of so-called “Happo akehanashi “(literally“leaving the door open in alldirections”) which means thatwhenever I practiced with myopponent I always let him freely seesany part of my judogi he liked andafterwards I never refused anopponent's proposal. There has neveryet been an opponent whom Idisliked.”This attitude in which the opponent

and you adequately display real abilityand try to do so is indeed that of thetrue spirit of sportsmanship. Until nowin judo some have been prone toattach too much weight to thequestion of victory or defeat only, andfor the sake of victory not todiscriminate in their choice of methodsso that one has come across somedecidedly ugly contests and practices.This attitude is a distortion of the spiritof the late Dr. Kano and is the cause oflosing sight of the intrinsic nature ofjudo.Whether winning or losing, regarding

victory or defeat as a secondaryconsideration, displaying to one'sheart's content one's own real abilityand manifesting one's temper in a fairand square tussle - such should bethe basic attitude of judo training. Onlyto obstruct the issue, theconsequence of forgetting the primaryobjective of the sport, must militateagainst progress in commendablewaza.The object of sport while engaged in

the struggle is to make a robust andhealthy body and to nurture the spiritof wholesome sport. More especiallyto create a spirit of fair play is theultimate object of sport. Both partiesexhibit their efficiency, and the will todevelop it is indeed the consummationof sportsmanship and the spirit of fairplay.An attitude in which when we are

engaged in judo practice wereciprocally take hold of the desiredpart, always adopt a correct posturewithout tension in a fair and squaremanner with the intention of earnestly

progressing and technique and oftaking pleasure in waza, is of theutmost importance. This indeed, tocreate the spirit of fair play, is the firststep; it is the sole road to progress injudo.There are no Secrets in Judo: There

are sayings which imply that there areindividual throws or “pet” throws(Tokuiwaza) and when listening tothese remarks one might concludethat there must be some sort of secretin judo progress. But there are nosecrets and it! Even a teacher of theinvariable caliber of Kyuzo Mifune 10thDan in practice and contest invariablyand insidiously records points whichhave attracted his attention and byalways adopting an attitude of inquiryis able to achieve mental progress.Nor is this restricted to Mifune Sensei.Every individual, every expert, byalways adopting this attitude of inquiryand to gather with judo and his stateof health can make mental progress inpractice. The following are pointswhich seem important to reply to thequestion of what preparation isessential to progress in judo.

Planning and Training: In the firstplace planning and training areindispensable. A suitable plan shouldnever be neglected and training intechnique ( waza) should beuninterruptedly continued. However,there are many instances tending toprove that judoka, are apt to inclinetowards methods inconsistent withthis principle.Even when the theory only is

understood and when one ispractically tempered therein, if it is notunderstood with the body then theposition may be likened to that of oneswimming on the surface of the mat.On the contrary, if one concentratesonly on practice (keiko) and neglects alogical plan and inquiry, then progressin waza is only delayed and havingreached a certain water level thejudoka cannot expect to rise abovethat elevation. The techniques of judoare not simply a manifestation of bruteforce; they are scientif icallycompounded and are scientifically atthe disposal of the trained judoka.Understanding of judo is an

absolutely indispensable condition ofprogress in such techniques.Furthermore since skill in waza is adetermining factor as regards theissue, when one is engaged in contestor practice, concurrently with attentionin the first place to the customarystudy and planning, the judoka musttrain insidiously in actual keiko (practice). However, in connection withthis point, owing to lack ofunderstanding and when in practicethe judoka's efforts are limited to hisbody only, he may be said to reach a

certain water level where his progressis halted. Waza (technique) is not afixed quantity. According to the utmostindividual effort and planning, freshmethods are called into being; the“pet” throws of so-called experts aresurely generated in conformity withthis kind of normal study and trainingand this truth should be impressedupon the mind of every judoka.Continuity of Training: Continuity of

training is important. We have alreadysaid that there are no secrets in theprogress of waza, but only that there isno other path thereto than to devoteoneself wholeheartedly to training. Butto go in for excessive training in theexpectation of suddenly achievingprogress can never be efficacious.They're all too many examples of suchmistaken tactics; longing for progressthe judoka injures his body and isobliged to interrupt his training; he isdisappointed when the prosecution of

the studies fails to bear fruit so that hehas to break off his training halfway.The number of judo techniques is

great. And prolong study is essentialto the mastery of these multifariousmethods so that they can be appliedas occasion may require. Theefficiency of one's studies is notimmediately apparent. But as a rulewhile the judoka himself hardly noticesit he is making progress and canhimself direct unlooked foropportunities. On the contrary, theresult of neglected training is thatalthough not immediately apparent likethe lingering snow on the roadsidewhich melts bit by bit, before thejudoka is himself aware of it, wheneventually he does notice it thedamage may very well have becomeirreparable.I t must not be forgotten that

indomitable application is essentialto progress in judo. And among

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those entitled to day to be calledexperts there are many who havedevoted as long as 30 or 40 years toone unflagging investigation andtraining in order to obtain theirpresent stage of skill.Correct Training: However patiently

and perseveringly the judokacontinues his daily practice, if he isemploying erroneous methods harmonly is l ikely to result. And whileadmittedly to continue practicecorrectly and for long is of utmost

importance, it is undeniably verydifficult. While the judoka aiming atadvancement is exerting the greatestefforts i t may happen that hebecomes conscious of having atvarious points reached a deadlock orstalemate, when the task ofextradit ing himself from such animpasse will prove troublesome. Nota few aspirants finding themselvesunequal to this effort of extraditioneventually succumb and abandon thestruggle. Therefore together with the

necessity for firm resolve to continuethe struggle, in the case of judocorrect training is equal lyindispensable. The moment when thisdeadlock is reached may besucceeds in breaking it down he maythen hope to start afresh with thebright prospect of a path to progressopened up before him.Abuse of Waza: A word of caution

must be addressed particularly to theyoung beginner. When he has learnt afew methods and is eager to try them

out he should on no account abusethem. It is, of course, only natural thathe should wish to test how far thetechniques he has learnt areeffect ive, but he must neverrecklessly attempt them againstothers at the risk of causing injurythrough his own clumsiness.Moreover he may even run intotrouble on his own account. Thereforewhen engaged in practice among hisfriends he should be careful not toexperiment recklessly upon them.

The judoka is alsowarned that he mustnot with a view ofperfecting hisacquired wazarecklessly abuse hisart outside the dojo.And in this contextthe story is told ofhow in former days astudent of the oldjujutsu, eager to testhis acquired skill, wasin the habit of sallyingforth every eveningand of lying in wait atsome lonely spot atthe roadside forpasser-by whom hewould dare and thenthrow by means ofone of the tricks hehad mastered.However, his jujutsuinstructor later gotwind of this playfulpropensity anddecided to teach hima lesson alongtypically Japaneselines. So one eveningcovering his face soas not to berecognized hewended his waytowards the way spotwayside and spotwhere he knew hispupil was lying in waitfor a victim. The pupilunaware of thewayfarer's identity asusual rushed out andthrew him. But theteacher while beingthrown applied andointment he hadbrought for thepurpose to his pupilsside and then as herose to his feetaddressed hisassailant; “Look atyour side!”. Then thepupil for the first timerecognizes instructorand notices thesmear of the

ointment applied to his side.Thereafter he abandoned the habit ofthrowing passerby's! His teacher hadthus practically shown him instead ofapplying the ointment he might just aseasily have killed him.Improvement of Technique: A

correct posture (shiei) is the mostimportant factor in the mastery ofcorrect waza. If the posture is notcorrect then a light, easy nimble actionwill never be acquired. Therefore evenwhen there is a favorable opportunityto attack your opponent, if yourposture is wrong a trick opposite tothis opening will not be forthcoming.Moreover when you are attacked byyour opponent you will not be able toelude him. Thus if the posture is bad,however much you train you will neverrealize a correct and polishedtechnique.The best posture whereby to be able

to initiate a light and an easy nimbleaction of advance and retreat (Shintai)is the Natural Posture or Shizentai-.The Natural Posture is the mostconvenient for either attacking youropponent or defending yourselfagainst his attack. The novice dislikingthe idea being thrown sometimes atthe first to adopt a bad posture inpractice and it is afterwards reallydifficult for him to rectify his fault. Heshould therefore always strive topractice in the correct Natural Posture.Again, the novice when practicing is

sometimes inclined to fixed his gazeupon the opponent's stomach or feetand this tendency is the cause of awrong posture. The spot at which oneis looking should be neither too highnor too low. You ought not to be asthough staring at a fixed spot on a treein a field. It is best to direct your gazeat a point about the height of your owneyes with the feeling that your field ofvision is lightly reflected in your eyesand in this way your posture wil lnaturally be good. It is furtherimportant that when engaged withyour opponent you should not grip hisjacket to strongly; a strong gripmilitates against the adroit counteringof your opponent, as also against thelight and easy foot movement. Wemust endeavor to hold youropponent's jacket gently and mustnever infuse too much strength intoyour fingertips, wrists or arms. Youmay perhaps imagine that to putstrength into the fingertips does notmatter, but if you do so your entirebody tends to become stiff; the mostimportant nervous and sensitive partsthe fingers are deadened, therebyinhibiting expedient, light and easywaza, so that when you try tounbalance your opponent you arelikely to fail. What is more, the objectof your action is directly made known

beforehand to your opponent. Withoutputting strength into your hands youwant to adopt a positive positionconducive to swift changes and footmovement in which you can utilizeyour opponent strength and naturallyunbalance him while he himself is notconscious of lapsing into a periloussituation and is unwittingly put offbalance. That is the ideal method ofdisturbing and opponents balance.

A final point upon which specialemphasis is laid is a necessity ofsufficient training and Ukemi or breakfalls. If you are adequately trained inthe break falls, then no matter howyour thrown you will be able to takethe fall skillfully without fear of injury.Your body instinctively and naturallyavoids stiffness and your movementsare agile, light and easy. The judokaadept at Ukemi is most l ikely toprogress in technique as also tobecome skillful in the execution of theKata or Forms. The foregoing moreimportant considerations in addition tothe training in techniques areparticularly commended to thestudent's attention.Opponents in Training: In judo

practice the students are free to takeon all and superior in skill he shouldalways exert himself to the utmost,falling with abandon and grappling forall is worth. Unhesitatingly, resolutelyhe should practice his waza and try tounderstand the principles of Tsukuriand Kake. When practicing with anopponent of the same grading as hisown he should hold himself uprightand attack with imperturbability. Buthe ought not to practice too long withan opponent of the same gradebecause to do so was calculated toinferior in skill he should try to adapthimself to his opponents level. Whatmust most of all be eschewed is theunreasonable application of methodsregardless of his opponents feelings.Unless he is careful in this respect notonly is he likely to evoke the spirit ofapprehension in his opponent butresentment as well. He will overtaxhimself, spoil his posture, techniquewill become warped and bad habitsencouraged. He must therefore aim atthrowing his opponent with logical andreasonable waza.Again it is important to practice with

opponents that are hard to handle. Ofcourse even with the diff icultopponent, as one continues topractice one gradually getsaccustomed to him so that to throwhim a suitable plan and effort areessential. For example, when opposedto a person taller or shorter thanhimself or one of correspondingweight or one prone to the extremes ofa right or left stance, the judokashould in practice led his opponent

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take hold of the desired place. At firsthe is likely to be handicapped andoften thrown, but with cumulativetraining he will become skil lful inevolving counter tactics and cool andcollected in action. On the other handin order to define his” pet” throw whenthe desired place is evenunreasonably grasped, he mustpractice a positive offensive.In order to master the numerous judo

techniques the pupil should first selectthe methods he fancies and exert

himself to perfect them as soon aspossible. By so doing he can use hisfavorite methods as a nucleus and easilyget the hang of other awesome waza.Again it is important to train with

opponents whose posture is correct.Caution in attack is necessary, but aspractice is continued the judokaascertains his opponent's weak pointsand succeeds in throwing him.Moreover his own posture remainscorrect. As regards the mastery of acorrect posture, even when the judoka

takes on a beginner it is astep forward in theimprovement of his ownwaza.Management of Mind and

Strength: Shorn of sheerverbiage this paragraph is anearnest plea for the distinctionbetween” mind” and“strength” in the practice ofjudo. The purpose of thisdistinction is to emphasize theundesirability of relying solelyupon what in the vulgarvernacular we should call“beef”(Japanese:Wanryoku)for the attainment of victory. Ifin the early stages of histraining if the judoka dependsupon mere “strength” waza,not only will his progress intechnique likely to be retardedbut his action runs counter tothe essential quality of judofrom the inspiration of mindmay prove of little practicalavail. It should therefore bethe aim of the aspiring judokato understand the proper useof strength and to train withthe object of managing hisbody in conformity withreason. When practicing heshould refrain from aimlesslyputting strength into his handsand feet, trying to throw hisopponent by dint of merestrength. He should not fearbeing thrown himself andshould employ correctmethods. In this way he mayhope to advance bothmentally and physically in astudy of the art. Daily Care: the judoka

adjured to exercise great carein his daily eating and drinkinghabits. It is recognized that inthe flush of animal spirits manyyoung people are prone toindulge in over eating anddrinking, but where thestudents of judo areconcerned they are remindedthat as a result of suchindulgence even thepossessors of superior wazahave suffered defeat in

contest. For instances are by no meansrare. The ideal would, of course, beforethe judoka to steer clear altogether ofalcohol and tobacco. Failing that, he willbe advised to reduce to the minimumhis intake of those stimulants andnarcotics. Alcohol impairs the functionsof the stomach and intestines andtobacco is injurious alike to the nervoussystem and digestion. Moreover ifindulgence in them becomes a habitthen to gradually the quality absorbedtends to increase. Thus in connection

with the sport such as judo calling forthe concentration of one's maximumstamina, indulgence in these habitsought to be taboo. Especially on the daybefore contest they must be forbidden.As regards to food, eating between

meals is not to be recommended andbefore going to bed the judoka will bewell advised to cut out eatingaltogether. At least an hour or two areelapsed after a meal before the judokapractices on the mat. In my opinion aninterval of at least two hours is stillbetter. In any case the extremes of anentirely empty and a full stomach or tobe avoided.The author rightly extols the tonic

properties of the mutational colddouche and brisk toweling of the bodyas being conducive to both mentaland physical invigoration and theimprovement of an all round goodhealth. In a word the zealous judokawil l always accumulate habitscalculated to increase the efficiency ofhis training and will sedulously avoidunsanitary and unhygienic conditions.Supplementing the foregoing sage

counsel the author tenders advice onessential precautions before judopractice. Most of them ought to beself evident. Thus before going on themat the judoka should always washhis feet and see that both toenails andfingernails are cut it short as possible.Slackness in this respect can easily beresponsible for minor injuries to anopponent. Nor should it be necessaryto warn the judoka who was not atotal abstainer from tobacco andalcohol that on no account should hedrink or smoke before judo practicesince the odor of both alcohol andtobacco mainly with his breaths canhardly fail to be highly obnoxious tohis partners on the mat. Practice and Contest: All students of

judo must be famil iar with thephenomenon of the judoka strong inpractice but weak in contest. Thiscommon defect is ascribed toinsufficient participation in contestjudo (Shiai). On the other hand, thereis the judoka who is regarded as weakin Randori but who when engaged incontest displays quite unusual ability.The reason is that since he enjoyscontest is able composedly to develophis ability to the maximum degree. Thejudoka strong in Randori but we cancontest, when engaged in contesttends to become stiff intense in hismovements; he loses the spirit ofdecision and cannot sufficientlydisplay what ability he possesses. It ishere that practice in contest isessential. When the judoka takesfrequent part in contest then contesttends to produce impressive andefficacious technique. It may be saidthat if practice in contest involves only

skill and tactics the result is not good,but in all matters if a bad use is madeof the thing the results is bad, whereasif a good use is made of it the result isgood. Be that as it may, the self-confident waza acquired fromcontests cannot fail to be serviceable.Care Before Contest: Although much

of the advice contained in this sectionwill seem trite and obvious enough toWestern readers, it may be well tosummarize the gist of this sagecounsel from which less experiencedand would- be- judoka can perhapsgather some useful hints. The author'sviews are more or less in consonancewith those of the leading Westernauthorities in the realm of sport. Thusat least two or three days before thecontest the judoka ought to rest. If hekeeps up violent practice up to thevery eve of the contest he is more thanlikely to find himself stale and dog tiredwhen he confronts in the adversary onthe mat and so incur the risk of defeat.On the other hand, by letting up a fewdays before the matches he shouldhave recovered from the normal fatigueof Randori and engages his opponentwith renewed pep and vigour or whatin judo parlance is called “genki”.However, a day or so before thecontest can benefit from a few lightlimbering-up exercises which willstimulate the muscles, and so tospeak, boast his morale.Again, reasonable gastronomic

frugality should be observed beforethe day of contest. Highly spiced andseasoned food should be avoided andneedless to say overeating in anyshape or form. If he indulges in anunduly rich diet he may suffer fromgastric disturbance which will preventhis participation in the matches.Instances of this kind, we are told, arenot infrequent. In any case if heovereats is almost certain on the dayof the contest to suffer from lassitudeand diminished vigour.On the eve of the contest he should

as far as possible try to distract hismind from thoughts of either to be thevictory or defeat in various congenialways, e.g. by listening to gramophonerecords, taking a walk, light reading,etc., in order to invite restful slumberand a clear head and in the morning.And once more abstention fromalcohol and tobacco is strongly urged.On the morning of the contest

special care should be taken with diet.Thus if an extensive burden is imposedupon the stomach the judoka will takethe mat feeling languid and sluggish inthese conditions are bound adverselyto affect his fighting spirit. On the otherhand, you must not feel hungrybecause of the does his full strengthwill not be available. As alreadysuggested the lapse of two hours after

his last mail is as a rule the mostsuitable before his participation incontest. Individuals differ but thisinterval seems on an average to be thebest to allow for transmission of foodfrom the stomach to the bowels.During what are called the Taiko-shiaiand the Yusho-shiai (Intercollegiatetournaments and championshipcontests) which last for days on end,so that it is customary for theparticipants to bring their noon mealwith them, the choice and quality offood must be left to the individualtaste. No other courses available.None the less if the judoka overeats(before going on the mat) both his windand body activity will almost certainlybe impaired. He should refrain as far aspossible from drinking either warm orcold water. Gargling is a reasonablecompromise. The author concedesthat there can be no serious objectionsto the taking of a small quantity ofsome harmless stimulant apparentlybefore the judo goes on the mat. Itwould, however the interesting to knowwhat sort of stimulant he has in mind.Before championship and all other

matches the judoka canadvantageously have his bodymassage to ward off muscularstiffness. Some hints are appended onthe best means of recovering fromfatigue presumably after the contest,though this point is not specified. Inany case it seems redundant to informus that a recumbent posture ispreferable to an upright one tominimize the strain on the rate ofpulsation, respiration, the circulation ofthe blood, etc.Further, the judoka about to take

part in contest will be well advised notto speculate overmuch beforehand onwhom is weak and who is strongamong his prospective antagonists. Itmay as likely as not turn out that theadversary deemed to be weakunexpectedly proves to be strong,which discovery at the start is oftencalculated to discourage and thisconcert his opponent. And converselya foeman previously supposed to bestrong may prove to be weak.What follows rather tends to qualify

if not to contradict the foregoing. Thusthe author postulates quite rightly thatthe object of contest is to defeat one'sadversary and that consequently it isimportant that the judoka should knowhis opponent. For reference purposesknowledge of both his strong andweak points is essential. Neverthelessto know too much may exert anegative effect upon the issue istherefore not advisable!On the other hand, when the judoka

is confronted by an entirely unknownopponent a plan of action isnecessary. Indeed it not infrequently

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happens than a plan of action is adetermining factor in the outcome ofthe match. But on the other hand,should the judoka be too full of pepand impatient the victory he may runthe risk of failure!When the judoka seizes an

opportunity he should resolutely applyhis waza. He is naturally eager tomake an opportunity for the executionof his favorite waza but suchopportunities is none too many. It israther advisable to wait for theopponent to provide an opportunityand we are assured the plan of waitingnever negatively affects the issue. Onthe contrary, to be in too much of ahurry over= impatient to execute wazamay easily become the cause of failureThe judoka must perfect his

defense. But the supreme defense isattack. Especially in Nagewaza orthrowing methods self-confidence inthe posture of defense is highlyimportant.In the domain of contest tactics the

competitor is advised not to pull hispunches and to go all out for hisimmediate adversary withoutbothering his head over the next one.The policy of trying to conserve one'senergies for the purpose is severelydeprecated. The next opponent is thenext opponent; the present opponentis the present opponent. Thereforewhen tackling the present opponentthe judoka should exert his ful lstrength. Unless the judoka bent onvictory he is not likely to win. Howeverhe should endeavor as when engagedin every day Randori practice to keepcool, not to be overcome with awe ofcontest so that both his mind andbody can operate freely and softly.Hints on Training: Should the judoka

incur an injury during practice heought to discontinue it until he hascompletely recovered and is set toresume it. It is a mistake to give way toimpatience and to resume practicebefore the injury has been entirelycured. The result of prematureresumption of practice is to retardrecovery. Instead he can while thusimmobilized advantageously studyshowing of other judoka and profitfrom the waza of higher grade man.During the period of the mobilizationalso we should be careful not to yieldto the importunities of his colleagueswho may urge him to go on the mat.Minor injuries such as surfaceabrasions and scratches can usuallybe treated with first aid on the spotbut when a real sprain, fracture ordislocation has been diagnosed by acompetent senior or yudanshaka notime should be lost in the evoking theservices of a medical man.When the pupil first joins the dojo he

should on no account, even after he

has mastered the break falls, be in ahurry to start violent training. As in thecase of other sports he should beginwith preparatory exercises to get hisbody in good trim, and then by easystages pass on to more vigorousmovements. If he begins violent keikoprematurely he will run the risk ofsome injury which will appreciablyslow up his chances of progress in theart. Moreover when he begins histraining in earnest you must be carefulnot to lapse into careless haphazardmethods. Unless he has a definite planof action his efforts are unlikely toyield much fruit. As to what plan ofaction ought to be the authorcomments that inasmuch asallowance must be made for individualdifferences it is difficult to lay downany hard and fast rules, but as a guideto beginners he suggests aprobationary three-week curriculumdivided as follows: during the firstweek the tyro should submit himself tothe instruction of a senior high-gradeyudansha, endeavor to grasp thenwaza, then with this experience as abasis during the second week heshould strive to develop his physicalstrength to the maximum degree andto take part in strenuous practice.During the third week while resting ortaking things easily he can map outthe next plan of action, consider hisstate of health or his role in his firstcontest and, so we assume, bracehimself for the resumption of rationaltraining with the coveted black belt asis beckoning objective.The judoka is advised to observe

the following six Golden precepts: (1)After practice to bathe his entire body.(2) If overall bathing facilities are notavailable he should wash and hisentire body with cold water andafterwards rubbing vigorously with adry towel until he is perfectly dry.(3)Gargle well was warm or cold waterand thoroughly clear his nostrils arevery dust which may have enteredthem from the match duringpractice.(4) In winter, since there isalways risk of catching cold if thejudoka is wearing soiled and coldjudogi, after practice he oughtimmediately to take it off, performanceablutions and dress himself. (5) Ifsoiled and cold judogi is trying in thatstate, then owing to salinity,dampness is caused and it shouldtherefore without fail be dried afterwashing. (6) Immediately after practicehe should exercise care in eating andlying down. The author interpolatessome well meant advice on how todeal with the problem of perspiration!It may be that for Western readers is

suggestions are redundant but sincenot all Western judoka are equallyfastidious in matters of personal

hygiene I have decided, so as to makeassurance doubly sure, to include hisremarks under this head. In summermore particularly the judoka after astrenuous bout on the mat is as oftenas not drenched in perspiration. Theauthor deplores the fact that somejudoka in the habit of wiping theirfaces with the sleeve of their judogi.He urges that this must be stoppednot only because it is unseemingly butalso because it is dirty. Instead hisclean towel should always be used forthis purpose. The continual wearing ofa sweat soaked judogi is not onlyharmful to the wearer pretends to rotthe judogi. Moreover the wearer of thejudogi cannot easily feel fresh and hisdiscomfort in this respect is boundadversely to affect the efficiency of hispractice. Therefore the judoka'sjudogi should always be kept cleanand the habit of wearing soiled judogihe reflects scant credit upon the wearer.A warning on the subject of rest

while engaged in judo practice seemsworthy of note. Thus we are told thatit is not well from the judoka to restimprudently; to do so is declared tobe harmful in a mental and spiritualsense. No useful purpose to serve theresting longer than is really necessaryto recover one's wind. The nervousand muscular stimulation engenderedby the judo exercise disappears in thewake of an unduly long rest to thedetriment of the eff icacy of thejudoka's training. Therefore aftercompleting a short rest, the judokafeels no longer fatigued it is better forhim to resume practice before thecessation of the nervous andmuscular st imulus promoted byreasonable exercise.As an auxiliary aid to progress in

judo was what is called condoTandoku-Renshu, literally “independentpractice”, i.e. practice solo, onlyrecommended especially when asuitable opponent is not immediatelyavailable. As a foundation for theassimilation of knowledge of waza andtherefore a more rapid progress in theart, it is becoming increasingly popular.It is indeed likened by the author toshadowboxing and bag punchingamong boxers. It is pointed out in thiscontext that in judo techniques,whatever they may happen to be, inorder to make them operate withmaximum efficiency attention mustalways be paid to an important centralor focal part or section. If the judoka,independently and adequately trainsthis essential or focal part, when he isengaged with an opponent in Randorihe will be conscious of markedimprovement in the management of hisbody (Taisabaki), hands and feet whichwill help to accelerate his progress.

Panantukan Concept - The SAMI Unlimited Fighting Art

Good teaching - understanding complexity

“Your body is your weapon” is the basic principle of Panantukan. It may soundsimple: don't focus on the weapons you can actually see, just use your bodyweapons. But it is not as easy as it seems. There seem to be countless ways andcombinations to use arms, legs, head and body. Panantukan uses them all andteaches them all.

here are 13 possible moves to manipulate anopponent's right arm, 13 more for the left arm,of course, and an almost unaccountable numberof combinations with footwork, kicks, punchesand locks to be practiced. A student who wouldbe taught only one move at a time would

probably take decades to develop a substantial repertoireof techniques. This is, why teaching applications is not theonly way to teach Panantukan Concept. Applications,punching training and sparring are just parts of the whole,as are all the other exercises. Drills, chains and sequencesare also very important. They form a solid basis for thestudent to build upon, to learn and to practice.

Teaching the basicsLet's start at the beginning. Footwork comes first. It's

footwork that keeps the whole system going (punintended). Sloppy footwork will ruin at least two thirds ofthe techniques. And let's not ignore that he moves willnever look fluent and dynamic. Therefore it is clear that thefirst things, which students have to learn and understand,are correct stance and correct footwork. In all SAMIInternational Seminars, seminars and regular classesfootwork is taught either as an exercise for individuals -

simple commands for directions or specially developedfootwork drills - which contain many of the possiblefootwork combos, or in combination with punches andsimple applications. The complexity of the applicationswill, of course, be higher in more advanced levels. As arule, levels build upon each other, Therefore, a practitionerof, let's say, level 4 must have mastered all therequirements form levels 1, 2 and three. So it makesperfect sense to include basic exercises into the higherlevels, as well.

Practicing techniques in drillsDrills are sequences of moves which can be repeated

over and over. Singular applications are replaced bysequences of moves which allow students to jam a lotmore repetitions into a lesson, a lot more than they willever be able to do if they practice singular moves only. Wedistinguish between the following drills:

• Change drills: both partners work, using identical ordifferent sequences of moves.

• Feeding drills: partner A works, partner B “feeds”partner A moves. Let's assume someone wants to practice

T

“Drills are sequences of moves which canbe repeated over and over.

Singular applications are replaced bysequences of moves which allow studentsto jam a lot more repetitions into a lesson,a lot more than they will ever be able to do

if they practice singular moves only.”

defense moves. It is the other person's task to feed thepractitioner a fixed set of attacks, so that the practitionercan practice defense. Roles may be switched.

• Chains: chains are sequences of techniques which arepracticed with a partner who will allow to be used as a“training object” for, e.g. chains of locks.

Once the students have mastered the drills, particularmoves can be extracted and be pasted into an application.For example: a lock, which was part of a chain of locks, willbe complemented with an attack by the partner (jab,haymaker) and finalized with a takedown. Jab/haymaker =>block + lock + takedown. Practicing drills provides thestudents with a large number of techniques. The lock from ourexample can quite easily be replaced with another lock, yetthe student does not need to learn new techniques. Studentsare able to apply 12 locks from a chain of locks in 12 differentexercises. Of course, drills and applications will gaincomplexity and length in higher levels. A level 1 drill may haveonly 6 moves, but there also level 4 drills with 24 moves.

From coarse to fineDrills are a good way to support students in their training.

Drills be repeated frequently to enable the students toconsolidate their knowledge. Once the sequences of moveshave been understood, it makes sense to put moreattention on details and to refine them over time. Whenstudents first learn and practice a sequence they may lackprecision in posture, dynamics, correct grips and locks.These inaccuracies must be worked upon step by step tomake the drill really effective and to allow the students toapply clean techniques. Just making moves in the rightorder is not the aim of the exercise. On the other hand, itdoes not make too much sense to explain every little thingin detail. Hardly anyone will be able to follow, frustration isinevitable.

Principles and conceptsThe SAMI Tactical Combat Systems are built upon

principles and concepts which can be found in all techniquesand applications. The further students proceed, the moreprinciples they will learn. The more advanced they are, themore independently they must be able to apply the system'sprinciples and concepts. This will gradually teach them acomprehensive understanding of the system. On theinstructors' level dealing with the system's principles fromthe very start cannot be done without. Lessons which areheld by instructors, for example in intensive seminars, willinclude the big picture of the system from the first minute on.

Teaching in levelsOur trainings are held in various levels in order to offer our

students lessons which are both demanding and promoting.

“Drills are a good way tosupport students in their

training. Drills be repeatedfrequently to enable thestudents to consolidate

their knowledge.”

Each student has the opportunity topractice with partners on a peer leveland develop his techniques and skills.Imagine a group where practitioners ofall levels train together. Some may bestrained, others might be bored. Butthere are exceptions, like box sparring,footwork practice or generalapplications which are important forevery practitioner, regardless of hislevel. Advanced students can raise thelevels of intensity and dynamics and generate improved training effects for all.

Be an instructor!

We've made you curious? Youwant to teach Panantukan Concept?Well, we offer intensive instructors'training on a regular basis. SAMIInternational Instructors will gainplenty of the necessary knowledgeand skills, so that they can presentthemselves as qualif ied trainers.Instructors' degrees are split intoseveral levels, too, f rom StudyGroup Leader to Master Instructor.Instructors' courses are held in

multi-day courses and cover boththe developing of individual skillswithin the system and instructors'skills. The length of the courses mayvary, depending on a person'sdedicat ion, sk i l ls and previousknowledge.

For more information go towww.panantukan-concept.comPhotos by Thomas SuchanekWritten by Irene Zavarsky, Irmi

Hanzal, Peter Weckauf, ThomasSchimmerl

Every system has its limits and when you need to move from one system to another, you must learn anotherart and this is what the Kapap tries to avoid. This is Kapap, face to face combat, a bridge among systems. Itsfounder coined a phrase whose concept is widely used by other traditional martial arts styles: "Don't carry aweapon, be yourself the weapon." If your mind, your spirit and your body are the weapon, then you will be aweapon that will be equally effective when you carry a weapon. This "Avi Nardia Academy" DVD discusses theconnection between the "old school" martial arts and the modern CQB (Close Quarters Battle).His experience as a commander in the IDF (Israel Defense Forces) and official coach of the main Israeli anti-terrorist unit, taught Nardia that cultivating the warrior's mind and spirit must be considered a priority over thesimple body workout. Among other things, we will study gun safety as well as the convincing parallelism between Iaido and theproper firearm handling. Firearms are the ultimate in single weaponry, but do not escape the eternal wisdomand logic of the old school. Exercises adapted from the BJJ, disarming methods and intelligent body trainingusing special exercises, with explanations of its benefits and precautions. An educational, inspiring, andrevealing DVD, recommended to practitioners of all styles, both ancient and modern.davidgramage@gmail.com

REF.: • KAPAP8REF.: • KAPAP8

The Eyes Don't Have It

As an early self defense lesson when I wasa kid, I was told to stare somebody right in theeyes to detect their intentions. This is wellintended advice but I've never been hit withan eyeball. Getting a read on someonerequires more of an observation strategy thana “high noon” stare down. What makes anindividual physically dangerous is their armsand legs (sometimes even their forehead).Also their access to weapons or distractiondevices like throwing a cigarette at your face.Most of the time it is an action that requiresarms and / or leg movement.

If you had an aggressor in front of you withno arms what's your threat level? Certainly hecould still kick you, bite you, head butt etc..but odds are you would feel less threatened.You're simply in a better position to defendagainst this guy because he has no arms.

So when talking to a person realize that thebody is where the danger is, not the eyes. Aneye has never flown out of somebody's headand hit me. I'm not going to lock onto theeyes as though they're going to hurt me.

Hands hurt you. Elbows hurt you. Kneeshurt you. Head butts hurt you. Weapons hurtyou. People blading their body, shifting theirweight, bringing their hands above their waist- all these things will hurt you. Until I here ofan attack with an eye butt, I'll focus more onthe body than the eyes. I suggest you do too.

A former street cop, sheriff, andmaximum security prison guard. ChrisSutton is the founder of Cobra-Defensein Clearwater, FL. Cobra-defense is alaw enforcement based self-defensesystem. Cobra-Defense is the officialself-defense system of John Graden'sMartial Arts Teachers' Association(MATA-www.MartialArtsTeachers.com).Instructor certification in Cobra-Defense is atwww.SelfDefenseCertified.com.

Chris Sutton is availble for seminarsand special training. He can be reachedat 727-791-4111 orCobra@CobraDefense.com

http://www.revgearuniversity.com/

by Cezar Borkowski

On October 10th, 2014 the Karate world mourned the passingof Masami Tsuruoka. Dubbed the Father of Canadian Karate by Mito Uehara,

publisher of Black Belt Magazine, Tsuruoka O-sensei leaves bothan enormous void and an impressive legacy. Tsurouka was born to loving and well-educated family on January

12, 1929 in Cumberland, British Columbia. His childhoodmirrored that of any youngster growing up a small, ruralcommunity until December 7, 1941 and the Japanese attack onPearl Harbour, when Canadian-born Masami and his family would

be classif ied as EnemyResidents.

The Mackenzie King governmentpromptly shuttered all Japanese-language schools, took possession ofbusinesses, newspapers and evenboats owned by Japanese foreignnationals and cit izens alike, andfollowing America's lead, establishedinternment camps.

Young Masami become a residentof Tashimi, then Roseberry detentioncamp, where perpetual dampnessand cold resulted in a respiratory

illness that would plaque him for therest of his life.

During the war years, the teenagerfound solace in Japanese Budo arts,primarily Judo and Kendo, as Karatewas relatively unknown at this time.When the war ended, seventeen-yearold Masami travelled to Japan toexpand his horizons, and shortly afterhis arrival in Kumamoto province,encountered a man who would radicallychange his life: Dr. Tsuyoshi Chitose.

A native of Naha, Okinawa and ahighly-regarded Karate and Kobudo

expert, Chitose, had apedigree that was formidable.He learned Tote from ArakakiSeisho, Nahate fromHigannona Kanryo, Shuritefrom Kyan Chotoku, Kumite(free-fighting) from MotobuChoki, and Kobudo (Yamane-ryu) from Chinen Sanda.

Under Chitose's tutelage,Tsuruoka achieved Shodanin less than three years,became the famedteacher's dai-senpai (seniorassistant), and playedinstrumental in thedevelopment of Chito-ryu.He won severaltournaments in SouthernJapan and his Karate skillsgrew steadily. When notworking or training, hespent time with a beautiful,young woman, Kei, the loveof his l ife. They becamehusband and wife, and later,dojo partners. When thenewlyweds returned toCanada in the mid-1950's,they found a country vastlydifferent than the one heremembered from

childhood. They made their home inToronto, a city that was evolving into aworld class, cosmopolitan metropolis,and the perfect place to introducesomething new: Karate.

From its humble beginnings in 1957,the Tsuruoka School saw rapidexpansion, relocated several times toaccommodate the growing studentbody, Canadian icons like ShaneHigashi, Benny Allen, Fern Cleroux,Monty Guest, Andre Langelier, Dr. NedPage, Hal Henschel, Mas Takano,George Sylvain and several others tracetheir beginnings to the Tsuruoka dojo ofthe early 1960s. By the early 1970's, abranch-dojo could be found inmetropolitan centres in every province.

The popularity of Karate continuedto gain traction with the establishmentof the National Karate Association (theoriginal group recognized by thegovernment), and in 1962, hosted thefirst national tournament. Staging hisimpressive highflying and brickbreaking demonstrations, he wasoften featured in national newspapersand magazines.

Throughout his career, Tsuruokareceived countless awards andaccolades, including the Order ofOntario. In recognition of hisachievements and contribution to themartial arts, the Canadian Black Belt Hallof Fame established the much-covetedTsuruka Lifetime Achievement Award.

As a teacher, Tsuruoka was toughand demanding, nurturing and kind.He developed many ground-breakingtheories with respect to the practice ofKarate, with emphasis on body-mechanics, hip rotation, and use ofbreath for maximizing power. While hisphysical teachings were profound, histrue essence as a Sensei can be foundin his philosophical lessons, and the

two concepts at the core of hismethod were, Nyumon no Kokoro(heart of the beginner) and Giri toNinjo (obligation and humanity,particularly related to goodcitizenship and benevolence to all).

To i l lustrate the concept ofNyumon no Kokoro, Tsuruokawould often recite following lines.

We are beginners when weare born.

We are beginners when we goto school.

We are beginners when weleave our parents' home.

We are beginners when wemarry.

We are beginners when wehave children.

We are beginners when weretire.

We are beginners when wedie.

So do not follow your ego, butyour responsibilities.

The legacy of this incredibleteacher, mentor and role-modelwill be preserved by a sizeablecadre of senior students. His sonDavid, a passionate Karate masterin his own right, will assume thehelm of the Tsuruoka Karatedoorganization.

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All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.

REF.: • TAOWS-2REF.: • TAOWS-2

“TAOWS Academy. Wing Tsun Advanced”. Sifu SalvadorSánchez Wing Tsun is an excellent style of Chinese

boxing that permits a lifetime training experienceand an integral development of the individual.Its ideas, techniques, philosophy etc , it allbelongs to an ancient art and must bestudied and understood in its whole. SifuSalvador Sánchez focusses his seconddvd on the wooden dummy and howit influences all of the Wing Tsunpractice. Given that the woodendummy form is taught at the finallevels of the actual system oftoday, most practitioners thatleave the system before time don'thave the opportunity to know theideas and concepts hidden withinthe form, and they cannotincorporate them in their practice.For TAOWS academy it is veryimportant that the practitionerunderstands what he is doing alwaysand in every aspect, and for this, in this

dvd we are going to follow the sameoutline that we follow in our classes,

seminars and training sessions. Our outlinefollows six steps, the first one is to develop an

idea, what we want to achieve. The second partare the forms, Siu Nim Tao, Chum Kiu, Biu Jee, the

wooden dummy form, depending on each�s level, the thirdpart is footwork, mobility understood. The fourth pillar is Chi Sao, ChiGerk, stickiness, the soul of the system. The fifth element is nonstickiness and no contact, to know what to do in order to reach contactwith the opponent in a safe way.

Budo international. netORDERS:

http://www.davidbuisan.es/

The Intro Course Part Two

Ready PositionIn preparation for their participation in your regular

classes, your “ready stance’ is a good place to begin.

Guarding StanceNext, after “Attention,” “bow,” and “ready position,”

comes “guarding stance” (as apposed to the term “fightingstance.”). Note: This sequence of moves is exactly how Ibegin most of the training drills in my classes. If yoursequence of preparatory moves has another order orformat, then that’s what you’d teach. The desired result isthat the student makes a comfortable transition from yourprivate lessons into the group classes –without feeling

completely lost.

FootworkFootwork drills, like slide-step forward and back, are fun

to do, and essential for defense and attack. Whenteaching children for the first time, it's also a very non-violent aspect of martial arts that's non-threatening andeasy to learn.

PunchingTeaching punching is fun, and a good chance to have

the student expel some of their nervous energy. Andteaching front punch and back punch gives the instructorplenty of t ime to interact with a student –and theopportunity to use pads and/or x-ray paper.

Where to Punch and Where not to Punch

Here's a great opportunity to talk about -and make thepoint in a dramatic way --where it's ok to use martial arts,and where and when it's not ok, something nearly everyparent is concerned with.

ReviewingThroughout the course of your lesson, it’s essential to

review, from the very beginning, everything you’ve taughtup to that point. The more you review, the faster theprocess becomes, It might, after a few reviews, soundlike this:

“Attention, bow, polite greeting, --again: Attention, bow,ready position, guarding stance, slide step forward, slidestep back, front hand punch, back hand punch –nowdouble punch…and REST! Nice work!”

Kicking Goal Setting, the Idea that You Can Always do Better

than You Think You Can, andDefining the Role of the InstructorFor the final physical lesson of the first intro I

recommend having the student perform a front leg stretch(swinging the back leg straight up –first demonstrated bythe instructor, kicking waist high). Before the actual kick,have the student measure with their front hand how highthey THINK they can kick. Ninety-nine-percent of the timea student (regardless of their age) will underestimate theirability, and thus kick higher than they thought they could.This is the moment to express the idea that they (everyone)can ALWAYS do better than they think they can — andthat’s precisely your job (which you point out to them): Tonot only help your students to set goals that arechallenging and obtainable, but to always remind them ofthat concept. For adults, you might say something like:

“Well, that’s pretty much the bottom line…you’re hiringme to make sure that you don’t settle for anything but yourbest effort — mentally, physically and emotionally.”

For children (after having them memorize the phrase, “Ican always do better than

I think I can.”):“There it is, Johnny; that’s why your parents are willing to

pay for your lessons…because this martial arts training isgoing to help you become the kind of person whoconsistently performs better than he thinks he can. Andthat’s my job! To make sure it happens.”

John Graden is the Executive Director of the Martial Arts Teachers’ Association and the author of thebestselling books on how to run a successful martial arts school without selling out.www.MartialArtsSchoolOwners.com

http://www.kungfudvd.net/

http://www.youtube.com/user/videobudo/search?query=larry

Andreas Hoffmann: Wow, master,you have 67 years of experience inBrazilian Jiu Jitsu. Can you tell ussome stories about your early yearswith the Gracie family? About yourfirst fight?Flavio Behring: One day I came to

the academy, and Joao Alberto Barretowas waiting for me. He told me wehave to go to fight. I was surprised thatnobody was changing the Kimono,apart from me. I asked: “How manystudents will fight?” - “Only you, yougonna fight.” I asked: “What fight?How?” Joao Alberto Barreto replied:„Just fight“. – “Who is the guy?” - “Heis a Judo black belt.” Back then I wasa 14-year-old white belt, so it was very

hard to force myself into the ring. I wastrembling and afraid, and wanted gohome. But Joao Alberto Barretoinsisted in the duel. So I was up therein the ring. Carlos Gracie, the old man,was the referee. The Judo Black Beltapproached me and performed onetakedown, then another, three, four,five takedowns, because every timewhen I stood up, he instantly took medown again, and finally he immobilizedme. I remember one detail fromtraining, when I got him in a chokeholdand he passed out. I went to my cornerand wanted to leave. But Carlos Graciesaid “No, now you fight again.” Andtwo minutes later the Judoka indeedwas ready to fight again. We did the

same thing, one, two, threetakedowns, then the Kesa Katameimmobilization, whereupon I did thesame choke, followed by him passingout over me and me telling CarlosGracie once more that he is sleeping.Finally I stood up, Carlos raised up myhand and said: “This is Gracie JiuJitsu.” That was the way how thingsusually happened at that time.

Andreas Hoffmann: Astonishing,so you are a part of the Graciechallenge. Is it really true that theyare prepared to fight anytime?Flavio Behring: Yes, and here is

another story: Carlson Gracie andJoao Alberto Barreto once slept in the

Interview: Flavio Behring, Andreas Hoffmann, Christoph FußFotos: Gabriela Hoffmann

With me here at my academy in Bamberg, Germany,is Brazilian Jiu Jitsu Grandmaster Red Belt FlavioBehring, and it is my honor to have an interview withthis legend. As a ten-year-old, Grandmaster FlavioBehring started in 1947 to attend private lessons inBrazilian Jiu Jitsu with Helio Gracie in Rio De Janeiro,seeking to stay active and healthy and to overcome hisasthma. A few years later, Helio Gracie commissionedJoao Alberto Barreto to help him teaching young FlavioBehring at the Gracie academy in Rio Branco, and inthis academy he shared the mat with Carlson Gracie,Heligio Vigo, Waldemar Santana and many others.

Grandmaster Flavio Behring: “My early years wit the Gracie family”

academy. Suddenly at one night, at 2 a.m., the phonewas ringing. It was Joao Alberto�s brother who called,and he told his brother to come and fight with somebig huge foreigner called „Messik". Messik claimedto be able to beat anyone. They called Helio Gracieand me to join them, and together we went to theplace, where Joao Alberto Barreto submitted the guy.Then someone shoot at us and injured Joao AlbertoBarreto. That was the way things happen in the earlyyears.

Andreas Hoffmann: Can you tell us about yourfirst Vale Tudo fight?Flavio Behring: Once during our training, Helio

Gracie came to me and said: „Put your Kimono off,and come with me”. I followed him to a Dojo where Ithen had to fight some Capoeira guy. I asked myteacher what we were doing there. He replied: “Thisguy challenged me, and now you shall represent me.”I was 16, and I was really afraid, so afraid that Isubmitted the guy within ten seconds. I jumped overhim, but Helio kept me back and said: “Stop, stop!This was no good, you came here to fight, this wastoo fast.” So I had to fight again, but that second

time was easy, because the guy was already emotionallybroken.

Andreas Hoffmann: So Helio Gracie believed in you?Flavio Behring: During all my life with Carlos Gracie and

Helio Gracie, they were always so confident about theirstudents, so confident, they truly believed in us. It was normalto us for them to come and say to us: “Okay, we have one guyfor you, now, lets fight“. I can tell you: 99 percent of the fightswe won.

Andreas Hoffmann: And Helio Gracie himself, did he livetrue to the same motto, to be ready anytime, anywhere?Flavio Behring: Oh yes, Helio always proofed that he lived

that way. For example, he once fought against one of hisstudents, Waldemar Santana. Waldemar was then aged 26, astrong guy, 82 kg. I used to train with him, and he really w,as aguy with a strong neck. One day a journalist called onWaldemar to leave the academy, and to fight on his ownbehalf to become famous. The first thing the journalist did waschallenging Helio against Waldemar. The police did not allowthis fight to take place, so it was scheduled and thencancelled again many times. One day, when Helio Gracie wasat his ranch, far from Rio, his brother Carlos called and toldhim that the fight with Waldemar would take place in twohours. When Helio Gracie arrived there with his car, everythingwas already prepared for the fight, which then lasted for notless than three hours and 45 minutes. I was there, and it wasvery emotional for me. At the beginning it was a very excitingfight, but then at some stage Waldemar got inside his guardand remained there. Helio Gracie with his 46 years and 64

kilos against a much younger guy –his own student – who weighted 20 kgmore. But Helio Gracie was there andtook up the challenge. I could notlisten what happened and could onlywatch it, but someone told me whathappened. Helio tried to stand up, butWaldemar stood up before and askedthe referee what he should do. Andthe referee told him to kick - soWaldemar kicked Helio Gracie, hisformer teacher, into the face andknocked him out. Can you imaginethat? We could not believe it, that was simplyincredible, and everybody went into the ring. The Policetried to get things under control, but imagine howemotionally loaded the situation was on both sides. Atone moment Carlson Gracie screamed: “I wanna getyou, Waldemar, be prepared for me!” Later he wonagainst Waldemar.

Andreas Hoffmann: Oh, I can imagine how thisstirred up deep emotions among everyone involved.How was your preparation for the Freefights or ValeTudo-fights at that time?

Flavio Behring: Let me give you an example fromone of the Gracie family�s best fighters ever, JoaoAlberto Barreto: He fought 52 Vale Tudo fights that took

place every week on Monday night, and he won all ofthem. During the week he taught our Jiu Jitsu, on theweekends he rested, on Mondays during daytime hewas teaching again at Gracie academy, and in theevening he had his Vale Tudo fights. I learned by hisexample that our self-defense was the real training, itprepared him to fight and to win. We had a lot oftraining with boxers and wrestlers. But we didn�tpractice it, it was just for fun - our focus clearly was onJiu Jitsu.

Andreas Hoffmann: How about ethics in ValeTudo? Flavio Behring: Today it is different, the rules are

different. The ethics of the basic rules used to be that if

Together with GrandmasterFlavio Behring and GrandmasterJoao Alberto Barreto one of themost important figure in the BJJcommunity and referee of first

UFC. In the interview Flavio Behring

often talks about him

you punch someone, it was to knock him out, not to hurthim. Today however you see in MMA how many acompetitor would punch with the intention to hurt.

Andreas Hoffmann: Thank you, master, for the first partof the interview. It is fantastic to get first hand informationabout the beginning of Brazilian Gracie Jiu Jitsu. And thank

you for supporting me to build up and establish the Behringway of Brazilian Jiu Jitsu here in Germany. Since 10 yearsyou visit my academy two times a year, and I�m proud to bea Black Belt under you.

Whoever likes to join our team and to learn how to teachis very welcome to contact me directly: www.weng-chun.com.

http://www.weng-chun.com/

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POLICE AND THE MARTIAL ARTS

It is difficult to truly appreciate how much "ego"exists in the martial arts community. With the possible

exceptions of professional athletes, movie stars andother entertainers and politicians, martial artists rank

very high on the scale of perceived self-importance. That's why you could almost neverconvince a martial arts instructor (especially a"master" or "grandmaster"!) that he is not

qualified or competent to teach PoliceDefensive Tactics. In fact, at the next

gathering of prominent Instructors,such as a Hall of Fame banquet,

make that a public statementand see how quickly you get

into a nasty confrontation.Most, blinded by their

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ego, cannot see nor accept the truth.Some, deep down inside, know the truthbut, to protect their ego, will never admitit. This sad state of affairs has, for a longtime, negatively affected an alreadycomplicated relationship betweenmartial arts instructors and the police.So, let's put ego, delusions and greed tothe side, and honestly examine themartial arts side of the debate.

1. "The martial arts were created forphysical combat: on the battlefield, inyour house, in the street, on amountain or on the beach…whatdifference does it make?"

MY RESPONSE: A lot of difference! I amsure you would not drive your kids toschool in a Formula 1 Ferrari, and, ofcourse, you would not go rabbit huntingwith an RPG. So why do you believe thatall fighting strategies & techniques are"right" for police work? In the vast arsenalof martial arts techniques, there arecertainly SOME that are right for policework but NOT most of them. Truecompetence in this area is to know thedifference: which martial arts techniquesare practical, effective and legallyappropriate for police work and which onescan be modified for their specific needs.True experts know that all combat is notthe same: night or day, sand or snow,indoor or outside, in uniform or in a bathingsuit. Officers not only understand thedifferences… they face them every day.

2. "I am an expert Black Belt & acertified Instructor. I am perfectlyqualified to teach police officers howto defend themselves and take downthe bad guys".

MY RESPONSE: A Black Belt inwhat? Obtaining a Black Belt does notautomatically invest someone withmagic powers and unlimited knowledge.It is simply a marker to record the levelof a student's progress. When a LawEnforcement Agency is approached by amartial arts Instructor offering to traintheir officers, he should expect a smartofficial to ask several questions such as:A Black Belt in what art? What style?How old are you? How long have youbeen training? How long have you beenteaching? Have you ever worked in LawEnforcement? Where? How long? Doyou have references, endorsements,testimonials and recommendations byother police agencies that you havetrained? Why do you believe your art /style is right for police work? Maybe 30years ago any black belt in "karate"could get you in the door, and many,unfortunately, did. But those days aregone. Police officials are more educatedand informed. They know the differencebetween Tae Kwon Do and Krav Maga,or between Kickboxing and Hapkido.Just having a black belt or being anInstructor is no longer enough. You mustteach the "right" style and have the"right" background and experience to beaccepted and respected by the policecommunity.

3. "I am (or was) a champion whohas won many fight and I cancertainly teach officers how to win inthe street".

MY RESPONSE: Are you serious?Equating sport to police work would belike comparing a bicycle to a Ducati

Combat Hapkido

FBI

motorcycle! Sport contests (even thetoughest MMA fights) have rules,referees, time limits, weight classes,and, last time I checked, they arenever held in the street, in the darkand with all kinds of weapons. Even ifthe instructor is (or was) a true martialarts champion, using it as selling pointand a relevant "qualif ication" toprovide training to police officers isridiculous, unprofessional and willimmediately result in the Instructor'sloss of respect and credibility in theeyes of the police officials.

4. "Martial arts training producesdiscipline, self- confidence,

physical fitness, self-control andother very important benefits thatare relevant and desirable in policework".

MY RESPONSE: Absolutely! And Iwish that every police officer in theWorld chose martial arts training astheir favorite activity. It would certainlyhelp them as it helps everyone elsewho trains in martial arts. Just don'tconfuse it with training in specializedDefensive Tactics specificallydesigned for police work. While onecould argue that "Any training in anystyle is better than no training at all", Icould make the case that training incertain arts / styles is, for police

officers, actually worse than nothingas they wil l pick up stances,movements, techniques and attitudesthat are useless and even dangerouswhen applied to their work. Although,in general, it is true for everyone,under-reacting or over-reacting willcarry serious and possibly deadlyconsequences for a police officers.And that is why their training cannotsimply be "martial arts", but it mustbe "Defensive Tactics", specificallydesigned for their type of work.

5. "Lack of proper training andlack of defensive tactics skills willresult in more injuries to the

Costa Rican Swat team

officers and the individuals theydeal with. That will result inincreased medical costs andexpensive legal litigations".

MY RESPONSE: Absolutely true!Medical costs for injuries sustained bythe officers (and even by the badguys!), legal defenses (and eventualaward settlements), t ime lost,tarnished public image for the Agencyand negative press are all tangible,direct consequences of officers lackof training in empty-hands DefensiveTactics. It is important to mention atthis point, a very important statisticthat tragically and unequivocallydemonstrates the lack of training inDefensive Tactics (and the need forit! ) : 60% of officers ki l led with afirearm are shot with THEIR OWNGUN! Skills, knowledge, competenceand self-confidence will dramaticallyenhance the professionalism and thesafety of the officers and will be worthmany times over the modest cost ofthe investment.

6. "The officers' lack of skills inempty-hands Defensive Tactics willinevitably lead to more unnecessaryand unjustified use of firearms andother weapons".

MY RESPONSE: Absolutely andoften with tragic consequences! In adangerous, scary, adrenaline filledconfrontation, the officer will revert tohis training, and, if he lacks training inone area, he will, by default, resort toother means to deal with the situation.Lack of skil ls is invariablyaccompanied by lack of self-

confidence…now add fear, stress andconfusion to the mix! And, of course,we expect, no, we demand, that ahuman being make split-seconddecisions under those conditions! Notjust any decisions…the RIGHT,reasonable, just, correct, perfectdecisions, every time. If, as a society,we expect that from our policeofficers, isn't it fair, isn't it logical, isn'tit incumbent upon us to provide themwith every tool available? Shouldn'twe invest more in their training?Shouldn't we allocate funds for notjust equipment and technology butalso for experts & professionals toprovide excellent training in DefensiveTactics, an area that, in my opinion,has always been severely neglected.And now I rest my case. We havelooked at both side of this argumentin a fair and balanced manner. Ibelieve that a jury would render aunanimous verdict in favor of apermanent, competent, periodicDefensive Tactics training program forpolice officers. The key, however, isthat it must be the RIGHT program!Like many martial arts Instructors, Iwanted to offer my services to law-enforcement agencies. Not onlybecause it is good business and itbrings prestige to the Instructor, butalso because I truly believe that it canactually protect the officers and be abenefit to the community. I feltqualified to do so having spent 20years working in that field in severaldifferent positions. But I was awarethat my "martial arts" material wasfairly traditional and geared primarily

to the "civilian" market. So, with thehelp of several of my students whowere veteran, highly experiencedpolice officers, we set out to create anew, special program of modern,practical and effective DefensiveTactics, designed specifically and onlyfor police officers. After 3 years ofresearch, analysis and applications,we finally felt that we had structuredthe right program and, in 1998 theINTERNATIONAL POLICE DEFENSIVETACTICS INSTITUTE (IPDTI) wasborn. While our main goal was toprovide the most relevant andcompetent training to the law-enforcement community, the otherimportant objective was to educate,train and certify martial artsInstructors in this very specificprofessional specialization. Since the establishment of theIPDTI we have conducted training forthousands of officers in18 countriesaround the World and we havecertified over 300 Instructors. Wehave received dozens of letters ofcommendation, testimonials andappreciation. Most importantly, wehave received numerous letters fromindividual officers thanking us andcrediting our training with preventingserious injuries and even saving theirlives. And that, for us, is the greatestreward. The IPDTI has proven thatmartial arts Instructors can work withpolice forces and provide them withvaluable, important training. It justmust be done the right way. Check usout at:

www.dsihq.com

Combat Hapkido

Police in Rome

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In the late seventeenth century, in the Argentinian Pampa plains, appears thegaucho, product of the mixing of cultures and races. He lives on horseback, enfoldedin his typical "poncho" (an outer garment designed to keep the body warm,essentially a single blanket with an opening in the center). His figure, brilliantly glossed in Jose Hernandez's "Martín Fierro", an epic poem

written in "gauchesque" poetry, acquires an identity of his own with characteristic

CREOLE FENCING: THE ART OF PONCHO AND FACÓN

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Creole Fencing, the art of theponcho and the facón Late XVII century, South America… In the

Argentinian Pampa a new race is born. It’s the Gaucho,a mixture of Indian and Creole; and with him a newwarring art: Creole fencing. But what is Creole fencing? It is the art of fighting with a poncho and a knife. It

had its norms and values; being a matter of manhood,there was respect and they fought one to one. Creolefencing had its own techniques and training systems,

including the "Visteo", where you fought with a smuttystick removed from the fire, half in play and halfseriously, since a gaucho worth his salt was definitelygood for cutting. This practice still continues and I reallyenjoy watching my children play Visteo when there's agood “asado” (Argentinian barbeque) involved!Visteo was practiced in a delimited area called

"cancha" (fighting ground) of which you couldn't exit.The "canchadas" (encounters in the cancha) and theirmovements distinguished them from other knifefencing styles, where honor prevailed.

Ethnic Arts

cultural forms and habits; among these, the use of weapons as the"facón" (a large knife generally tucked into the rear of the gaucho sash)and the poncho, as well as the "boleadoras", a contraption borrowedfrom the Indians, which consists of three stones wrapped in leather onthe ends of three interconnected cords, usually made of braided leather,that are rotated from one of the ends to be projected, and can reachlong distances to hit preys or entangle their legs on making contact.Today we bring you the figure and the arts of the Gaucho in an

excellent article written by someone who, from Argentina, has devotedhis life to the noble task of maintaining and diffusing this legendarycharacter, as a tribute to the knight of the Pampas.

Alfredo Tucci

The knife used in the duel is called "facón",although you could also use a dagger. Theseknives were usually made ??of remnants ofswords or bayonets and their blade length, notless than 35cm, could reach up to 80cm in thecase of "facón caronero".As for the poncho, it is a rectangular or square

piece of fabric with a hole for the head to passthrough, and can be made of alpaca, vicuna, etc.The poncho garment not only protects us on coldnights, but also in the fight and it has an addedcuriosity: it was a regular piece of the costume ofthe first native army regiment. In the duel, theponcho is wound on the left arm to become asuccessful defense and a terrible weapon ofdistraction. Time led to perfect the poncho fightingtechniques with movements like the "flecazo", the"manteada", etc.

"The facón is used both to open a cow and toclose a discussion"

(Argentinian popular saying)

Talking about the gaucho, this stoical characterwas employed for fighting against the Spaniards,Indians or any other enemy. Always pursued,simple and sincere, excellent rider, skillful withtools, knife, lasso (cowboy rope) and boleadoras,the gaucho was not happy to firearms and healways preferred the edges; in fact, there wasmore honor in duels, death was rarely sought anddisputes simply ended with a "barbijo" (cut on thecheek) or a "planazo" (blow to the head with thespine or thickest section of the blade, opposed tothe edge), leaving the opponent battered but alive;only if the situation had gone out of control wouldthey end with the life of the unfortunate... a kind ofeuthanasia; "do the holy work" they called it.

“Al caer en cualquier abismo,más que el sable y que la lanza,

suele servir la confianzaque el hombre tiene en sí mismo”José Hernández (Martín Fierro)

When falling into any abyss it usually serves more the confidence

that man has in himselfthan the sword and the spear

There were other weapons accompanying thegaucho: the "Boleadoras", an artifact ofindigenous origin which consists of just three ballsjoined together by leather thongs. This throwingweapon, masterfully handled, decimated the ranksof the royal armies in the wars of independence,along with the "chuza" (spear for the Spanishtongue of the time), the official weapon in the armyof General José de San Martín.

“Las armas son necesarias, pero naides sabe cuándo, ansina si andas pasiando, y de noche sobre todo, debes llevarla de modo

que al salir, salga cortando”José Hernández (Martín Fierro)

Weapons are necessary, but nobody knows when,

so if you are walking, especially at night time,

you must carry it in a way that it cuts as you unsheathe.

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Ethnic Arts

And time went by... In the early twentieth century, the times

of "taitas" (brave and bold), "guapos"(braggart) and "malevos" (outlaws),Creole fencing was sti l l in force;sometimes a scarf would be used insteadof poncho, but a facón, a dagger, averijero or a fiyingo (different models ofCreole knives) were always present. Itdidn't take much to draw the weapon, thesimplest reason was more than enough, awoman, a single word louder than anyother... and disputes were settled with aduel where a cut on the face or "barbijo"ended any misunderstanding.

Su esperanza es el coraje,Su guardia es la precaución,

Su pingo es la salvación,Y pasa uno en su desvelo,

Sin más amparo que el cieloNi otro amigo que el facón.

José Hernández (Martín Fierro)

His hope is courage, His guard is caution, His horse is salvation,

And he spends his wakefulness, With no other shelter than the sky And no other friend than his facón.

Today, Creole fencing is still present invil lages throughout the Argentiniancountryside and you'll always find a knifedispute in “tamings” and folk festivals: it'sa habit hard to eradicate which is alsoheld in the prison reality, where inmatescontinue to mending their differences -now with "faca" and blanket -, andmaintaining the same standards, like the"planazo" or blow with the spine of theblade in the middle of the head that putsan end to the fight, where the inmate wholoses will have a hard time; the gauchocarried it out to the cry of "God save you".

"Rara vez mata el paisanoporque ese instinto no tiene,

al duelo criollo se avienepor no mezquinar ni un tranco,hace saber que no es mancoy en el pelear se entretiene"

Atahualpa Yupanqui

The peasant rarely kills because he does not have

such instinct, he agrees to the Creole duel

for not taking even

a backward stride, he lets know that he's not "maimed"

(unarmed) and he entertains in the fight.

Another actual fact is the practicing ofthis discipline carried out by GeorgePrina, who, in a historical revisionism, isdiffusing and teaching Creole fencing withits ancient techniques, through trainingsessions and open competitions of knifecombat. We use different types ofweapons: verijero, facón or caroneroknives in our right hand, and of coursethe poncho on the left with its variety oftechniques, such as disturbing theopponent’s sight with the fringes, called"flecazo", or divert an attack with the so-called "manteada", which is an excellentdefense. The poncho wrapped around theforearm avoids cuts reaching the skin. Now "visteos" (sparring) are performed

with wooden knives, unfolding a variety oftechniques in which you can appreciatethe ability of the fencers.

"Potrillo, recién te apunta el colmillo,mas te lo dice un toruno:

No dejés que hombre ningunoTe gane el lao del cuchillo"

José Hernández (Martín Fierro)

Young colt, your eyetooth is barelycoming out

But is an old hand who tells you: Do not let any man

to win the side of your knife.”

An interesting gaucho skill is handlingthe boleadoras, which are thrown to thelegs in its different variants in order to bringdown the prey, be it man or an animal.Another variant is to hit the head of anenemy, as used in gaucho wars, wherethey were tossed so that when falling, thefirst thing that impacted was the balls.Practicing is carried out with different

targets or with special training boleadoras,which do little harm. We also practice theway aborigines used to do, by hookingone of the balls on a foot and hold theother two one in each hand swinging themfor a close combat. In our practices weperform weapon crossing in fights offacón and poncho against boleadoras.The handling of the chuza (spear) is

original and very peculiar. Chuza is theSouthamerican spear; it has an iron tip - itmight not have it - usually made of

Ethnic Arts

colihue cane. It must be remembered that colonial Lancers regiments, dating back to thenineteenth century, had a warring technique that gathered the group action in defenses andattacks. Instead, Creoles used the spear in different ways; pampa Indians tied it to theirforearm to go long distances and, prepared for the attack, waited patiently for the barrage offirearms to charge right away against the fort with their spears...This was known as "irse alhumo" (go to the smoke) because of the characteristic smoke of the Muzzle-loadingfirearms. Currently we recreate chuza movements rescuing a rich wealth of techniques, fromthe "molinete" (windlass) to the "chuzaso". We conduct monthly open meetings in different places, where we practice old-fashioned

Creole duels, with protection and throwing of boleadoras, ending with small competitions,apart from regular classes and seminars.

"A creole without a knife is a naked creole" (Argentinian popular proverb)

All peoples of the world had, and some still retain, their own fighting arts; this is Creolefencing, the Argentinian art of war.www.esgrimacriolla.blogspot.com.ar

About the Author Jorge E. Prina * 1st Dan ITF Tae Kwondo* 1st Dan Kick Boxing IKA * Self Defense, Urban Security and First Aid Instructor (OFI)* Defense and Knife Combat Instructor (HICP) * Master of Native American Warriors Arts (N.A.W.A.) * Course, Training and Association as a Muzzleloaders Weapons Marksman (CN 592)

The photos were taken with George Prina, along with Paul and Lisandro Liciaga Neyra,Creole Fencing practitioners.

The images were taken at: "The Fortín Tradición Platense, in which Teófilo Olmos along with Almafuerte, set out the

decision that October 10 be declared National Day of Tradition." San Martin Park, Silver City, meeting of Creole Fencing. Seminar in Troy, Missuori, Creole Fencing Seminar in Rosario, Sante Fe. Creole Fencing Tournament in Ituzaingo.

Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdomof the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflectionsthat are capable to move at once both the reader's heart and head, thus placing him continuously in front of theabyss of the invisible, as the true final frontier of personal and collective consciousness.

The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages toapproach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedlydevoted.

Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a largenumber of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can beread individually in no particular order. Each one of them opens up a window to us through which we can take alook at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness andgrandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agreewith the common places in which everyone coincides.

We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity ofits contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioralideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls andintelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizingminds, without dogmas, without transient morals, without subterfuges...

Karate

Edited by Budo International, it finallyappears the DVD video Wado no I Dori &Tanto Dori conducted by MasterSalvador Herráiz, 7th Dan, one of thegreatest experts of this style at aninternational level. For such reason, theauthor reveals here and now the

features and relevance of this work ata crucial time in his life.

Karate

NEW DVD VIDEO! WADO NO I DORI & TANTO DORI SALVADOR HERRAIZ, 7th DANThe content of this DVD video now presented, gathers a

selection of the more emblematic techniques of Wado Ryu,furthermore offering an interesting attractiveness to karatepractitioners of other styles. Indeed, Wado Ruy has a veryimportant group of techniques, the so-called KihonGumite, but perhaps its features make it unattractive topractitioners of other schools. Both I Dori techniques(defenses from the traditional Seiza position, sittingkneeling on the heels) and Tanto Dori techniques (defenseagainst knife) are widely practiced as important groupswithin the style, but they may also be of interest to karatepractitioners who are alien to Wado Ryu traditions. That'swhy I chose these techniques to form part of this DVDvideo, so that it may be of interest to all types ofpractitioners. An interesting subject at the time to understand the

technical ways exposed on this DVD is that of thedifferences among the existing technical lines. Wado Ryuis a style that, like all other systems, has undergonetechnical changes throughout its history, all within a"normality" caused by divisions that, for political reasons,have led in technical differences.We all know that within the Wado Ryu there exist three

main technical lines that we must consider and respect: (1)The Wado Ryu Karatedo Renmei line - led by Jiro Ohtsuka,the son of the founder, who by his age, in a few years willgive the baton to his son Kazutaka; (2) the Wado Kai line(within the Japan Federation and technically led by veteranmasters like Toru Arakawa, Hajimu Takashima, KatsumiHakoishi, Takaichi hand, Shinji Michihara, ShunsukeYanagita, Yasuo Kuranami, Hideho Takagi...); and (3) that of

WIKF, founded and led by Master Tatsuo Suzuki, until hisdeath in 2011, that continues with his followers.All of them self-award the title of most loyal to the

instruction directly received from the founder HironoriOhtsuka and therefore their teachings are supposed to bethe purest regarding those of Hironori. Many importantmasters say "This is the way I learned from Ohtsuka". Butin fact, all depends on when these leader masters trainedwith the founder, because he didn't cease to vary anddevelop certain aspects of his Wado Ryu until his lastmoments of life, so, depending on what moment theytrained with him they would obtain one or other type ofspecific technical details.As for the current Wado Kai, I have observed, for

example, that they are modifying positions and theirnames, seeking perhaps an "underhanded" approach to

“Efficacy is no doubt very important in

Martial Arts. However,

if it was the only significantthing and the main goal for

their practice, I would honestly recommend

other type of disciplines.”

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other styles, so that their Wadobecomes more competit ive intournaments (basic objective of theJapanese Federation or the SpanishFederation...).The line of Suzuki sensei shows

other important differences. Perhapsthe remoteness of the master,established in England since the 60'sbut with the matrix of Japan,influenced such differences at theappropriate moment. Therefore, inprinciple, and regardless of major orminor sympathies, the Wado Ryu ofthe son of Founder should beconsidered the purest, for being ableto endure and absorb the changesthat the Founder kept doing until thelast moment.But then, I've also noticed that in

these 25 years from the Founder'sdeath, his son Jiro (and after him hisgrandson Kazutaka) have alsochanged several things. Well, maybe it

is normal and you have to accept it! However, my concern is determined

by these movements andcharacteristics that have nothing todo with any of these three groups ofWado Ryu and that in some cases,they even clearly go against certainfeatures of Wado, in any of its threetechnical lines. That really worries me!But what worries me even more and

I find at least curious, is the attitudeadopted by the Ohtsuka family facingthe technical and philosophicaldevelopment of their Wado Ryu. Ihave my theory about the reasons but... I feel it inappropriate to discusshere and now. Be that as it may, the DVD video we

now present contains a selection oftechniques used in all three mainlines. It's not a video on a particulartendency, or intended to be moreCatholic than the pope, but preciselywhat it was said at the beginning: a

New DVD video!

“This work finallyincludes a ten of I Dori techniques

and another ten ofTanto Dori,

as well as SeishanKata and

Chinto Kata, the most

characteristicforms of the

style.”

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Technical

Karate

choice of the morecharacteristic combinations inpairs of the Wado Ryu style.Moreover, Karate in general is

enduring a difficult time, not only inits technique, but especially in itsspirit, in my view too far away fromthe path it should follow (somethingthat can only be found in in a handfulof humble dojos and masters generallyaway from the madding crowd, so theirinfluence on other karate followers islimited).I must confess that the truth is that I

personally am quite tired anddisappointed. "The Sailor Who Fell fromGrace of the Sea", is not only the title ofone of the most popular books of the knownJapanese writer Yukio Mishima, who in the70s staged a notorious seppuku (ritualsuicide), on the understanding that Japanvalues were being lost. The phrase,regardless of the content of Mishima's book,also expresses the feeling that for sometime I am overcome, by the attitude ofmany karate supporters ( includingteachers).We're all fed up of knowing and

repeating great sentences about thespirit and philosophy of Karate, but ...acting accordingly is a completelydifferent issue. But of course, we're allself-convinced of our attitude and wecling to what interests us instead ofrecognizing that often we act againstsome of the most fundamental values??of Karate Do.I think that at this point of the way we

all know very well what is expected of akarateka, we all know about philosophyand history, about dojokun and blah,blah, blah... but then, our behavior inthe everyday reality, from my

point of view, leaves much to be desired. I am filledwith sadness and disappointment, feeling like thatsailor who fell from grace of the sea...Moreover, this DVD video appears in a moment also

crucial for me, harassed for years by the aftermath ofa back and spine that juggle to keep a decent level ofphysical execution. In mind for many years, this DVDhad therefore to be done fast, also against possibleeventualities. It was now or never!This work finally includes a ten of I Dori techniques

and another ten of Tanto Dori, as well as SeishanKata and Chinto Kata, the most characteristic formsof the style, and Wanshu, one of the most universalKarate Kata. In any case, we've tried to keep therhythm and cadence of a Karate focused on anatural technique execution, as befits Wado Ryu,without seeking spectacular performances orpersonal exhibitions, a Karate that, as historicallyhas been claimed, tries to be "Zen in motion."Efficacy is no doubt very important in Martial Arts.

However, if it was the only significant thing and themain goal for their practice, I would honestly

recommend other type of disciplines. As for us Karatepractitioners, we do what we do and we do it the way we doit, looking far beyond, and the one who is only seeking thebiggest effectiveness in combat, might not find his way here.I will say even more: This is not his way, for sure.Therefore, Karate should be understood at a higher level,

as a combat technique, but also as a moving meditation.Same thing with Budo in general...

It's not just a fighting system. In Kyudo, for example,great masters have always maintained that hitting or not

hitting the target was is of little importance, because itis not about that, but rather about the process,gesture, breathing, concentration... and theeffects that all this produces in the one whothrows the arrow, without worrying about where itgoes or who receives it.Techniques like ryote dori, gozen dori, zu dori,

así dori, te dori shotei zuki, hiki otoshi dori, hijitekansetsu gyaku torinage, take shape on thescreen, showing the technical essence that hashistorically characterized the one which is thefirst Karate school eminently Japanese (the restof the oldest and most developed, actually comefrom Okinawa). Regarding the defenses againstknife, udegarami dori, kotenage dori, hikitatedori, and many more, they provide a clearexample of a type of Karate with a relevantinfluence of Ju Jitsu.

“Therefore, Karate should be understood

at a higher level, as a combat technique,

but also as a movingmeditation.

Same thing with Budo in general.”

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http://www.martialartssupermarket.com/

The KMRED GROUP and ITS PARTNERS

The Kravmaga RED group, as we said in our previousarticles, is meant to develop without constraints arealistic and modern self-defense, built on the basisof a discipline like Kravmaga, but also focusing onfighting disciplines as Thai boxing, English orFrench boxing, completed with the experience ofi ts teachers in the management of confl ictsituations.

But most important is that the group doesn't livein autarky or remains alone in its corner insistingstubbornly on believing just in its achievements.

Our greatest strength lays in continuing to "seek"what could be "better" without hesitating to surroundourselves with people from different styles anddisciplines.

Indeed many other people have had that sameapproach of "researching" and "opening", and it'simportant being able to share and work together todevelop "tools" that will enable our students toprotect their physical integrity or that of their relatives.

For this, the KMRED Group has been establishingfor a long time now, numerous training courses andexchanges with external groups with not only a longexperience in combat sports, but also in actual physicalconflict.

Among the prominent personalit ies this year, inNovember, one of the precursors of the Filipino martial arts

in France in 1985, Didier Trinocque, will speakfor the 3rd time with the students of theKMRED clubs in the Southwest region. Hisspecialty, KALI Eskrima, allows us to clearlyunderstand, if necessary, the dangersposed by knives and sticks in a realencounter, and how to use them to youradvantage. During his visit, a new long termsociety will be also launched of which he willreceive the title of "honorary member" of theKMRED group.The month of November will also see the

arrival in the south west region of VincentRoca, one of the first specialists in self-defensewho has undertaken the task of working with a"free" approach in the development of a

method of self-defense adapted to the great majority, called QUICK DEFENSE. A regular speaker for special interventiongroups in France and abroad, he is fully integrated in this process of opening of spirit with experienced people thatdefend KMRED group, and the initiator of all these projects, ChristianWilmouth.It is worth remembering that all the research we

ourselves or the different specialists above mentioneddo, is intended to enrich a "technical content" thatwill go to our pupils and not to favor anyone's ego. "I think it's important to pay attention to what is

taught in self-defense, because those to whomwe transmit our knowledge are likely to usewhat they learn in a real situation, and realityleaves no room for fantasy."In the framework of our approach to

developing our skills, there is an area in which wewill never stop learning: COMBAT!!!!! In this

regard, we have a great specialist inBoxing English, one of our keycollaborators, which has to his credit along history of champions who havebeen trained by him. Giovanni Rocchiis a COACH, in capital letters, that hasaccompanied many national andinternational champions and hasmanaged to integrate English boxingas the basis and indispensablesupplement of the combat capability tothe practitioners of the KMRED group.

His regular interventions bringa new dimension to the combatgame that is very presentamong us. The KravMaga RED group,

currently in full development,will continue throughout 2015building itself by constantlyquestioning through construc-tive dialogue with all those whowork in favor of practitioners,away from any “war of egos".

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Shifu Shi Miaozhi , is one of the best teacherswho have emerged from the best generation ofteachers of Shaolin , and he is a highlyrespected student of Master Shi de Yang.In this DVD he is going to introduce oneof the most characteristic forms of theShaolin style, Xiao Hong Quan . Theorigin of this Tao Lu is halfwaybetween a historical reality and alegend. It is centuries-old buttoday it is still consideredessential in the teaching of thismartial art , because it containsthe essence of Shaolin Gong Fuand is a good tool for learning themethod of the Great Palm, ZhangFa Palm Techniques. One of it�smain features is that it is famousfor its effectiveness in real combat .Shaolin Xiao Hong Quan could bedefined as a Tao Lu whosedevelopment is accurate and withrhythm, the technique is powerful and

strong, and when executed properly youcould say it is like the wind . This is Tao Lu

basic steps and movements from other types ofGong Fu . It can be said that it has a full set of

combinations of techniques based on the movement ofthe hands, legs, eyes, step and footwork, and the wholesystem of theory and practice on the offensive and defensiveprojections. The DVD includes warm ups , a training routine atdifferent speeds and angles , and step by step techniques forself-defense applications . A routine that anyone interested inlearning this martial art should know in depth.

All DVDs, wichi is produced by Budo International,si provided and alone in the formats DVD-5 orMPEG-2, in VCD, DivX or the like is however nevesoffered with a special holograma sticker. Besidesour DVD is characteristed coverings by the higquality in pressure and material. If this DVD and/orthe DVD covering do not corespond to therequirements specified above, it concerns illegalpirat copy.

Budo international. netORDERS:

If we are to talk about a martial andpowerful performance of Tai-Chi, Imust say that I've never met anyonethat matches Master Chen; andwhen I say "powerful", let it beunderstood, I nevertheless keepsaying "soft". The essence of Tai Chi

is the mystery and paradox of how thesoft overcomes the hard; a beautifulconcept that curiously we all can envisionin our minds, although theory is one thing

and practice is another. The classic metaphor of bamboo,

water... all this is very familiar to usthrough the magnificent spread thatEastern philosophy has had in the Westin recent years. But ... "easier saidthan done", reads the old proverb,and when it comes to move toaction, most of times, Tai-Chi islittle more than a pleasant andaesthetic "performance"; ofcourse, seductive and certainlyhealthy! But as for what youmight call a Martial Art... mypal, I had to make an act offaith, until I met Master Chen!Yes. Softness is there, but so is

the needed firmness to project thestrength. - "Tai-Chi is like bamboo; when you

push, it yields, but when you releasethe tension, bamboo hits you back likea thunderbolt", Master told me at ourfirst meeting. His dearly student, Diego Cáceres,had warned me that Chen was"different." Well, you're sick of hearingthings of the like in the Martial Artsworld... but in this case it was true!Therefore, and after the success of

his first video on the "YI LU", the leading form of the Chen style, I asked the Masterto write a book: the definitive book for students of Tai-Chi. In it, of course, the formappears described step by step; but in order to be coherent with the martial part,we have also asked him to share with you what in Karate is known as "bunkai", i.e.,the applications that tradition proposes as the most effective uses of the techniquesand movements that you carry out while executing the form. It ceases to be a dance!Arms are broken, opponents are projected, weak spots are hit, and everything fromthe application of the keys to Tai-Chi: The soft beats the hard.The result is stunning. A book with more than 1000 color photographs, a trulycomplete guide to the study of Chen style that supplements the video work alreadyavailable to Budo International readers. A work of which we all feel proud in ournewsroom.

Alfredo Tucci

Kung Fu

Tai Chi Chuan The Chen Style

The Chen style is the oldest known and is consideredthe origin of Tai Chi Chuan. You can say that it was theresult of compiling various Martial Arts. Its work sets out aseries of striking techniques with fists, elbows, shoulders,legs and knees, as well as throws, locks,

immobilizations, jumps, etc. There is a popular sayingabout it which reads: "the whole body is

hands," that is, many parts of thebody can hit.

Its origins date back to thelate fourteenth century, in the

vil lage of Chenjiagou inChina. It was in that periodwhen Chen-Bu, who isregarded as the source ofthe Chen family, settled inthe village, but the stylebegan to be knownfrom family’s 9thgeneration with ChenWang Ting (1600-1680). Chen Fake(17th Generation)traveled fromChenjiagou to Beijingaround the 30's,where the Chen stylebecame ??famousbecause of its hightechnical level.

Initially there were 7forms that later werecut down to 2, called

Yi-Lu and Er Lu (PaoChui or Cannon form).

Both are characterized bycombining slow, gentle

movements with fast andexplosive ones, always within thecontinuation itself of Tai Chi Chuan.In the Er-Lu form, there is a greateruse of Fa-jing in a great part of itsmoves. The positions are low anddeeply rooted, which favorsdownloading the Fa-jing power.

The "Chanse-Ching" is themost characteristic feature ofthe Chen style. It arises fromthe principle called "windingthe silk cocoon" and is basedon the work of the spiral force:Chi (energy) unfolds in a spiralfrom the feet, ascendingthrough the whole body toreach hands. This spiralmovement is used fordefense or attack.

Great Masters

The original force of Tai-Chi Chen Chen Tai Chi is a style that explores the fusion of opposite and complementary

energies, a mixture that should be controlled. The Tai Chi practitioner must achieve thesame naturalness and power of movements of a newborn. It could liken to the birth of ababy; at the moment of cutting the umbilical cord is when the lack of oxygen occursarising that primary need for the baby which is breathing on his own. At this precisepoint in time an energy seizure starts, running up his body and that is precisely whatcauses the act of breathing. This powerful and uncontrollable shaking is what we try torecreate with Tai-Chi Chen: an energy flow so strong as to cause the body to convulsealmost electrically, in order to perform, on one hand the blow, and on the other, a healingand energizing body discharge.

In Tai-Chi Chen, when performing the form movements, it is applied the aboveconcept as groundwork, with a constant collection move or internalization of energy toimmediately expand and, where appropriate, "explode" in the Fa-jing. That same

energetic sensation can be also seen in the movement of thebody, which withdraws into itself to then open

outwards. At the same time, wave motions areperformed; it’s something like the waving of asnake.

Elementary energies and energetic circulation

Man responds to the forces of Heaven and Earth anddepends on the energy exchange with the environment.

The energies of Heaven and Earth occupy everything; afterdispersing they reunite again, always returning to their

initial state. Everything comes from the Tao, the unique and

undifferentiated principle. Qi is theelemental force, the first manifestation

of the origin. Qi polarizes throughtwo forces: Yin and Yang.

Any state of energy imbalancecreates discomfort for tworeasons: deficiency or excess.In fullness we call it XU (orYang), in default or emptiness,ZXU (or Yin). Man is a being resulting from

these two energies. Heharmoniously emits

vibrations with his movements; this constant andcontinuous mutation requires a power supply thatmaintains it. One way to generate that energy,speaking in martial terms, is performed by meansof breathing, and another through physicalmovement itself. Yang energy expands, Yinenergy contracts; this is the game we mustkeep in our practice.

The human body has two pulses: Du andZhen; men and women work with oppositepulses, women's weaker pulse is on theoutside and the stronger pulse is inside:men are the opposite. Zhen pulse leadsthe blood force and Du pulse the airimpulse.

Kung Fu

In practice we need to center themain channels of circulation of bodyenergy. The energy circulationemerges from the Tan Tien (fourfingers below the navel), bisecting thebody; on the one hand, it ascendsthrough the chest toward the headand descends down the back to thepoint Huiyin; and on the other hand, itcomes out from the Tan Tien makinga circle and going around the waist.

When it comes to practice, wemust focus our concentration and

breathing in the Tan Tien andvisualize this energy flowing throughthese two channels, while maintaininga slow and quiet breathing like thewarble of a bird.

Technical features The practice of Tai-Chi Chen

teaches us a technique based mainlyon the "explosion" movement of thebody. This movement causes it tospin like a tornado, pushed by aseizure from head to toes that, in thelast moment, manifests like a whipattack against the enemy.

The art of attacking is analogous tothe way an eagle catches a rabbit inits claws. You have to maintaincontrol through physical contact, butwithout getting to grab it. Tai-ChiChen attacks press on concretesurfaces, not just anywhere, andusually correspond to tendons andnerves, veins and arteries, pressingon axis points that make bonesmove, dislocating them and dividingmuscles and tendons.

The weapons we use are the palmand back of the hand, fist, shoulder,forearm, elbow, etc. The thumb andlittle finger can rotate like the hands

of the clock; clockwise, in favor,Zhen, or counterclockwise,against, Fan. The palm also canuse touch movements for and

Great Masters

Kung Fu

Great Masters

against the movement; when a hand is up, the other isdown and vice versa.

The movements of the feet have eight techniques inwhich you can use the instep, heel, the middle part of thefoot arch on the inside, on the outside, and their variants at45º, besides the advised sweeps and tornado turns.

In terms of positions, the most important is the so-called Mapu (horseback riding), since it allows you toalter your weight distribution and swing your body toone side or another depending on the attack.

We also handle the Xiebu positions, sitting on theheels: Xibu rotating, Dulibu on one leg and raisingthe trunk; and also Pubu positions, very low, tostrengthen tendons.

The style requires a lot of flexibility, so it isadvisable to start practicing while being stillyoung, when muscles and tendons are not yethardened, in order to prevent they lose theirextension capability so that we can keep itthroughout life. Otherwise, we will see that ourpositions are harder, less aesthetic and we'll findextremely difficult to maintain those that give usthe needed power when doing the exercises.

We must always bear in mind that Mapu is themost important position, in which head alwaysremains straight and alert, eyes looking straightahead, but not with the stare fix at any point.Ears must also remain alert, with the napeconcentrated but not tense; the back straight,your chest upright, belly inwards withoutarching your back or pull out the buttocks.

Thus, we can make any kind of turn with ourbody, allowing us to spin in the attack and defense

Kung Fu

Kung Fu

by facilitating the spine to rotatefreely 45 ° left or right.

The buttocks must remain as ifwe were sitting on the water, in afirm position, yet flexible enough tonot be stiff when moving; so that ifthe opponent attacks us from theleft we can change the bodyweight to the right and vice versa,thus avoiding attacks on the thighsor knees by being able to movethem and get them away from theangle of attack. A stiff buttockwould f ix us to the ground,preventing us from moving withsuppleness. We must respect ourtarget and always keep it duringthe attack.

We'll use circular moves. As wehave said, when a hand goes up

the other goes down; when thebody goes upward, the next movewill be downward. When a palm isfacing up the other will be keptfacing down to change the position,and the one that was on one sidewill now be on the other side, andso on; we play the game ofopposite movements all the time.

Learning takes place like whenwe were infants, performing thosecircular motions we kept doing withour arms and legs, and that wehave been losing during the growthprocess. When we were babies, allour movements were circular, as amethod of defense against theunknown. In Tai-Chi Chen we haveto recover the circular movementsystem.

The movements mostcharacteristic of our Style are asfollows:

• Baihe liangehi. The famouscrane spreads his wings.

• Louis aobu. Knee sweeps witha step forward.

• Daojuan gong. Withdrawalturning forearms.

• Zoulan quewei. Grasping thesparrow left tail.

• Youlan quewei. Grasping thesparrow right tail.

• Ti dengjiao. Heel Kicks. • Chuansuo. Swinging back and

forth • Zhuanshen banlanhui. Turning

the body, deflecting, dodging,hitting.

BIOGRAPHY OF MASTER CHEN

Master Chen was born in the municipality ofRuian, Zhejiang Province, at the village of Chen-Aoof the small town of Chang-Qiao.

Since his youth he studied Kung-Fu with theShaolin Master Youlongji, known as the "Iron

Monk". While he was learning with him, he heardabout Hongyunshen Master, who was teaching theTai Chi Chuan Chen Style in the City of Shandongand without hesitation, he moved there.

The year was 1983 when he finally began hisapprenticeship with Hongyunshen in a small schoolthat he attended every morning. During this periodhe met Master Liochende, who imparted classesevery evening in the park, to which he also beganto attend. In 1996, Master Chen returned to Ruian,where he began to teach. Students came fromfaraway places to learn with him. In 2000, a seriesof unfortunate events pushed him to leave thecountry.

After many trips and adventures, Master Chenarrived in Spain in 2001, invited by, Mr. Fan Xin Min,a businessman of Chinese origin, a famous actorand Martial Arts teacher in Madrid, who has alsomade ??a video with Budo International. In theSpanish capital, he met Diego Cáceres, with whomhe got along right away. Professor Cáceres soonperceived the outstanding skills and knowledge ofMaster Chen, and adopted him as his teacher.Soon after, Master Chen decided to stay in Spain,where he currently imparts his teachings.

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Major Avi Nardia is one of the leading head officialinstructors for the Israelite army and police in anti

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IPSC. Instinctive Shooting inCombat. Combat Instinctive

Point Shooting - IPSC is ashooting method basedon instinctive reactionsand kinematics to shootshort distances fast andin dynamic situations. Aself defense disciplinein order to survive in lifet h r e a t e n i n gsituatuations , where

you need a very fast andaccurate shooting

abilities, when you musttake the gun out as soon as

possible and shoot at a shortdistance without using the sight.

In this first volume you will studyhow to handle the weapon ( revolver

and semi -automatic ) dry firing practice andsecurity, "Point Shooting" or instinctive shooting , at aclose range and a series of movements and exercisesfor weapon retention , low stress and multiple attackers ;exercises on how to recharge with one hand, ... andfinally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16grenade launchers .

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All DVDs, wichi is produced by BudoInternational, si provided and alone in theformats DVD-5 or MPEG-2, in VCD, DivXor the like is however neves offered with aspecial holograma sticker. Besides ourDVD is characteristed coverings by the higquality in pressure and material. If thisDVD and/or the DVD covering do notcorespond to the requirements specifiedabove, it concerns illegal pirat copy.

Budo international. netORDERS:

Kung Fu

“I believe thatpeople really don't

change, our basic

personality is set instone from a very

early age.”

Making it to the Big Apple has always been one of my biggestdreams. With great fondness I recall being eight years old andclimbing up the tallest apple tree in my parent's yard. From thevery top of that tree I could, on the clearest of days, faintly seeNew York City's iconic skyline. It was in those moments that Idreamt of making it to the Big Apple. But not even in my wildestdreams did I think that my obsession with Chinese kung fu andBruce Lee would be my ticket there.

Masters & Styles

Kung Fu

“To survive in such acompetitive place,

one must be principle-centered and

have a workingoperating system to

handle life's obstacles”

ince 2002 I've beenrunning City Wing Tsunhere in New York City.Before opening myschool I had traveled theworld to train with the

best instructors and fighters in the wingtsun (WT) system. I was a full-timestudent at the EWTO's LangenzellTrainer Academy in Germany. As suchI am the only American to have trainedfull-time and graduated as an instructorfrom there. My original plan was toopen a school in Miami, but fate wouldhave it otherwise. In September 2001in Berlin, grandmaster Leung Tingoffered me to become the new headinstructor for New York City. Sinceopening my school I've trainedexclusively in Hong Kong wing tsununder all of the top Chinese masters.In 2011 I formed my own independentassociation, the City Wing Tsun AthleticAssociation which aims to developwing tsun exclusively in North America.

Teaching in New York City has trulybeen a dream come true for me. Thereis no other place on earth where somany different cultures and ethnicitiescollide in such a creative way. Thefaces in a class at my school looks likean assembly at the United Nations orBenetton ad. The art of wing tsun is nolonger an obscure or secret systemtaught only to a handful of students inChina. It is now something for theentire world. There is perhaps no

better place to see that than here inNYC.

Whether it is a CEO, lawyer, actor,musician, or anything else under thesun, so many different people come toCity Wing Tsun to achieve theirpersonal goals. For some people theywant a place to safely rel ieve thestresses of this city. For others, it's agreat workout without the indignity orboredom of the gym. Of course, manycome because they want to learn self-defense, but most have more vital life-improvement goals or benefits in mind.The beauty of martial arts is that it canbring so many people togetherharmoniously, despite the fact thateveryone has their own goal. Theschool becomes the escape from theincredible energy of the city for mystudents and myself as well.

To survive in such a competitiveplace, one must be principle-centeredand have a working operating systemto handle life's obstacles. This is oftenmore valuable than the fighting aspectof martial arts. The deeper lessons thatwing tsun has taught me has allowedme to survive ups and downsthroughout my teaching career. I striveto impart these same lessons to mystudents so that the philosophy of wingtsun becomes a daily practice, not justsomething for the potential street-fighting scenario. Just as the wing tsunuses principles to deal with an attack,so can these principles be used to

subdue life's obstacles. New York City is a melting pot for so

many creative minds and talents. Inthis way the amazing people I comeinto contact with on a regular basisconstantly inspire me. Living andteaching in New York has given me thefantastic opportunity to meet manypeople that I have looked up to for along time. One of those people wasSifu Vincent Lyn, whom I knew from hisfight scene with Jackie Chan inOperation Condor. I feel blessed to callhim a friend and I always look forwardto our long conversations which areusually over good food in Chinatown.When you find a friend with that mix oftalent, drive, and authenticity as ahuman, one must value that as the raregem it is.

w w w . c i t y w i n g t s u n . c o m<http://www.citywingtsun.com>

You know the joke? How do you getto Carnegie Hall? I guess one couldalso ask how do you make it in one ofthe most expensive and competitivecities in the world NYC? Beyondpractice, who you know, being in theright place at the right time, talent andof course a little luck always help.

Sifu Vincent Lyn was born in Yemento a British Mother and Chinese Father.His two parallel l ife long passionsmusic and martial arts were bothlearned from his parents. Piano studieswith his Mom and Kung Fu from hisDad. To many these two arts would

Masters & Styles

S

seem like a contradiction, seemingly at bothends of the spectrum, but he has beenextremely fortunate to have had a highlysuccessful career on many fronts. Hisaccomplishments as a martial artist may beeven more glamorous than those in the media.An Action movie star, Grammy Nominatedrecording artist, a top model signed with theElite Agency, Kick-boxing champion,celebrated writer, but what makes himcomplete is practicing his family's Ling Garstyle of Kung Fu. A 10th Degree Black Sashand scholar of Chinese medicine and heir ofhis family style, Ling Gar. Lyn was inducted intothe World Martial Arts Hall of Fame andreceived a Lifetime Achievement Award fromthe Action Martial Arts Magazine Hall of Fame."Jackie Chan called Vincent Lyn one of thebest fighters he has ever worked with!" Also inChan's autobiographical bestseller "I amJackie Chan" one of his Top Ten Best Fights ofall time.

In connection with the release of his 2011Grammy Nominated album "Heaven Bound"Vincent gave his debut performance atCarnegie Hall to a sold out crowd. He receivedtwo nominations one for Best InstrumentalJazz Album and one for Best ImprovisationJazz solo for Oscar Peterson's "NigerianMarketplace." The Top Ten Jazz Album of theyear for Unsigned Artist's and Top 40 JazzAlbum of the Year. Now his much anticipatedthird album release "Vincent Live in New YorkCity" a live recording of his 2012 secondconcert at Carnegie Hall. It already has been inthe Top 40 CMJ Jazz Charts for the last 8weeks peaking at #12 and to amazing reviews.Everything looks like its on its way and verywell might become a stellar success at the57th Grammy Awards.

The big question is how on earth does SifuLyn find the time to do all of these things thatrequire so much time, discipline, tenacity not totalk about patience to attain a degree ofexcellence at any Art? Obviously he seems tohave taken it in strides. With all of theseaccolades you might be surprised to know thatin his city of choice NYC for the past 12 yearshe has owned and operated a company calledPro-Force Security Corps. It's main focus isprivate security, executive protection for VIP's.Also Sifu Lyn has recently become a P.I yesPrivate Investigator - For those of you who areunsure of what a P.I does. A privateinvestigator , a private detective or inquiry

Kung Fu

Kung Fu

agent, is a person who can be hired by individuals orgroups to undertake investigatory law services.Private detectives/investigators often work forattorney:<https://www.facebook.com/pages/w/11269643

8745118>

s in civil case <https://www.facebook.com/pages/w/108510899179928> s.

So how on earth does a martial arts teacher and professional musician run aSecurity company and become a Licensed P.I?

After the worst terrorist attack on American soil 9-11 took place Sifu Lyn wasapproached by a former martial arts student who now lived in NYC had he ever thoughtabout starting up a company to focus on security to NYC's elite families. The paranoiathat swept throughout the country especially NYC was unprecedented and certainlywith good reason. So it seemed like an opportune time to take advantage of what hethought was a great idea. Of course starting anything new always comes with a senseof trepidation but that's what makes it all the more exciting. Change is a good thing. Butmany people thought the idea was crazy, selling his home in CT, and his successfulmartial arts school. It seemed like an insane proposition. But with big risk comes biggain and so Sifu Lyn took that leap of faith. A year after 9-11 he moved into an

Masters & Styles

Kung Fu

apartment in downtown Manhattan in exclusiveTriBeCa. A stones throw from what was the formerWorld Trade Center now smoldering a year later.Fast forward a decade and we have been veryfortunate not to have been attacked again thoughterrorists surely have continued trying. But we willnever be out of the woods, terrorists whetherhome grown or Al Qaeda or now ISIS will alwaysbe one step away from trying to do us harm. Wemust always remember they only need to get itright once, we on the other hand have to get itright every single time. They are extremely patientand while we become complacent and let ourguard down they will come knocking. So for theclients that can afford the luxury it makes themsleep better at night. Having become a licensedprivate investigator was an offshoot and surely anadded plus to an ever increasing demand forsecurity. It was just finding the time to study for itand take the exams. But if you truly wantsomething there is never any excuses!

If one can see from Sifu Lyn's amazingrewarding and ever changing life in his own words."I believe that people really don't change, ourbasic personality is set in stone from a very earlyage. Child psychologists say as early as 5 yearsold. That seems awfully young but if there's anytruth to that then we really don't change at all!With that said what we can do is evolve. We mustcontinually evolve ourselves. I hope I'm a goodexample of that and continue to evolve myself allthe time. The same goes for my dear friend andChinese martial arts brother Sifu Alex Richter. Wehave both followed a different road but here weare in NYC pursuing our dream. What an awfulshame is that so many people never evolve. Theyremain stuck and their life goes by in the blink ofan eye. But Double Dragons Live On!www.vincentlyn.com<http://www.vincentlyn.com>

Masters & Styles

“We must continually evolveourselves. I hope I'm a good

example of that and continueto evolve myself all the time”

Taekownodo and meThe Art of Self Defense,Health & Fitness

We all know the history ofTaekwondo, the art of kick and punchto the most vulnerable points of thebody originated in Korea many yearsago. It is also known as the art ofunarmed fighting with empty hands forthe purpose of self defense usingattacks in different directions forstriking techniques. This practice forefficient actions to reach the ultimategoal of survival as Taekwondo wasused by the Korean army over 3000years ago to the fight the enemy atwars. By incorporating linearmovements flowing circular patternsinvolving kicking and punching asmeans and forms of self defense. Intoday's mixed martial arts manyfighters practice Taekwondo, known asthe Korean martial arts. It is the mostpopular discipline in the world, and it isthe basic art of successful careers incombat sports. Taekwondo'semphasis of powerful kickingtechniques and fast hand strikes makeit an ideal weapon for striking base forMMA fighters. It is based on thetheory that the length of the leg overthe hand and leg techniques with eyecoordination to execute comes fromthe power generated with the propertraining. That also helps legstrengthening, balance, flexibility andfluidity to benefit the transition ofmovement to strike the weakest pointsof the human body. UFC survivalfighters use their taekwondo skillsgreatly in the cage in order to forsuccess and further their career withmany wins under their belts.

Growing up as a young man I wasalways obsessed with sports in general,especially martial arts. I started runningevery day around the school premisesevery time we had a break period andduring sports activities. Sometimes Iwould run for few hours after schooluntil my mother would come to pick meup. Then I joined the school'sgymnastic team with great appreciation.During the course of exercising andparticipating in all aspect of the gymtraining I discovered that to be good myinstructor advised me that I must takechances. He realized that I had special

abilities so he encouraged me to takeadvantage of learning the best waypossible. Not long after I become verygood, capable to perform some of themost difficult jumps, flips, hand bars,etc. This approach of not being scaredbuilt up my confidence to do better atanything I had set my mind to. Knowingmy drive and endless possibilities mymother enrolled me into music schoolconservatory in Israel to play thetrombone and trumpet. At first it washard doing so many hobbies but Itrained my mind to deal with it. After afew years I became the solo and leaderof the Acco Symphony Orchestra inIsrael. My conductors Shmuel Kahanaand Zubin Meheta took me into theirhands and taught me everything theycould in music. Shmuel was multi-talented, skilled in playing severalinstruments. With this type ofexperience I played for presidents andtop generals in Israel. It was a greatchallenge in my life as I decided toexcel in school studying day and nightin order to succeed and escape thepoor life and miseries that I witnessedfor years. My vision and endlessdreams took my mind to the point that,when the teacher presented questionswhether on the blackboard or verbally Iimmediately had the correct answer. Asthe school principal becameknowledgeable throughrecommendations of my teachers hedecided to give me an IQ test which Ieasily passed. After succeeding severalgovernment tests he decided to jumpme two years of school from 6th gradeto 8th. At this point of my life I knewthere was no stopping to what I wantedand could do in high school. I took artlessons and upon discovering myartistic ability my teacher extendedhimself to teach me all the secrets of oiland water painting. The quality andhigh details of my artwork landed me ina job at Acco City Hall where I paintingposters, logos, festival signs, etc. until Ieventually got a job at the Golan GlobusMovie Production Company in Tel Aviv,Israel. There I painted posters andpromotional materials of movies thatwere released in theatres. With thisbrief biography of my teenage life storyyou will realize the endlessachievements, drive and experience ofmy martial arts life story.

It started when the Movie CompanyGolan Globus Production broughtBruce Lee's f irst movies “BigBoss,”and “Fist of Fury” to Israel.After viewing the movie at thecompany conference Mr. MenahemGolan asked all the directors toconsider and present their ideas onhow to promote Bruce Lee or anyother karate movies. Because of myadmiration of Bruce Lee I reached outto world karate champion in Israel,Gideon Kadari, who was worldchampion in Shodakan and an ArmySpecialist. When I divulged my idea oflive karate demonstration before eachshowing of “Fist or Fury” movie intheatres, instantly he gravitated to itand it became a great success,spectators were so excited, packingthe theatres everywhere. My idea wasvery simple, special and realisticinsomuch people were able to see andbe motivated to appreciate the martialarts and the strength, artistry, physics,speed and agility. Most important, itgave the human mind the freedom toexplore body movement just l ikedancers do. By now I developed greatrespect and friendship with GMKadari. He took me under his wingsand taught me all the secret moves ofShotokan martial arts in 1970. Imigrated to the United States thatsame year to study Architecture atColumbia University, New York City,and immediately enrolled to studyKung Fu at NY Kung Fu Academy inTime Square. After a fewcompetitions I wanted to learn how touse more leg, hand and my bodymovements, speed, techniques andreflex that were more effective infighting. One Saturday morning mybrother recommended that I paid avisit to GM Richard Chun Martial ArtCenter on 76st and First Avenue, NewYork City. When I arrived at theTaekwondo Center GM Chun was kindto introduce himself and offered methe opportunity to try taekwondoclass. I accepted the offer only torealize that the class master, JoeHayes, was a great worldchampion. At the end of the classMr. Hayes invited me to spar withhim and as we sparred heobserved that my reflex and blockswere fast with good timing. He

GM Maurice Elmalem7 Time World Champion,Author, Producer, Artist, Architectural Designer.

www.mauricepromartial arts.com

commended me and said “You arevery good, fast and fearless!” GMChun invited me to sign up for classesbut because I was a student withoutgood income I declined. After Mr.Hayes and GM Chun conversed brieflyI was able to take classes at anaffordable rate with the condition thatin the future I will agree to teach forfree and represent Chun TaekwondoCenter in Taekwondo championships.With the GM's generosity I eventuallystarted to embrace TKD and my questto learn the depth of martial arts. Iresearched on it and found out thatpracticing wil l feel somewhatcomplicated using different elementsof the body that we are notaccustomed to such as side kicks,turning kicks, moving in differentdirections while in motion, observingevery move with good execution.After a few classes my perspectivechanged, and I got very involved,practicing in groups where everyonewas instructed to follow the masterinstructor so no one is left out. Thisroutine of practice has been veryinstrumental to me ever since. After40 years of practice under GM Chun Ihave great deal of respect one ofworld's most honorable for him as oneof the most honorable TaekwondoGM, author, historian, philosopher, aman of integrity. Dr. Chun is a perfectexample of a world successful TKDGM. Thank you for being my mentorguiding me all the way to the top withgreat advice and wisdom of a lifetime.

Taekwondo meditation enables themind to connect with the bod. Itshistory keeps us motivated. Therespect between the GM, instructorsand one student to another isoutstanding with this in mind everyonebenefits. Throughout my 48 yearsstudying martial arts, Kung Fu, KravMaga, Combat Hapkido, Taekwondo isthe art that got me where I am todayand will enable me to leave imprints ofmy legacy on this universe. Living in afearless world I had to kill the fear in meand use the energy to process all mydreams. I have learned that withouttrying using your mind even when riskis involved you will never accomplishmuch in the real world, especially withall the changes that are taking place inthe world of martial arts and everything

else. The late GGM Aaron Banks was avery honorable man, his influence,wisdom and inspiration played a bigpart in my life. He opened the doors ofsuccess for me as well as many moremartial artists. He recognized andadmired my talents moreover workedwith me for many years as my personaltalent manager. He was mindful toacknowledge me in front of audienceson numerous occasions and dubbedme as the Architect and Houdini ofMartial Arts. He always emphasizedthat “Life is beautiful and full of fear.” In2001 he made me the star of OrientalWorld of Self Defense at MadisonSquare Gardens that brought uponhighlights of my martial arts careerwhen movie star Chuck Norris placedmy 7th world champion belt and said“You are a great champion.” Witheveryday challenges we have no otherchoice but to fight and deal withvarious issues and aspects of life untilall problems are solved. With this inmind we become strong minded andthat is what Taekwondo have to offer.The chance to explore our mindthrough forms, self defense, breaking,fighting constantly throughout exerciseclass routine, leadership, and go for ourdreams. My philosophy has alwaysbeen “no guts, no glory” winning onlycomes by just trying “if you do notsucceed the first time, try and try againuntil the mission is accomplished.”

Taekwondo martial arts paved theway for me to become 7 Time WorldChampion, 8 Time Guinness WorldRecord Holder-awarded me withRenassaince Man Tit le. I am anauthor of three books, producer ofover 30 instructional martial artsDVDS, movie producer, BudoMagazine editor, artist, real estatedeveloper and most important mysuccess in architecture design andgeneral contracting, building artisticdream buildings, houses like pictureperfect. Without Taekwondo and thediscipline along with tradition of willpower I don't know if I could haveaccomplished all what I was set todo. 100% of my dreams, my belief is“To be great is to reach beyond theimpossible.” Always remember if yougive up on your dreams you die: keepon dreaming. With the motivationand the wisdom that comes to me

from grand masters around, the worldI am still a student of Taekwondomartial arts. I intend to accomplishmore and conquer the world ofmartial arts by giving back to thecommunity that witnessed myachievements throughout the years.Conducting free seminars, giveadvice, engage in charit ies,donations, judging in championshipsand UFC, taking pictures and signingautographs, corresponding withseveral martial arts magazines, andnewspapers, TV and radio stations,meeting and enjoying the company ofmovie stars, legends, histor ianstravel ing the world with grandmasters of the mart ial arts,taekwondo philosophy through me“you are not the best unless youexperience the good and the bad,therefore keep on trying.” To win youmust have superior att i tude andsuperior state of mind. To learn howto fight, first learn how to heal peopleand how to protect yourself at alltimes.” My achievements are beyondthe imagination but I always believein the impossible. Pray for the best,and if the worst happen deal with itwith integrity. Find the solution toresolve all our problem in peace.Keep on practicing Taekwondo.Laugh more. Be happy and healthy.Love music and most important takecare of your body, with a good mindand healthy spir i t take care ofyourself and your family. Keep thegood faith in God who is the “King of

the Universe.” Always believe in yourself. Iwas told several times I would be out ofmy mind to go after al l my dreams.Yesterday, today and tomorrow I will goout of my mind to follow my heart. I am aliving dream. My defying and electrifydemonstrations as the world championmartial arts daredevil that have beenwitnessed by millions of spectators andfans from around the world on live TVshows, commercials, movies, worldchampionships, Olympics and especiallyby the movie that Guinness World Recordsproduced about my biography andfeatured on TV programs in differentlanguages all over the world for severalyears. Life is beautiful, enjoy.

WING CHUN GUNWING CHUN GUNWING CHUN GUNWING CHUN GUNGGGG FUFUFUFU::::

The Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range CombatThe Explosive Art of Close Range Combat

Sifu Randy Williams’ extensive collection of books

on Wing Chun in 6 volumes, the series contains the

history of Wing Chun, the theory and description

of all Wing Chun forms in detail, Volume 6 is

focused on instructing the system and provides

additional information about Wing Chun Combat

Theory from A to Z! This great work, originally

written in 1988 and newly revised and updated is a

must for the library of any serious student of the

art.

You can order the entire series as a set of 6 books,

or by individual volume, and the new DVDs can

also be ordered individually or in sets directly from

us through our website:

www.shop.crca.de

One Volume € 49,90

SingleWeapon DVD € 39,90

Biu Jitsu DVD € 25,90

DVD Set (all 5) € 149,90

The shipping & handling costs are not included for more

information please contact us:

Copyright © 1989 CRCA Enterprises

Publisher CRCA-Lopez / Mario Lopez,

Atroper Str. 56, 47226 Duisburg, Germany

E-Mail: info@crca.de

Five brand new Wing Chun DVDs

1 DVD: “Bot” Jom Doh Basics

Complete “Bot” Jom Doh Form, 108 Motions,

Historical Information about the Wing Chun

Broadswords, Detailed Knife Blocking and

Striking Techniques, “Bot” Jom Doh

Footwork, Details of the footwork orientation

of the form, One-man “Bot” Jom Doh Drills

2 DVD set: “Bot” Jom Doh, Applications,

Drills, Concepts & Principles

Applications of the motions from the “Bot”

Jom Doh form, Knife vs. Knife, Knife vs.

Pole, Drills, Concepts and Principles,

Specially created Knife drills for the Wooden

Dummy, Detailed Knife Blocking and

Striking, Knife techniques as compared to

their empty-hand counterparts, Cutting

Principles

1 DVD: CRCA Wing Chun “Biu Jitsu”

Groundfighting

Contents: The concept of “Reverse

Engineering,” Chokes; Rear, Front Standing,

“Guillotine,” Head-and-Arm, Side-Mount

Shoulder Choke, and many other

Groundfighting drills and techniques.

2 DVD set: “Look Deem Boon” Gwun

Volume 1 ( 55 min. )

Content: Pole Details, Pole Drills, Pole

Footwork, Form Overview, “Look Deem

Boon” Gwun Form, 6 ½ Strikes of the Pole,

Applications: Pole vs. Pole

“Look Deem Boon” Gwun

Volume 2 (60 min.)

Heavybag Drills, Dummy Drills, Two Man

Drills, Form overview, Pole vs. Knife