Martial Arts Magazine Budo International 329 – February 1 Fortnight – 2017 by Budo International Martial Arts Magazine

In this first DVD of "Wind Warriors XXI", Master Rui Ribeiro presents a work that anyone can do, in traditional martial arts and combat sports, to improve your health, your techniques and your way of working both in training and in combat. EVIDENCE, REFERENCE and CONTROL IN MARTIAL ARTS, COMBAT SPORTS and LIFE, MAN MOST BE WILD, NATURAL and PREPARED. Show no afraid. Touch your body. Make a relation with your Spirit. Take your time to understand the values of what you are. Feel the diferences of your constitution. The way that your brain act. External signals exist to notify you against further errors. Understand the signals, the relation of body and soul, the relation with others, with your senses. KIND of NATURE / KIND of REASON Kind of Evolution achievements / Kind of Systems. All it's on you. Make your body an empty place. In the exercise of nothing only spirit can be attacked, if you loose natural instinct. OSS

Ref.: â&#x20AC;˘ DVD/RIBeIRO-1 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

“We can only know what we are in relation to what we are not; we can only know ourselves in the background that provides us our relationship with others. We depend on others as the head of a coin depends on its tail. No matter how short or long our life, everything that exists depends on it. If you had not been born, nothing would have happened. The whole world bears its imprint and it would not be the same world if you were not part of it.” Alan Watts

s a species, we Humans are social beings. Compared to other forms of life on the planet, our dependence on others is enormous. It takes us a long time to be able to look after ourselves and this creates a lot of interconnections at the base of our neural structures that will depend on the stimuli received at such an early age. Be that as it may, the first message is clear and firm: "We depend on others." As years go by, sooner or later, depending on cultural factors, the process of growth implies that of individuation. The emancipation of the parental home, for creating in turn our own environment, generally takes place in such a way that we believe that we simply make our decisions based on our preferences, but these are so marked by our wants that we are rarely aware of where our will begins and where the reflex, conditioned by our personal history and our surroundings. The dissociation of the "real I" and the "social I" is at the base of the majority of the personal problems in the relations among human beings. The only thing that allows us to surpass that huge schizophrenic and bipolar wall is the continuous reflection felt in the framework of the passing of time. We spend half a life creating a shell, a protective armor, and the other half (hopefully) consciously dismantling it or seeing how it collapses. Consequently I'm not surprised of the dissolute and unfortunate way in which human beings relate, because in this endeavor, they neither know the play that they are representing nor the characters, and especially, they ignore who they are. So the foreseeable disaster doesn't take long to knock at your door, because, as the clever legacy of Sun Tsu says: "He who does not know himself nor knows his enemy, in a hundred battles will always be in danger." In our relationships with others we cannot ignore the "I" factor. From that other person: What do I want? And ... Who is the one who wants? Having personality, something much clapped up in the social media, is nothing but a mask that we put on. Identification with the mask is the result of enormous confusion, because that is not what we are. The mask usually carries printed on it many of the expectations that others have put in us, as well as our own. We dream what we want to become, which is never what we really are. It's our tool to negotiate with people; seductive at times, manipulative others, but always convenient.

“All relationship is a giving and receiving relationship. Giving engenders receiving, and receiving engenders giving.” Deepak Chopra

Impostor by nature, the mask comes to acquire such preeminence in our lives that it manages to subvert reality to even kidnap our real "I", leading us to fight tooth and nail and even to be willing to die before getting rid of it. But the mask itself is not a problem, indeed, it's a necessity. The problem lies in the fact of confusing the individual with the character, so as to get caught in a web of self-deception and lies. That net is like a snowball going down a steep slope ... each time faster... each time bigger... the end is predictable! When mask and person act in a mixed, jumbled and confused way, we will certainly have problems of identity with ourselves and, consequently, with the others. We are at times so attached to the idea of the mask, so seduced by that image, so identified with it, that we often want to be loved the way that mask would like to be loved, but under its terms, under its conditions and with its premises, and these are not and never will be true, but perishable shreds of the soul of a self-generated ghost. We all need to have a positive reflection of our environment, because we know that, one way or another, we depend on the others. We know this because that truth has been inscribed in our primary and personal DNA through a long formation in dependence of others. We want them to love us, but we have to learn to let ourselves be loved the way others want to do, because that is their privilege; ours will be to put ourselves or not within reach of that affection and to accept or not the premises that they want to impose on us to deliver it, but it will never be in the attempt of changing them. Respect for the freedom of the other is the essential prophylaxis as far as masks are concerned in the world of relationships. This is especially true when in love we use our own strength to bend to the other part. Love thus lived won't be such, but a poor facsimile of the original, which instead of feeling, giving and receiving freely, will become confused in the marasmus of the domination of the other, the emotional slavery and a sickly dependence. In that game, both parts are victims of their lack of lucidity and, curiously, that of the master will be even weaker than that of the slave, because in a relationship, the weak part is always the dominant. The seducer is already seduced by the reason of his or her anxiety, at the very moment he or she decides to seduce. Whether in love, in friendship or in any other aspect of our relationships with other humans beings, knowing oneself, distinguishing the I and the masks, is an essential step to avoid problems with ourselves and

consequently with the rest. There's a Spanish proverb that reads: "two do not fight if one of them does not want", that is, it takes two to make a quarrel; what a great truth this is when respect for the freedom and the life of the other is present! They say that personal relationships are in crisis. When weren't they? People live with their backs turned to their real I, submitted to confusion and selfdeception. How could it be otherwise? Only with good foundations good houses are built, so that in love you can only give it when you have previously become the owner of yourself, and you can only receive it when you take whatever they want to give you as a gift, without demands, expectations or claims. Whether or not that is the person whom we love and from whom we want to be loved, that is quite another matter.

Great Masters

"I have not invented any Katas, what I have done is to give them back the sense and force that they should have.â&#x20AC;?

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I had the honor and the pleasure of meeting Teruo Hayashi on two occasions in our central studies, always brought in by his pupil Jose Maria MartĂn, better known as "MABUNI", and coach of the Spanish Karate Team, for many years. With a serious although affable character, Master Hayashi was nevertheless a circumspect person with an impressive presence. His somber, sober aspect changed in the blink of an eye any time he smiled, showing the child that existed behind the warrior. During both meetings we recorded some images (which we are trying to recover for our readers) and did some good photo shooting. The second occasion in which we e n j o y e d t h e M a s t e r â&#x20AC;&#x2122;s v i s i t coincided with a heart attack that he suffered while being here with us. In spite of his condition, Master Hayashi attended the appointment in our studies without showing the slightest discomfort at any time. Such was the character and warrior spirit of this peculiar knight, a karateka who definitively plotted with his seal a new course on modern Karate, both from his position as the highest technical figure of Karate, and from that of instructor of

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some of the most outstanding practitioners. His influence on the forms and types of Kata executed in the top level competition is undeniable and his strong impact on the ways of working is still evident today. Such is the footprint, the long shadow of this s p e c t a c u l a r M a s t e r, o f whom young Karate s t u d e n t s t o d a y, e v e n though they probably haven't even heard his name, they nonetheless r epr oduce in their daily workouts the movements that he taught. We can say without a doubt, that despite the early death of this Karate Titan, his passage through the Earth defined the manners and ways that for a long period of Karate, up to nowadays, marked the style, the movements and the ways of Karate practitioners. We r e p r o d u c e h e r e h i s interview as our heartfelt homage to his figure and memory. Alfredo Tucci

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Teruo Hayashi (1924 - 2004). A titan of modern karate Hayashi was born in Nara, the former capital of Japan on the island of Honshu, in 1924. At the age of 14 he began his Martial Arts training practicing Judo. At 24, after the war, he discovered Goju Ryu Karate and from 1949 to 1951 he studied with Seiko Higa, a pupil of Chojun Miyagi and Kangyo Higaonna. Hayashi Soke studied with Kosei Kuniba, one of the main disciples of the Shito-Ryu f o u n d e r, Kenwa Mabuni. Hayashi Soke also studied briefly with Mabuni, but his daily instruction was under the tutelage of Kuniba Sensei. Yo u n g Hayashi soon discovered that Okinawa, as the origin of Karate, was the place where he wanted to be. In order to choose the most s u i t a b l e p l a c e t o s t u d y, h e visited several training halls challenging the whole dojo to a common practice, quite popular

Great Masters

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“Lo más importante es entender el sentido de la kata desde el principio y mientras se piensa en qué significa, se realiza la kata, a partir de ahí se empieza a ejercitar el bunkai” in his time, called Dojo Yaburi, in which he had to defeat all the practitioners from bottom to top to be worthy of fighting with the Master of the place. Such attitude made him become a living legend and he ended up studying with Masters Nagamine Shoshin and Nakaima Kenko. From Nagamine Sensei he learned both the Shuri and Tomari lines of Kata, a strong style of long and fast postures where he learned the white crane form, Hakkaku. From Nakaima Sensei, Hayashi learned a secret art called R yuei-R yu. A souther n tiger style imported from China four generations before the arrival of Hayashi to Okinawa. Hayashi was the first non-family member to learn this style, from which he incorporated many of its characteristics to his own ryu.

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â&#x20AC;&#x153;There are several schools inside the Shito Ryu and after long years of study and research I have selected what I believe is the better of each one and I have founded my own school.â&#x20AC;?

Positions held: Hayashi Teruo - Soke Hanshi 10th Dan Okinawa Kobudo Kenshin-Ryu. J.K.F. Hanshi 9th Dan. Chairman and Soke of the Nippon Karate-do Hayashi-Ha Shito-Ryu-Kai. Adviser to the Central Technical Committee of the Japanese Federation of Karate-do. Council President of the Japan Karatedo Federation of Kinki Region. Senior technical director for over 10 years of the World Union of Karate Organizations (WUKO, WKF), president emeritus of the WKF Referee Commission. In 1995 he received his 9th Degree of the Japan Karate Federation (JKF). President of the Osaka Prefectural Karate-do Federation. President of the Karate-do Association of Higashi Osaka City. Director of the F.A.J.K.O., one of the highest judges of the F.A.J.K.O. He was undoubtedly one of the leading Karate masters in the modern age. He was founder, active director and chairman of the Hayashi-Ha Shito-Ryu Kai Karate-do School and the Japan "Kobudo Kenshin-Ryu-Kai" based in Osaka, Japan.

Great Masters

“Jose Maria Martín "Mabuni", Alfredo Tucci (director of this magazine) and Master Teruo Hayashi in one of the latter's two visits to Budo International, more than 20 years ago.”

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Great Masters

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interview with one of the leaders of modern karate If the world of fashion had an equal in Karate, Sensei Hayashi would be Cristian Dior of modern Karate. This man has created a line of work with Katas that is br eaking the mold in top competition. The reason for this lies in his overwhelming personality. He is a man who is deeply committed to the essence of the kata and to recovering the sense of a primordial and warring dance that exists inside each Kata and that goes way beyond aesthetics. His school known as Hayashi-Ha has captured the attention of some of the best international competitors within and outside of the Shito Ryu School. Hayashi Sensei sets the rules and sets the focus and as he says "I have not invented any Katas, what I have done is to give them back the sense and force that they should have.â&#x20AC;?

Great Masters

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Budo International: Tell us about when you started in Karate. Hayashi Sensei: I was born on the 21st October 1924, in the Nara prefecture. From the time I was 13 until I turned 18, I practiced judo in the Kusunogibukan dojo and then the war started and I had to enlist as a soldier. I went to Kyushu and stayed there until the end of the war and as soon as I returned I began to do karate. At that time judo and kendo were prohibited in Japan and since I did not have any choice I thought, "why not try karate?" and so I began to do so in the Kuniba Soke-sensei dojo. Thatâ&#x20AC;&#x2122;s why I was more than 20 years old, 21 to be exact when I started which was rather late. However, although I say so myself, I did train very hard from five in the afternoon to twelve o'clock, come rain or typhoons! I was very disciplined in my training even perhaps too tough as the Sensei once said. I trained at this rhythm every day without rest for 3 or 4 years. Budo International: Did you know any of the important Sensei of that time, like Mabuni or Funakoshi? Hayashi Sensei: In those days I wasnâ&#x20AC;&#x2122;t an important person, therefore I didn't have the occasion to meet those Sensei, and unfortunately they all died during that time so I couldnâ&#x20AC;&#x2122;t meet them later on either. Budo Inter national: The World Karate Federation has finally achieved Olympic recognition and we would like your opinion on the entrance of karate in the Olympic games. Hayashi Sensei: Karate used to be separated into two organizations, the W.U.K.O with Mr. Delcourt at its head and the I.T.K.F led by Mr. Nishiyama and there had always been conflict. Then it became necessary for there to be only one organization so that it could be Olympic and

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â&#x20AC;&#x153;The most important thing is being forgotten, the combat spirit, when the katas are carried out it is like a real fight.â&#x20AC;? despite many difficulties the I.O.C. finally recognized us thanks to the efforts of Mr. Espinos. I believe that our entrance into the Olympic games is very important for people who are practicing right now and for the future so we will make an effort to do everything possible so that it becomes reality. Budo International: There are some Masters who donâ&#x20AC;&#x2122;t give a great deal of importance to the kata within their training. Could you explain to us what the kata means and why it is important for the young practitioners of today and of the future? Hayashi Sensei: The katas are the base and therefore they are very important and each one of them has its own meaning. But at the present time they have become simple, fast and showy movements that have no depth of any kind. That is to say they are carried out as if they were a simple sport, without any content. We have to keep an eye on this as the referees are also allowing this to happen because of the way they are assigning points and it seems that the movements are being learned with the only objective of getting points and nothing else, it is an empty exercise. The most important thing is being forgotten, the combat spirit, when the katas are carried out it is like a real fight, and this feeling should be present in the movement as well as a feeling of victory. To give you just one example, it seems that only movements above the waist are important

Great Masters

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â&#x20AC;&#x153;The purpose of the foundation of the Hayashi has, is to give meaning to the kata as I have said before.â&#x20AC;? and that the immense importance of the "tachikata" or way of standing and positioning the legs are fundamental. But it is very important to teach the meaning of each kata and I am working on this to try and identify the meaning of each movement and teach it and encourage other people to transmit it. Budo International: Each kata has a bunkai. Can a kata have several "bunkai"? Can you explain for us the meaning of the "bunkai" and their training? Hayashi Sensei: The kata were created a long time ago and they were created with a meaning, they have an origin, a sense and their own different bunkai. Similarly, the oyo-waza come from the bunkai and they are both more than simple repetitions of forms or movements and the truth is that they are understood only after they are practiced. The meaning of each kata is different and therefore each bunkai is different. The most important thing is to understand the sense of the kata based on a principle and while you execute the kata you think about what it means and this is the starting point for beginning to perform the bunkai. Budo International: Can you tell us where the Hayashi ha shitoryukai is positioned inside the Shitoryu school and what objective has it got? Hayashi Sensei: The purpose of the foundation of the Hayashi has, is to give

â&#x20AC;&#x153;The katas are the base and therefore they are very important and each one of them has its own meaning. But at the present time they have become simple, fast and showy movements that have no depth of any kind.â&#x20AC;?

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meaning to the kata as I have said before. The kata are not only forms, there are several very important factors inside the kata: They have to show combat spirit, and the important points to keep in mind are: The kihaku or kiai. The kime. Balance. Speed All these factors are equally important, and they need to be joined together, be demonstrated to others and transmitted to others in a way that they can be understood. There are several schools inside the Shito Ryu and after long years of study and research I have selected what I believe is the better of each one and I have founded my own school. My school is being recognized at world level because the women at my school are getting excellent results and in the last few years they have won many firsts from the World Championship, the Asian Championship, and the World Cup World Game. Practitioners shouldnâ&#x20AC;&#x2122;t carry out the kata as if they were simply physical actions, they also have to know the true meaning of them and to demonstrate this in an impressive way. I have not invented any new kata, but rather I have collected kata that already existed giving them the meaning and the force that they should have. Budo Inter national: Thank you Sensei.

Great Masters

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“The iron wire” The Secret Form

1 - 2 - 3 - 4 July 2017 - Genoa (Casella) - Italy I ° Hung Gar Special Seminar The Secret Form Taught and analyzed in all its secrets by Grand Master Paolo Cangelosi. The form of the 6 moods, the 5 emotions, the 12 bridges, accompanied by the sound of the inner singing, the sonorous poem of Grand Master TIK KIU SAM. The seminar is open to all those wishing to delve into the advanced level of Kung Fu. It will be carried out in the midst of nature and includes study, practice, room and board. A total immersion.

ENROLLMENT IS OPEN AND IN LIMITED NUMBER For more information and details: tel. +39 010 8391575 / cell. +39 340 6848475 email: cangelosipaolo@libero.it www.sifupaolocangelosi.com fb: School Sifu Paolo Cangelosi - Headquarter Kung Fu Genova - ITALY

Chin Na techniques require a thorough study not only of the body joints, but also of Anatomy in general. Chin means "catch, capture" and Na means "control." Then we can say that Chin Na are those techniques of gripping, pressure and dislocation, by which we can control our opponent in a defense situation. The Shaolin Chin Na techniques are used to neutralize or interrupt an attack. Although its origins date back practically to the foundation of the Shaolin Temple itself, it is well known that already during the last Chinese dynasty, Chin Na techniques were most popular among the population in general, so in that time the techniques of capture and control lived their moment of boom and expansion. Chin-na practice should be done placing a greater emphasis on the development of the control and sensitivity needed to leave an attacker defenseless by any of the 5 principles of Chin Na: Muscle or tendon tearing, Incorrect bone placement, Blocking or cutting off respiration, Blocking a vein or artery, Pulsing a channel of Qi.

REF.: â&#x20AC;˘ DVD/YANTI2 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

WT Universe Wing Tsun Universe (WTU) und das WTU Wing Tsun Ich weiß nicht so genau was Kampfkunst oder im speziellen Wing Tsun für viele da draußen ist. Wenn ich mir die verfügbaren Informationen so anschaue, kommen mir zwar einige Gedanken und Ideen, die ich hier aber nicht präsentieren möchte. Für mich ist das Wing Tsun Universe (WTU) eine Organisation zur

harmonischen Entfaltung menschlicher Potentiale. Das WTU Wing Tsun ist für mich ein Werkzeug in diesem Rahmen. Ein Nebeneffekt dieser n a t ü r l i c h e n Bewegungsschule ist die natürliche Art des Menschen zu kämpfen, welcher in unserer heutigen Zeit wieder an Bedeutung gewinnt, jenseits von sportlichen Wettkämpfen.

Alfred Johannes Neudorfer (GM) Schwierigkeiten als Störfaktoren Oft hat man das Gefühl, dass die Menschen die kleinen und großen Schwierigkeiten, die das Leben so mit sich bringt nur als Störfaktoren in ihrem gewohnten oder erwarteten reibungslosem Lebensablauf wahrnehmen. Ich unterscheide dabei sehr genau Schwierigkeiten und Probleme. Meist werden diese Wörter im täglichen Gebrauch recht unterschiedslos und wahllos verwendet. Probleme sind für mich „Situationen“ oder „Umstände“, die nur im eigenen Denken existieren, sie gründen quasi in uns selbst. Sind wir in der Lage, sie über Bord zu werfen, haben sie keinerlei weitere Folgen. Von ihnen lebt eine ganze Industrie von Institutionen und Menschen. Schwierigkeiten dagegen gründen in den Situationen und Wechselwirkungen mit der Außenwelt. Sie zu ignorieren, hat keinerlei Auswirkungen auf ihre Existenz. Ist der Kühlschrank leer und ich habe kein Geld und ich unternehme nichts, dann werde ich verhungern. Das ist eine Schwierigkeit. Schwierigkeiten schenkt uns das Leben, damit wir uns verändern, damit wir eine kleine Chance haben uns zu entfalten und zu wachsen. Damit wir nicht das ganze Leben im Tiefschlaf unserer Routinen und dem Kerker der Konditionierungen und Käfig der Identifizierungen verbringen. Mit alten Worten ausgedrückt: Schwierigkeiten sind die „Gnade“, die uns Gott schenkt. Nur durch Risiko

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und Reibung können wir wachsen. Nur wo Risiko ist, ist auch Verdienst. Nur wo Scheitern möglich ist, existiert wirkliche Erfahrung. Im Kollektiven, so wie im Persönlichen. Der Unterschied liegt nur in der Geschwindigkeit des Wahrnehmungsflusses. Die Wahrnehmung des heutigen Menschen ist aber meist eine andere. Hier kann man als gutes Bei- spiel das WTU Wing Tsun nehmen. Die Wechselwirkung mit der Umwelt, also der Gegner wird als Störfaktor wahrgenommen, den man im günstigsten Fall mit Geschwindigkeit und Kraft und mit mehr oder weniger effektivem Einsatz der menschlichen Anatomie zurecht zu hacken versucht. Andere ver- suchen innere Kräfte zu bemühen, welche aber für solche Bestrebungen nicht greifbar und auch nicht handhabbar bzw. nötig sind. Das alles hat aber nicht das Geringste mit WTU Wing Tsun zu tun. Wir Menschen sollten und können uns als Prozesse in der Raumzeit wahrnehmen und stehen in Wechselwirkungen mit allen anderen Prozessen in dieser Raumzeit. Wir können damit primitiv, fortgeschritten, souverän und virtuos umgehen. Das hat jedoch nicht das Geringste mit äußeren Titeln oder Ausschmückungen oder Bestätigungen zu tun. Man könnte auch in einer zeitgemäßen Sprache sagen: Schaffst du den Level, erhöht sich im nächsten der Schwierigkeitsgrad und es verschärfen sich die Umstände. :-)

WT Universe

Den Unterschied zwischen Problemen und den Umgang mit ihnen könnte man auch so beschreiben: Wo kein Stress notwendig ist, stressen sich die Menschen künstlich durchs Leben und sorgen für Reibung, die nicht notwendig ist und keinerlei Entwicklungspotential hat. Treten aber Schwierigkeiten auf, dann lassen sie sich gehen und / oder verfallen in Aggression, statt mit aktiver Gelassenheit zu agieren und das innewohnende Entwicklungspotential zu nützen. So verheizen sie sich und die Möglichkeiten, die der Situation unter Umständen inne wohnen oder übersehen das Zeitfenster, in dem ihnen Veränderung möglich ist. Einen kleinen Geschmack und Impuls bekommt man vielleicht, indem man sich mit folgenden Schlüsselbegriffen zu beschäftigen beginnt: • Problem / Schwierigkeit •Konditionierung • Identifizierung • Form / Inhalt • Korrektheit • Verbindlichkeit • Aufmerksamkeit Ans Ende stelle ich ein altes Zitat aus der

WT Universe TRADITION: â&#x20AC;&#x17E;Vertraue auf Gott, aber binde dein Kamel fest.â&#x20AC;&#x153;

Wing Tsun Universe (WTU) and the WTU Wing Tsun I do not know exactly what martial arts or special Wing Tsun is for many out there. When I look at the available information, I get some ideas and ideas which I would not like to present here. For me the Wing Tsun Universe (WTU) is an organization for the harmonious development of human potentials. The WTU Wing Tsun is a tool for me in this context. A secondary effect of this

natural movement school is the natural way of fighting, which is gaining in importance again today, beyond sporting competitions. Alfred Johannes Neudorfer (GM)

Difficulties as spurious factors Often one feels that people perceive the small and great difficulties that life brings with it as a disturbing factor in their usual or expected smooth life. I distinguish very clearly difficulties and problems. Most of these words are written in daily use quite indiscriminately. For me, problems are "situations" or "circumstances" that exist only in one's own thinking, they are basically founded in ourselves. If we are able to throw them overboard, they have no further consequences. A whole industry of institutions and people lives from them. Difficulties, however, arise in situations and interactions with the outside world. Ignoring them has no effect on their existence. If the refrigerator is empty and I have no money and I do nothing, then I will starve. This is a difficulty. Difficulties are giving us life so that we can change, so that we have a small chance to develop and grow. So that we do not spend all our lives in the deep sleep of our routines and the dungeon of conditioning and cage of identifications.

WT Universe In old words, difficulties are the "grace" that God gives us. Only through risk and friction can we grow. Only where risk is, is also merit. Only where failure is possible does real experience exist. In the collective, as in the personal. The difference lies only in the velocity of the perceptual flow. However, the perception of modern man is usually different. The WTU Wing Tsun can be taken as a good example here. The interaction with the environment, ie, the opponent, is perceived as a disturbing factor, which is best tried to cope with speed and force and with more or less effective use of the human anatomy. Others try to exert internal forces which, however, can not be grasped for such endeavors, nor are they manageable or necessary. But this has nothing to do with the WTU Wing Tsun. We humans should and can perceive us as processes in space-time and stand in interactions with all other processes in this space time. We can deal with it primitively, progressively, sovereignly and virtuoso. However, this has nothing to do with foreign titles or decorations or confirmations. You could also say in a contemporary language: If you manage the level, the next difficulty increases and the circumstances become more acute.:-) The difference between problems and dealing with them could also be described as follows: Where stress is not necessary, humans are artificially stressed through life and provide friction that is not necessary and has no development potential. But if difficulties arise, they let themselves go and / or fall into aggression instead of acting with active calmness and exploiting the inherent developmental potential.

Thus, they pose to themselves and the possibilities that may be inherent in the situation or overlook the window of time in which they are able to change. A small taste and impulse may be obtained by dealing with the following keys: • Problem / Difficulty • Conditioning • Identification • Form / content • Correctness • Liability • Attention At the end I present an old quote from the TRADITION: "Trust in God, but tie your camel first."

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Krav Maga Israeli Survival System: the new Krav Maga frontier. After the success of his first DVD, Grandmaster Marco Morabito appears unprecedented in Budo International with a DVD dedicated to weapons: Morabito knowledge in both civil and military defense fields intertwines in an explosive mixture of technology and innovation. Nothing is left to chance and there are no secrets: with "experimentalis cognitio", the most common armed attacks are carefully examined paying utmost attention to every single detail. Diverse techniques with the most common weapons are analyzed, always bearing in mind that there is no such thing as a "universal pattern of aggression": the kinds of attacks are unlimited and so are the means of defense. Technique is only the basis of study to acquire and develop fluency and conscience of the movement, but the aim is that of making our defense instinctive thus shortening the time of reaction. As on the ring, we will never have the mathematical certainty of winning the bout, but we can greatly increase our chances of emerging victorious: "He who fights risks to lose, he who doesn't fight has already lost." Morabito, with his Israeli Krav Maga Survival System wants to break with the patterns and show the public something totally new, far from the regular old-fashioned techniques, emulated for decades. On this DVD, technique melts with experience and everything acquires clear and definite contours. Nothing is left at random and the most common mistakes are unmasked and analyzed. In the Israeli Krav Maga Survival System you will find an exceptional and authentic new method of self-defense.

REF.: â&#x20AC;˘ DVD/KMISS 2

All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

KAJUKENBO KOSHO RYU THE BLACK BOOK OF KAJUKENBO

In this new article we will talk about something that not all practitioners know: The Black Book of Kajukenbo.

Kajukenbo

ut what is all that about the Black Book? What Black Book? Not even all the Masters of the Art know about it! It sounds a bit sinister by its name, but nothing further from reality. The Black Book is a custom, a habit that until recently was kept within the Kajukenbo rules and principles. It's an exercise of notes of all the Art that you, as a practitioner, have had to write on your own handwriting, from your arrival as a Pupil, until your graduation as Black Belt. At that time you must give your Master two copies. Yes, that's right! Two copies; not one, but two. One copy will be for your Master and the other, after the review of the written, for you. The file must be in good condition, without obliteration or page breaks, as this will be an important part of your evaluation and promotion. Everything you have written and the way you animate it, will demonstrate your attitudes, virtues, defects and, what is more important, if you really have integrated the Art of Kajukenbo. Seen from a point of view outside the system, it may seem insignificant, but it's not in no way, because if for whatever circumstance you were forced to give up training temporarily, you'd always have your book as a reference and thus, on your return to training with your Master, you'd be able to resume your work just where you had left it. What has been one of the problems of this way of preserving the system? There was no shortage of Masters who quit training for many years or closed their schools. After 10 or 30 years retired from active training, on reviewing these books, we will be troubled by all kind of doubts, because no matter how well we dictated or drew at the time, it will not be easy to clearly understand what we once wrote. I wonder whether this is one of the reasons why Kajukenbo lost part of its essence and of its specific modified techniques, to continue a work that we started 30 or 40 years ago. After such a long time, it is obvious that we wouldn't be the same physically, mentally or spiritually.

Kajukenbo

Kajukenbo May this not be understood as a criticism to anyone, but it should be rather considered as a reflection on a series of circumstances which is not the first time they happen. Thank God today we have other devices to be able to compile that Black Book. Such devices are the new technologies, photos, videos etc. We all have a camera and video in our mobile phone, and we can keep everything recorded and photographed, so that on our Graduation day we can count on our new electronic Black Book of the Kajukenbo. In that way, even if we stopped working out for a while, on our return we could review and understand well our recordings, understand the movements, the how and why. Thus we can maintain our Art and continue to evolve, but with a clear sense and preserving those bases that our Master transmitted to us. At this stage of the story, let each one draw his or her own conclusions if this makes sense or not, everything remains hard work that only we as students must carry out. Today there are many practitioners who do not value the Master who taught them, helped them along a part of the way or even during the whole path, and they appear as if they had made themselves.

â&#x20AC;&#x153;Today there are many practitioners who do not value the Master who taught them, helped them along a part of the way or even during the whole path, and they appear as if they had made themselves.â&#x20AC;?

Kajukenbo The film "The Silent Fluteâ&#x20AC;? (or â&#x20AC;&#x153;The Circle of Iron") expresses it wonderfully during the scene of the fight with the monkeys, when they laugh at the protagonist who claims that he has made himself, they proclaim: "Look at the man who has no mother! Ha, ha, ha...!". By the way, the film, whose scrip was written by Bruce Lee, even if it isn't worth much as an action movie, on the contrary its background and the teachings implicit in it are nevertheless magnificent. Do not miss it! We all owe something to someone on our way and I'm not talking about economy or servility, but what we know we have learned from someone, be it a book, a video, a magazine, a Master... Well, if you have had the privilege of being an enlightened or you have learned through your dreams, congratulations, we the rest of the mortals owe it to that Master who helped us at some point in our lives. From these pages I want to thank SGM Cherry Ortega, my Sifu in the Art of Kajukenbo, who guides me every day, for all this knowledge, so that it doesn't get lost or forgotten. To finish, I hope that what is written here is of your interest and thus contribute somehow in the knowledge of this our Art ... Mahalo

Karate

Historical Files PROPOSAL TO INTRODUCE KARATE INTO THE SCHOOLS PRESENTED TO THE GOVERNMENT OF OKINAWA BY MASTER ANKO ITOSU. Contrary to what people believe Karate does not come from Confucianism or Buddhism, rather its origins are in two karate schools that were introduced into Okinawa from China. The schools were Shorin Ryu and Shorei Ryu and they are based on solid and appr opriate principles of human life, and for this

Photos: Salvador Herraiz

Karate

reason they should be preserved and not altered. In order to familiarize ourselves with the basic pillars of karate we have to turn to Master Anko Itosu (1832-1915) who has pr oposed them to the government of Okinawa so that the discipline of karate can be introduced into the schools as a form of education. They are the following: • Karate doesn't only consist in the effort that one makes to achieve physical objectives but rather it is a “moral” discipline, so that if a person is forced to fight for a “just” cause, karate training gives him the strength and the necessary courage so that his life is not in danger. Now, if the individual who is the attacker is an inexpert opponent he should try to abstain from using his legs and hands in defense in order not to cause excessive harm. • The first objective of karate training is to strengthen the individual's musculature to make one’s physique as hard as iron or stone and in this way the extremities become weapons like the sword or the lance (halberd). If we follow these indications karate training will teach bravery and the value of people in the face of difficulties. • Karate cannot be lear ned appropriately in a short period of time. One has to be like a bull, unconcerned about how slowly it moves, eventually traveling a thousand miles. In this way a person who works two or three hours a day, diligently studying this discipline, will see the light after three or four years of constant effort when their body is transformed revealing the true essence of karate. • One of the most important objectives in karate is the training of hands and legs, for which use should be made of "makiwara", hitting it one or two hundred times sequentially, by

Karate

means of “tsukis” (fist attacks), and with a variety of leg attacks (for example, "ma-geri" from the position "sencu-sudachi"). The most effective form of carrying out this training is the following one: the person should lower his shoulders to open his lungs and channel his energy, rooting himself strongly to the floor to secure his posture and finally concentrating his vital or intrinsic energy (known as Ki) in the “tanden”, or what is the same thing in an area of the body located below the navel. To get the most out of this exercise it should be done everyday. • An erect position should be maintained during the execution of karate postures; the back should remain in a straight line maintaining the musculature straight up with the shoulders down and legs strong but flexible. One should also be relaxed with the force of the "Ki" centered in the "tanden", moving the upper and lower body in a coordinated way. • Karate is made up of a countless number of techniques with many meanings. However, this should not worry the individual, provided he has it clear that he should explore the context of these techniques independently according to the principles of the theory ("torite"), that will give him a better understanding of the techniques at the moment of their practical applications. • During karate training one should determine what his objectives are for the development of the discipline, that is to say, is he doing it to develop his body or for purposes of self-defense. • Intensity is an important objective in karate practice; therefore, if during training a person visualizes the battlefield then this will bring about a significant increase in training performance. In this way, the eyes should show strength while the shoulders lower and the body contracts, for example when the body blocks and a counter attack is executed. If you train with this spirit you are preparing for any confrontation that may occur during your life. • The quantity of training is in proportion to physical condition and the reserves of each individual's strength, and in this way excessive training is harmful for the body. Excess can be detected in symptoms such as reddening of the face and the eyes. • Karate practitioners usually enjoy a long and healthy life thanks to the benefits of constant training. The daily and beneficial practice of this discipline invigorates the muscles and bones, improves the digestive system and regulates blood circulation. This is one of the reasons that if this discipline is introduced as a teaching method from elementary school onwards, we will produce better-prepared individuals with stronger defenses. • With these teachings in the mind, I am totally convinced that if we are able to integrate them into the educational system, both at the elementary level as well as in the university environment (for example as a subject in teacher preparation programs), it will not only extend to the schools but also to the rest of the population, as a leisure culture based on the physical and psychic benefits of the sport. This is the same message that the Duke of Wellington transmitted after defeating Napoleon, "today's victory is owed mainly to the discipline achieved by children during recess at elementary schools." Thus, Master Anko Itosu’s testimony clarifies the true reason for the popularization of karate, and its goal of creating not only military but also cultural and sports connotations for karate. I hope this document helps us to understand certain concepts that we may associate with other Masters and that also explains why most Masters of the Shorin Ryu schools that we currently know start from this point with their respective students.

Aikido

It is indeed a fact that Aikido has captured a type of lover of Martial Arts who is educated, refined and with a higher cultural level than the average Martial Art practitioner. Artists like Konigsberg have heard the Martial artistic call of Ueshiba and have surrender themselves responding to the "magical" energy of the call. Aikido possesses the perfect mixture between philosophy and Martial Art that has seduced many people of liberal professions who desire to find in Martial Art a vital complement strongly connected to their growth as individuals. In a word, something capable of opening new doors in a life that aims at going beyond the mere simple social or working success. Harvey Konigsberg is one of these remarkable examples, a man of talent, perfectly committed to the love of the Arts. I am sure you will enjoy his experience and his magnificent paintings.

Interview

Michelle Feilen & Francisco Manchรณn www.aikifeilen.com / aikifeilen@jazzfree.com

Aikido: Painting with Ki

Aikido

Budo International: What was your introduction to Aikido? Harvey Konisberg: In 1965, I had a loft in Manhattan, in New York City. A friend of mine, who had been taking Aikido, brought me to the New York Aikikai. Yamada Sensei was Chief Instructor there, and had invited Tohei Sensei to come teach as well. What I saw amazed me and made me want to begin training immediately. Another friend – a former professional boxer who was visiting from Baltimore – had come along to watch as well, and was very impressed by what he saw. He told me that when I began to practice, I should grab the instructor as hard as I could and afterwards describe to my friend how the technique felt. I did begin to train, and every time I grabbed the instructor that hard, I’d end up on the mat. I couldn’t understand how that could happen time after time. I’d get up, saying something like, “I wasn’t ready. Let me try it again.” But I’d end up right back on the mat again. B.I.: When did you first become interested in art? And when did you decide to make art your life’s work? H.K.: By the time I was three years old, I had already begun to draw, so I was interested in art from the very beginning. However, my family discouraged me from pursuing art as a career. They wanted me to focus on something more practical like medicine or law. But being a determined person – and clear about what I liked – I made art my first priority. At University, I studied with Eugene Massin, who had just returned from a sabbatical in Spain. The year was 1958. Gene was the most influential person in my life as an artist. Not only is he a great painter, but he was the first one to back me 100% in my efforts to become a professional artist. Gene invited me to become one of his apprentices. I watched him work day in and day out and knew that that was the life for me. B.I.: Many of your paintings feature movement and action. How has Aikido influenced your paintings? H.K.: I’ve always been fascinated by action: bodies in motion. What creates the movement, what results from it, the tensions implied by it are all subjects I deal with in my work. When I was a teenager, I was attracted to boxing because of the freedom and spontaneity of the movement. It was so compelling to me that at the time I intended to become a professional boxer. I trained very

Interview

Aikido: Pintar con Ki

Aikido

Interview hard in anticipation of this, however the physical and business aspects of boxing didn’t suit my nature. When I began training in Aikido a few years later, I found that same spontaneity of movement, but with greater freedom. Aikido, in turn, has influenced by painting by use of techniques that emanate from the center, producing free, open brushwork. Also, the dynamic nature of Aikido has made its techniques powerful subjects for my paintings. B.I.: What do you try to transmit through your art? H.K.: I basically paint what excites me. The transmission of that initial energy is first to myself: if it succeeds in touching me, I’m confident it will communicate to the viewer. One of my prerequisites for a painting is that it has a life of its own. A painting must breathe, vibrate, shimmer. Similarly, one of the interesting

aspects of Aikido is the connection and communication that is created between people. As in painting – where you communicate with yourself first – in Aikido, in order to have an impact on the partner, you must align yourself with yourself first. Everything in art and Aikido begins with this centering process. B.I.: What venue do you currently use to sell your paintings? H.K.: Having had more than 20 solo exhibitions of my work as well as being featured in many galleries, I was always somewhat frustrated by how confining that was. Not many people can view a painting at any one time. But now, with the Internet, my art is available to everyone, any time they want to see it. For instance, a series of my Aikido works are featured at www.aikidoonline.com/harvey. Based on the success of this website, I am exploring making more of my works available online. B.I.: What do you try to transmit to your Aikido students? H.K.: I try to give my students the same teaching that my teacher – Yamada Sensei – gave me, namely to develop one’s own natural, spontaneous ability through the harmonious and dynamic practice of traditional Aikido technique. B.I.: Why don’t you teach painting or drawing?

Aikido

H.K.: Basically I don’t follow the traditional rules of art, so I’m not interested in teaching them. For me, painting is a matter of sensations and feeling, and this is very difficult for me to communicate in a classroom setting. B.I.: How do you think your Aikido practice has changed over time? And how is your art different now? H.K.: When I began practicing Aikido in 1965, I was 25 years old. I’m 61 now. During this time, my physical energy has changed. I don’t have the same level of muscular strength as I did as a younger man, however through the refinement of technique, my energy is used far more efficiently. The result is not only more powerful technique, but also more joyous practice. Because art is a solitary pursuit, its progression over the years has been more subtle. If I had to characterize the change, I would say I have become freer in what I want to express in a painting. B.I.: Which Aikido master influenced you most? H.K.: Yamada Sensei. He was my original teacher, and I still train with him every week at the New York Aikikai. B.I.: In your opinion, what is the most important aspect of a class with a Shihan? Technique? Power? Spirituality? H.K.: These are inseparable. To emphasize any one over the others is a dualistic approach to training that creates an unbalanced experience. Technique without spirit is mechanical and dead. Power without technique is destructive. Spirituality without power is impotent. B.I.: Do you consider art or Aikido your primary career? H.K.: While they are both equally important in my life, Aikido has given me the opportunity to pursue my art on my own terms.

Harvey Konigsberg – Biography Harvey Konigsberg was born in New York City in 1940. He attended New York University and the University of Miami (Florida.) and currently lives in Woodstock, New York. From his earliest years, Harvey was drawn to art and boxing, and developed a deep love for both. While still a teenager he began his formal art training, and became a dedicated student of the “sweet science,” boxing. But Harvey’s art career flourished almost from the start, demanding many more hours be spent in the studio. The result was he found less and less time to devote to boxing. Then in 1965, Harvey took his first class in Aikido with Yamada Sensei at the New York Aikikai – and he has found the time to train and teach classes there ever since. In fact, he has been so dedicated and talented a student, he attained the rank of nanadan (7º Dan) in December of 2000. To date, Harvey has managed to balance his art and martial arts careers. He has mounted more than twenty one-man shows of his painting, and has taught at countless United States Aikido Federation (USAF) regional summer and winter camps, and has been the featured instructor at seminars across North and South America. Harvey’s connection to both the New York Aikikai and the USAF remains strong, and he has served as an officer in both organizations since 1970. In 1987, Harvey officially established Woodstock Aikido, where he is Chief Instructor.

Interview

Kali is a very versatile and old system of fighting that includes empty hand as well as weapon training methods. It is a devastating Art unto itself, but when you add the Kyusho you become even more efficient, effective and advanced in disabling an opponent. Kali has always taught what is called "Gunting" for strikes to weaker aspects of the arms, in volume #1 the Kyusho added even greater potential and a perfect starting point for the Kyusho or Kali practitioner. Many arm destruction methods were demonstrated as well as Kyusho Knockouts using only the nerves of the arm. This second volume expands on these powerful Kyusho targets by working from the arm traps of volume #1 and demonstrating additional and even more powerful head targets for incapacitation of the opponent. This video compilation will bring you far more advanced skills, even if you do not practice Kali... the two methods were meant for each other. Several KO's are demonstrated so you can see the efficiency and affect Kyusho brings to Kali.

REF.: â&#x20AC;˘ DVD/KYUSHO 25 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

Interview

Interview with Akuzawa Sensei Po’oz : I understand that you travel frequently in response to the many requests from practitioners and clubs wishing to discover your art. You will come back this spring to promote the teaching of Aunkai across Europe. You also travel regularly to France and Hungary, and returned just recently from a trip to New Zealand: it is apparent that the Aunkai values have spread everywhere in the world. The goal of the Po’oz organization is to help young people who feel lost as to what path their life should take. Thank you for agreeing to answer our questions. We are honored to meet you, and feel it is an excellent opportunity to get to know you better, and to allow a greater number of people to discover Aunkai. Master Akuzawa : “I think it is important to pay the greatest attention to the various natural phenomena which occur before our eyes. You need to feel the Providence, and observation is the essential basis for understanding martial arts.” “Learning by knowing oneself and knowing others, in a mutual way, by sharing the same connection, is why I teach Aunkai to my students.”

â&#x20AC;&#x153;I think it is important to pay the greatest attention to the various natural phenomena which occur before our eyes. You need to feel the providence and observation is the essential basis for understanding martial arts.â&#x20AC;?

Interview â&#x20AC;&#x153;If we are to study the movement of human beings, I think it is necessary for us to feel for ourselves, our origin and place in nature.â&#x20AC;?

P. : Sensei, those who have the privilege of meeting you speak about your passion for nature. You were born in Gunma (Japan), a region with beautiful mountains and I believe it is well known for their "onsens", or hotsprings. Was the simplicity of your art born from your observation of nature? M. A. : First of all, I have a great love for nature. Nature is not a creation by man. And to understand this essence born of Providence, is to me, very important. There are various styles and schools of thoughts. If we are to study the movement of human beings, I think it is necessary for us to feel for ourselves, our origin and place in nature. It is my belief that it is very important to pay careful attention to the various natural phenomena which occur before our eyes. You need to feel the providence, and to feel this providence, <observation is essential, just as it is essential for understanding martial arts.> P.: People often mention your victories in Sanda. What has Sanda brought to you personally? M.A .: Sanda is a sport. When you are young, building experience is, in my opinion, is quite important to know oneself. P.: What has led you to blaze this path in the world of martial arts and to create Aunkai?

Interview

M.A.: I gained both knowledge and wisdom as I came to understand the process lying within Martial Arts. So I started the Aunkai, in order to pass on this wisdom, and continue experimenting â&#x20AC;&#x201C; with my body as a medium. P.: Why the change in direction from search to transmission? M.A.: If I am to pursue the deepest stretches of martial arts, then I must pass through the process of guiding people> which also means taking students. Otherwise, my own evolution would be hindered. My goal is always changing, evolving, and I guide my students through this process <so that they may also create change for themselves. P.: Let's talk, Sensei, about the spirit of Aunkai. M.A.: Aunkai is never ending, it is infinite. My students, as well as my apprentices, achieve freedom <of body and mind> through Aunkai. P.: How do you define Aunkai? M.A.: The concept of Aunkai is to empower the body to experience oneself forging the true nature of martial arts, through profound experiences. Then through this process, <like a tattoo, artfully created from the inside â&#x20AC;&#x201C; out> (Sensei

Interview

has used this metaphor before, and it might be easier to understand here), allow the inner connections to make their way to the surface. When we are young, what we see in front of us, such as physical activity and training appear to be important. But as we age, our thinking changes, and so does our perspective on a great many things. P.: What state of mind should we have on a day-to-day basis in order to improve? M.A.: To improve in martial arts is to rid oneself of habits. It is not a mathematical formula where you can simply “add” to obtain the results you want. A true martial art is not based in mathematics. Rather, it is the opposite. Simply hone your awareness and remove habits if you wish to pursue a martial arts. <When a person does something naturally, they don’t think about it, they don’t ponder about the right or wrong way to do something, they simply do it. >This means, the intent behind martial arts is to better harness our subconscious、and embed skills into our body, so that we can recall them naturally. “The Aunkai concept is the construction of the inner self which is reflected on theoutside.”

“The Aunkai concept is the construction of the inner self which is reflected on the outside.”

Interview

P.: What can Aunkai bring to practitioners ofother arts? And to someone who is discovering martial arts? M.A.: Aunkai is different from other modern martial sports in that we teach how to control the body in an unusual way, a more efficient way that is not immediately apparent. For me, a person’s posture is of paramount importance since it reflects the inner essence of one’s character and being, both physically and mentally. In fact, the very way you move the body is a result of understanding and creating a cohesive posture. So, I take teaching posture very seriously and delve deep into the subject. Organizing the body for martial arts is different from the “training harder is better” perspective that we often associate with modern day sports. Martial arts are steeped in Praja (wisdom). Praja is different from knowledge that is simply added and memorized. Wisdom is to take a singular principle of body movement, yet have the ability to apply it seamlessly in a myriad of different ways. This must be present in training at all times, and repeated many times in order to be effective.

â&#x20AC;&#x153;Aunkai is different from other modern martial sports in that we teach how to control the body in an unusual way, a more efficient way that is not immediately apparent.â&#x20AC;?

Interview

P.: Your answer leads me, if you do not mindSensei, to talk about practice. Some say that when one discovers a keiko, the sobriety of tanrens may seem hermetic. What would you say to change this view? M.A.: Aunkai is a martial art without boundaries: Why ? “When we are young,physical activity and training are crucial elements, but as we get older we’re bound to change our way of thinking and have a more subjective vision.” Do I love nature? Martial arts is not about the flowers, leaves or branches that we see in front of us. It is about the trunk and the roots. P.: So what would be a good practice session be in the Aunkai? Why? M.A.: Training is an exercise which aims to change the body, <it’s sinew, tendons, membrane and muscle>. Then there is another kind of training, training through repetition. Tanren is a cumulative discipline involving adaptation and time. <Each session of tanren is different, as one continuously changes their practice bit by bit> Practice is awareness, <awareness of the body, of its workings, its physical and mental interactions, which eventually brings forth understanding> . The very same word may hold different meanings for different people. 言葉によって意味がみんな違います. Good training should change not only the body physically, but the mind as well; having both be affected is very important. P.: What is necessary in order to improve? M.A.: To improve, the understanding of basic concepts as well as thorough training are the only solutions. And know that repeating ones training deliberately, and maintaining the desire to continue over the long term are much much harder than they appear to be. If one truly wants to improve, it is important to integrate what one has learned in martial arts, that is the wisdom gained through their practice, into everyday life. <The way one sits down, walks, holds a cup, or interacts with others and more - must be a seamless medley of one’s training and realizations> In order for this wisdom to create different ways of using the body, it must be present at all times in Aunkai training, and repeated many times in order to bear fruit. P.: Does Aunkai make you stronger? M.A.: What will determine if a person will become strong through Aunkai is their level of commitment to the training. The strength is expressed in the flexibility of the mind or in one's postures. People who study Aunkai are able to create space within themselves, and thereby free their mind. P.: You talk a lot about the need of working on oneself. How does Aunkai transform people on the inside? M.A.: How does Aunkai change people from the inside? They become friendly (laughs). If they become friendly, they become strong. It is a way of capturing the emotions with the heart. P.: The Po'oz Association has as its vocation to help young people find their way in life. We believe that practicing Aunkai can help them. What do you think? M.A.: Martial arts in this sense sometimes resemble a religious experience. This means, one must accept not only one's own weaknesses, but also one's mind and feelings.

Interview

During an Aunkai session, your consciousness meets your subconscious <bringing about change on a profound level>. And this is a very important experience. I think it would be wonderful for your association and for myself as my ideas are able to spread. P.: Aunkai is a young art but it has ancient roots. You tell your practitioners that it is not rigid and that it grows with your research. Since its beginnings, it has become more refined, what will be its evolution? Towards which steps will your constant search for the perfection of the art you created guide you? M.A.: I created Aunkai 15 years ago with my knowledge about traditional martial arts as well as what I learned from them. My personal research has resulted in more variety in its usage. Since the past and present are completely different, the context is not the same. However, manners and behaviors befitting upstanding people are human traits that do not change. My evolution is the result of the passing of years and my mind being in harmony with my body. I feel that my evolution in the Aunkai has became very deep. I do not expect to become perfect, since perfection in people is impossible. I donâ&#x20AC;&#x2122;t attempt to attain the impossible. So, what is it that motivates me? The wisdom I have obtained thus far has enabled me to continue to have fun. In my opinion, everybody can have fun discovering things they donâ&#x20AC;&#x2122;t know, and this discovery is what maintains our drive even into later stages of life. Aunkai, at its current stage, is not yet common. Learning by knowing oneself and knowing others, in a mutual way, and sharing this connection, is why I teach Aunkai to my students. I think Aunkai is really very fun (laughs). P: Thank you, Master for your cooperation. It was a pleasure and an honor to share with you. See you soon in Europe!

In this DVD, G.M. Larry Tatum (10th Dan) develops techniques of the Kenpo program at the highest level. Particularly, some of his “favorites” like Flashing Mace, Parting Wings, Entwined Lance… Masterfully executed and based on the experience of the movement, G.M. Tatum incorporates his innovative teachings in these techniques that will help you add and complement your training in the Kenpo system. Besides, they provide the individual with the best choice for selfdefense, based on the logical and practical thinking, and place him in the path of understanding the art of Kenpo. These are the self-defense and fighting systems of the modern times we live in. They are designed so that the practitioner gets all the benefits that training these techniques can provide. This DVD has the support of Master Adolfo Luelmo (9th Dan), who goes on with a series of techniques performed in a smooth and strong way, for situations of extreme aggression, in which can be appreciated different states of the movement, in a logical and effective way. As a conclusion, Master Camacho Assisi (8th Dan), displays a technique that combines the strength of the arms and his expertise with legs.

REF.: • DVD/LARRY4

ORDERS: Budo international.com

The

100 Belt Pro j e c t

Get Involved! My name is Don Warrener and I am a Canadian karate bum now living in Brazil. I have a friend here – Jiu Jitsu Master Sylvio Behring – who recently invited me to a school of his for a grading in the favela (ghetto) just outside Rio. There were well over 100 students waiting for Sylvio with huge smiles on their faces. He is only able to get there once every 6 months because it is so far out of the area. The area is one of poverty and crime, so his driver carries a gun, just to be safe. As they started training, I saw a girl collapse off to the left. People rushed to her aid and I soon discovered that she had collapsed because she had not eaten all day; not out of choice but because she had no food. Then a teenage boy went down and, believe it or not, another one went down. In total, four kids collapsed and had to be revived. I was shaken to the very core. The girl was taken to a hospital; the others just left the class. My friend told me this was very common in this area of Brazil. He then told me that these young people do not pay for gradings or instruction; the church in which they train is provided free of charge. This is all they have, their martial art. Uniforms are donated or are ‘hand me downs’. Most train four times a week for 90 minutes each class. They have nothing else. Attaining a black belt is just a dream for these young practitioners, because on average it takes them 6 years to achieve a black belt

and there are no child black belts. Sylvio told me that, in some cases, their most valuable possession is their Jiu Jitsu uniform. Many of these young people get promoted to a different belt color and don’t even receive the belt because they can not afford it. This is the real Rio! I was in shock.!

Please post a photo of you and your students with the belts being donated to my Facebook page at https://www.facebook.com/don. warrener Thank you very much – Muito obrigardo meu amiga, amigos!

How You Can Help

Don Warrener is President of Warrener Entertainment. He began his karate training in 1966 in Hamilton, Canada under Benny Allen; he trained under Sensei Richard Kim for decades until Kim’s death and was promoted to 8th dan by the Father of Canadian Karate Masami Tsuruoka in 2008. Mr. Warrener has written numerous books, hundreds of articles and produced hundreds of martial arts video productions.

I decided to create The 100 Belt Project, which involves the donation of 100 belts to this deserving dojo. These belts will get circulated from one child to another for years to come, ensuring that each young person can wear the belt they rightfully earned. All colors and sizes are needed... and, yes black belts, as well. I witnessed a black belt grading where the black belt was very old and used, and probably handed down three or four times already. You might think that purchasing and donating 100 belts is the answer. However, sending used belts with all the pride and sweat infused from our own students to be passed with friendship and comradery to these Brazilian kids just means so much more! Please – make an announcement at the end of your classes about The 100 Belt Project, and ask your students to support this worthwhile endeavor by donating their old belts. Our goal could be met in a very short time. Remember: no new belts, only used ones.

donrw@warrenerentertainment.com

Please send your donated belts to: Alfonso Camerotte Rua Gustavo Corção, 784 Recreio dos Bandeirantes, Rio de Janeiro - RJ, 22790-150, Brasil

Kung Fu Chinatour 2018 Viele Kung Fu Fans in der westlichen Welt, darunter auch Lehrer und Schulleiter, sind heute noch der Ansicht, dass die wahre Kampfkunst im Zentrum Chinas liegt. Sie denken, dass die weisen Mönche in uralten Klöstern, auf die pilgernden Schüler aus dem Westen warten. Wer sich mit der Geschichte Chinas und derjenigen des Kung Fu befasst, weiss, dass seit der Kulturrevolution und den Jahren von Mao Tse Tung, die wahren Nachfolger von Shaolin, alteingesessene Meister, welche oft in Hong Kong zu finden waren, das Land damals verlassen hatten und in umliegende Länder oder gar in den Westen geflüchtet sind. Seit Jahrzehnten ist die wahre Kampfkunst, vor allem Hung Gar Kung Fu, welche als wahrer Nachfolger des Süd – Shaolins gilt, im Westen zu finden.

Kung Fu anche vertreten die Meinung, dass richtige, ursprüngliche Kung Fu Schulen, bzw. Meister, in China zu finden sind. Ich sage, Kung Fu stammt ursprünglich aus China, das ist korrekt. So, wie man den Schweizer n die Erfindung hoch- wertiger Uhren, nachsagt. Wir alle wissen jedoch, dass Uhren längst globale Produkte sind und alle Länder ihr eigenes Wissen dazu beigetragen haben. So auch beim Kung Fu. Die wahren Meister sind wie erwähnt, längst aus China aus- gewandert und haben sich aus verschiedensten Gründen, auf der ganzen Welt niedergelassen. So auch mein Meister, Kung Fu Legende und Vertreter einer der berühmtesten Linien aus Shaolin: Chiu Chi Ling, 10. Dan. China bemüht sich mit zahlreichen Klöstern und Schulen darum, das Bild des Kung Fu Erfinders aufrecht zu erhalten. Wie man anhand der allgemeinen Meinung der Bevölkerung entnehmen kann, mit Erfolg. Doch wer kann ihnen das übel nehmen? Genau diese Meinung der breiten Bevölkerung, teils auch meiner Schüler, ist der Grund, weshalb wir regelmässig eine sogenannte “Chinatour” für unsere Schüler organisieren. Mir ist es nicht nur wichtig, dass jeder meiner Schwarzgurt–Träger in seiner Laufbahn, mindestens einmal am Ursprungsort unserer Kampfkunst war, sondern auch, dass meine Schüler einen Vergleich zwischen unserem Können und demjenigen der Chinesen ziehen können. Über die Beziehungen meines Lehrers, werden wir in diese Klöster eingeladen, um unser Können vorzuführen und sich mit den anderen auszutauschen. Ein Fazit meines Schülers, welcher schon mehrmals dabei war: “Es läuft in jedem Kloster und jeder Schule fast identisch ab. Sobald wir mit den Vorführungen starten, kann man sehen, wie den chinesischen Schüler n/Mönchen die Gesichtszüge entgleiten. Nach unseren Darbietungen zeigen sie uns ebenfalls komplexe und optisch eindrückliche

Kung Fu

Grandes Maestros Waffenformen. Bei unseren Waffenformen zeigen wir zusätzlich Anwendungen und Partnerformen, wovon die meisten Zuschauer keine Kenntnisse besitzen. Es ist für mich immer wieder sehr eindrücklich zu sehen, dass wir besser sind und dass Sifu richtig liegt, wenn er dies jeweils behauptet.” Es ist mir ein Anliegen, dass dieser Text richtig verstanden wird. Es geht hier nicht darum, jemanden hervorzuheben oder schlechter dastehen zu lassen, sondern lediglich darum, die Illusion zu korrigieren, dass echtes Kung Fu immer noch in China zu finden ist. Zweifelsohne sind die zu findenden Schulen sehr gut in “Shaolin Shows” und akrobatischen Darbietungen; haben jedoch mit der traditionellen Kampfkunst aus ihren eigenen Klöstern, nicht mehr viel gemeinsam. Aber wie erwähnt, das selber zu sehen und mitzuerleben, ist mir für meine Schüler sehr wichtig. Abgesehen davon, bietet Hong Kong eine exzellente Atmosphäre für ein intensives Herbstlager, mit durchschnittlich 6 Stunden Lektionen pro Tag. Ebenso wertvoll ist die gemeinsame Zeit für unsere Gemein- schaft, fernab von Ablenkung wie TV, Internet und anderen sozialen Medien. Wie bereits in anderen Artikeln erwähnt, werden wir uns im 2017, für die Teilnahme der neuen, grossen Chinatour 2018 vorbereiten. Mein Sifu und ich haben vorgängig darüber gesprochen, wie wir den Event noch effizienter und besser für die Teilnehmer gestalten können. Da gibt es einiges, was wir noch definieren müssen. Mit

Kung Fu

Grandes Maestros Sicherheit wissen wir, dass wieder ein Turnier durchgeführt und das Bruce Lee Museum besucht werden wird. Dazu möchte ich erwähnen, dass in diesem Museum, ein Schüler meines Lehrers, Hung Gar Kung Fu unterrichtet und die Verantwortung diesbezüglich dort trägt. Meinem Sifu ist es ein grosses Anliegen, wie er mir bei unserem letzten Treffen mitteilte, dass er mir alle wichtigen und verantwortlichen Personen in China/ Hong Kong vorzustellen, sodass ich die Organisation für die nächste Tour, für unsere weltweite Kung Fu Familie, übernehmen kann. Dies ist natürlich eine grosse Ehre für mich, als sein Stilnachfolger. Um die Wahrheit zu sagen, versucht mein Sifu schon lange, mir gewisse Verantwortungen abzugeben. Unter anderem auch die Abnahme der Meistergrad–Prüfungen seiner Schüler, welche oft während solchen Touren in Asien, stattfinden. Bis jetzt habe ich mich immer etwas dagegen gewehrt, weil ich der Meinung bin, dass mein Sifu, solange er unter uns ist, diese wichtigen Angelegenheiten, durchführen soll. Schon aus Prestigegründen gegenüber den Schülern. Aber wie auch bei der Shaolin–Tour, werde ich mich langfristig nicht drücken können, eines Tages auch diese Verantwortung zu übernehmen. Auf jeden Fall, freue ich mich jetzt schon sehr auf die Chinatour 2018 und rate all meinen Schülern und Lesern, sich darauf vorzubereiten. Die Reise ist natürlich mit Kosten verbunden. Ein Flug nach Asien ist nicht ganz günstig und wir werden dort einiges vorhaben. Geplant sind unter anderem: Besuch des Wong Fei Hung Museums, Besuch Wong Fei Hung Löwentanzschule, Besuch Chin Woo Schule Foshan, Bruce Lee Museum, Turnier und eventuell ein weiterer Filmdreh. Hinzu kommen zahlreiche, gemeinsame Mahlzeiten, bei denen wir uns mit Kung Fu–Brüdern und Schwestern austauschen und unterhalten können, Seminare und Lektionen, welche unter der Leitung meines Sifu stehen und bei welchen wir gemeinsam von ihm lernen können. Werden auch Du und Deine Schule dabei sein?

Significant texts from the book of Shidoshi Alfredo Tucci Significant texts from the book “Consonance and emptiness. The way of the warrior and the spirit.” of Shidoshi Alfredo Tucci.

“If everything in the Universe was vibrating in specific tones, ancient Miryoku shamans discovered that before touching whatever thing, it was essential to identify first its frequency and then get in tune with it.” “Miryoku sages, by their discipline and unmatched courage, were no doubt true spiritual warriors. To all of them, from the past and from the future, I dedicate this book and I greet placing my forehead respectfully on the ground.” “The Sage, finally, loves without wanting to possess; he loves because he chooses to love, and he chooses merging and transcending because he knows both his smallness and his greatness. He loves because only then he will add his strength to the Great Strength that everything and all of us share, dissolving the useless attributes of our being, without disappearing sterile and useless all the power and the experience of his spirit, which returns home comforted, knowing now that he never left.”

Consonance and emptiness â&#x20AC;&#x153;When things reach their limits, they only have one way to follow and it is that of going on to its opposite. The times of the old East-West dichotomy have gone, as well as those of Communism vs. Capitalism, man and woman, and so on.â&#x20AC;?

Significant texts from the book of Shidoshi Alfredo Tucci

“One of my masters taught me that nature does not make mistakes; fighting its relentless and ruthless judgment will not change reality. The truth is stubborn and it's always wiser trying to understand its mechanisms than judging them emotionally.” “The recurring problem is that we stand on a point and from there we want to judge everything to draw out a universal truth and then apply it ten minutes later, when we are no more on that point.”

“Fate is like a juicer that extracts what we have inside; our freedom really lies in the way we react to its suggestions, to its proposals and even and especially to its impositions. In the paradoxical Universe that surrounds the mystery of life and consciousness, is so true that we carve our destiny as it is that destiny itself will determine severely its purposes.”

Consonance and emptiness "The universe we inhabit acts according to patterns and laws necessarily paradoxical, but determinable. Within the Chaos there exists an order, within the order there acts the Chaos."

Significant texts from the book of Shidoshi Alfredo Tucci

“Admiring the imperfect is a consciousness trick, but it's also a way to imitate and follow the dictates of the natural way. Nature abhors what is pure, equal, symmetrical, and even though it repeats the patterns that underlie behind higher laws (pi number pi, fi number, etc.) it never repeats exactly nothing.”

“We can't hide behind determinism without falling into stagnation or ending up in nihilism, as well as we can't consider that all depends on our decisions without falling in arrogance or total blindness.”

"Fate crowns the bolder... or destroys him, but it never stays indifferent to the actions of those who justly decide to collaborate in its achievement. Like everything great, destiny doesn't respond to those who call at its door with a halved, mean, or miserable spirit."

"Great truths, urgencies, pile up before us taking shelter in explanations, in self-sustained speeches, in the emergency of the immediate; the peremptory fills up beyond even its own reality and necessity."

Consonance and emptiness â&#x20AC;&#x153;In the haven of peace of thoughts, the Being grows; vaporous, light as water, it occupies everything effortlessly, without intention. It continuously changes its place and its reasons, gliding smoothly like the river water caresses the sand.â&#x20AC;?

"Most of us don't see or don't want to see, because we fear the unknown, or because we are unable to overcome the catalog of all the material that took us so many efforts and time to build."

"The spiritual world, as the physical world, is not what we want it to be, but what it is. All kind of forces, energies, consciousness and tensions make up an "omniumgatherum" wove into layers substantiated by their own nature, changing, ambiguous, in harmony or in conflict."

"It is surprising that the recurring theme of good and evil keeps being regurgitated in every generation, as if the matter were so thick that required the stomach of a ruminant rather than that of a human for its digestion."

“The border between good and evil dissolves when is seen beyond space-time; what was good yesterday is wrong today; what is evil there, here is good... an argument hardly acceptable for small souls, which, in their need to be subdued, want to subdue everything, thus achieving unfailingly and always the opposite of what they pursue. Better than me, as the saying goes: The road to hell is paved with good intentions!”

“If we systematically deny any possibility that escapes the admissible by the first attention, we will be closing what might be the main door of our vital experience.”

“Watch out! Not denying doesn't mean 'believing'! For nothing is more necessary in the exploration of the spiritual that the sense of 'non credo', empiricism, pragmatism and, above all, soberness. These are the three ingredients of lucidity, the great attribute of the traveler of the ineffable.”

Significant texts from the book of Shidoshi Alfredo Tucci

"I think there is no true martial mastery without compassion. The absence of it is the only thing that allows the inner monster win the battle and the horror outcrop."

"Every initiation is like entering a funnel, like passing through a sieve increasingly finer, subjecting our being to a decantation. Unavoidably, snippets of our being are left on the road, disposable rags that must be relegated because they become a burden, because they've already fulfilled their task, or because they are unacceptable in the upper plane we want to access."

“We suffer because we lack something; because we are afraid to lose what we have; because we have something that looked good, but it turned out to be not so good; or because we have something we can't get rid of.”

“Nothing replaces the consciousness of being and understanding; that's why the authentic path must force the transformation of consciousness enabling us to die to what we are, so that we can be born to what we are not; in this transit, pain is not negotiable, but suffering is.”

"Alice crossed the mirror, but we all can do it, because achieving that, lies among our assignments and potentials. “We are spiritual beings having a material existence and not the other way round."

Consonance and emptiness â&#x20AC;&#x153;Surprise!!! Everything you blindly believe, fruit of your senses and your apprenticeship, may not exist in that form beyond the particular own subjection of your description of things.â&#x20AC;?

Significant texts from the book of Shidoshi Alfredo Tucci

“We all serve something greater than ourselves; consciously or unconsciously we are part of something bigger that feeds on us as we feed on other things.”

“The invisible is acting behind every breath; it exists concealed, doing without doing. The sage sooner or later is bound to have that encounter with the mystery.”

“Life is a sacred path, not a sequence of linear events. But above all, life is what we choose that it be, because everyone can fool himself about it or get lost in it as he pleases. Each option has its price, each decision its consequence, each front has its back and each stage its play.”

“Respect means also understanding that everything that exists is necessary even though we dislike it. Respect does not necessarily mean having to exist side by side with it; accepting does not mean letting it touch you.”

“Our personal times are nevertheless small; life is just a breeze; seeing beyond, avail ourselves of every moment to meet higher processes in our individual evolution, is the best response to the cons we live, because at this level there's no way out: Nobody gets out of life alive.”

“Extreme selfishness justifies anything and positions itself as the only commandment and value of post-industrial societies; anything goes, economic success is glorified as the only reason, it doesn't matter at the expense of what, or how.”

Consonance and emptiness â&#x20AC;&#x153;We are all made of the same stuff; we are vibrant cumuli of energy and consciousness that possess a unique path: the one of the spirit that nurtures them and enlivens them.â&#x20AC;?

Significant texts from the book of Shidoshi Alfredo Tucci

“Conceited is the man who believes himself indispensable, but equally stupid is the one who scorns himself before his determination and destiny.”

“For me, the spiritual world, the realm of the invisible, is a grandiose dimension, the real border to be crossed and the only one that is able to summon what is human in its true dimension.”

“Knowing something in depth definitely means loving that thing, so, and given that a culture is distinguished and built from the forms, these also constitute an inalienable asset. When you go to Rome you just have to look Roman; otherwise you know where the door is.”

“The religiously oriented person believes by faith in a particular arrangement of the invisible world. The scientist believes ... by faith, in his method. To the student of spirituality there are, however, two ways, the development of mediumship, i.e., the sensory perception of the invisible, and / or the study and direct and personal interaction with the planes of the invisible.”

Consonance and emptiness “The mind is essentially a biological piece of junk and feeds on sensations that it frames meticulously into groups of associations.”

“Meanwhile, if we live long enough to become truly wise, sooner or later we will finally unmask that impostor, that upstart and junk dealer of consciousness, such is the mind.”

Consonance and

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The Meaning of the Black Belt (MISSION STATEMENT OF THE WORLD HWA RANG DO® ASSOCIATION) HWA RANG DO®: A legacy of Loyalty, Relentlessly seeking Truth, Empowering Lives, Serving Humanity

We can find two main targets for the students into Hwa Rang Do®: the 1st dan Tae Soo Do® (introductory art to Hwa Rang Do) black belt and the subsequent 1st dan Hwa Rang Do® black sash. The 1st dan Tae Soo Do® black belt is the time for the student to finish the introductory syllabus and start to study of the complex and comprehensive Hwa Rang Do® syllabus.

he 1st dan Hwa Rang Do速 black sash is a huge step, the basic technical program of Hwa Rang Do速 has been finished and you can get the title of Hwarang knight so you can start to study the advanced martial techniques of the Art. Both the exams are hard and lasts for days. The 1st dan Tae Soo Do速 black belt Test is made of at least 3 pre-test that are to be performed in many months. In each pre-test many different instructors evaluate the level reached by the student, his physical and technical performances. The 1st dan Hwa Rang Do速 black sash Test requires the participation in at least one week long full-immersion seminars with Do Joo Nim Dr. Joo Bang Lee (Founder and Hwa Rang Do 10th dan) e con Kuk Sa Nim Taejoon Lee (Grandmaster and Hwa Rang Do 8th dan), then for many hours the tested

student has to show techniques, forms and several fighting skills. Of course in both tests many theoretical elements are evaluated (such as hwarang history and Korean etiquette) by means of written and oral exercises. But, why these tests are so hard? The 1st dan Tae Soo Do® black belt Test has the purpose to make the student understand what really means to enter the traditional world of Hwa Rang Do® so it’s important to test his motivation (studying Hwa Rang Do® is really hard and the student has to be selfmotivated). For the 1st dan Hwa Rang Do® black sash Test, the title of Hwarang means that the student is going to be a leader, an example, so an instructor for other students. From this point of view he has to be ready to integrate into his life all the Hwa Rang Do® theoretical and technical issues. He has to understand the deep meaning of that change in his life and the test is made for that. About the author: Su Suk Sa Bum Nim Marco Mattiucci – Hwa Rang Do 4th dan and Chief of the Italian Branch of the World Hwa Rang Do Association.

REF.: â&#x20AC;˘ DVD/TOYAMA-2

This DVD is the result promoted by the Spanish subsidiary of the Zen Nihon Toyama-Ryu Iaido Renmei (ZNTIR - Spain Branch), to publicize the technical content of the ToyamaRyu style as practiced in the ZNTIR Honbu Dojo in Machida, Tokyo, unchanged, with no alterations. The loyalty of the program is such that is its president and maximum technical manager, Yoshitoki Hataya Sensei, who, accompanied by some members, executes personally the entire compendium of the current style program. In him you can find the basic structure of the methodology that is applied, from the coded exercises of warming up and preparation and through the cutting exercises; the guards; the school Katas, including those corresponding to the Toyama Army Academy, the Gunto Soho and its explanation; work in pairs, both in Kumitachi and Gekken Kumitachi, and the cornerstone on which the Toyama-Ryu is based, i.e., Tameshigiri or cutting exercises on a real target. Zen Nihon Toyama-Ryu IaiDo Renmei (ZNTIR) is the body that currently - once reviewed and adapted the concepts and methodology of a school that comes from a method of actual combat intends to maintain alive this tradition and the original forms through a system that unifies body, mind and spirit in a realistic and effective way. Thanks to the commitment of a few graduates of the Toyama Army Academy (Rikugun Toyama Gakko), who continued secretly keeping alive the art until the lifting of the bans and the return of sovereignty to the Japanese people, today can learn a fencing style framed among the current schools of Iai-Do. This is a meticulous DVD in different languages, which proves to be a valuable source for researchers and practitioners of Japanese sword, and for martial artists in general or interested in the history of Japan and its last world war. It's a real stroke of luck being able to observe the techniques it contains, and at least for serious researchers, is well worth having it in your video library. We practitioners of the style want to share loyally the knowledge of our Japanese fencing school, in the hope that at the same time, the own inter nal values of those armed men impregnate the new generations and allow to glimpse a revulsive, in a traditionally way very different from the current approach to combat disciplines of Japanese origin. All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

Krav Maga

CKM UNIVERSITY ONLINE Anywere! anytime!

COMMANDO KRAV MAGA (CKM) Israeli Defense Forces along with military units in the United States and around the world are constantly deployed in counterterrorist operations. Law Enforcement agencies have an inherent need for a non-competitive tactical self-defense system. Commando Krav Maga (CKM) uses a wide combination of techniques for combat survival and self-defense which make it the most devastating Israeli fighting system in the world! Commando Krav Maga (CKM) is the fastest growing reality based system on the planet. Its popularity is driven by a complexity of interwoven simplistic training methods progressively layered to create efficient biomechanical pathways which allow any Man or woman to develop tactical skills at an accelerated pace. Considered by many experts to be the most advanced Israeli hand-to-hand combat system in existence, CKM has changed the way expert instructors and combat professionals have come to view the art of modern personal defense preparation for realworld attacks. CKM has created widespread appeal through its proven effectiveness in close quarters battle, but more important is the constant push to adapt and raise the bar on what is possible for CKM followers to achieve in the most impossible situations. The psychology of confrontation (pre and post attacks). Mindset needed to face extreme violence. Techniques taught to elite commando units and SWAT teams as well as thousands of everyday civilians around the world. How to defeat any attackers including those armed with guns, knives, clubs, bottles, bats, etc. Survive any brutal attack on the ground. Escape from chokes and holds. Use tactical defense against strikes. Control or debilitate your opponent immediately irrespective of their size or martial arts background with no-nonsense CKM concepts. Execute crucial and straightforward moves saving your life and the lives of your loved ones. Become an effective hand-to-hand combat expert! Acquire the tools and knowledge to get into your best physical and mental shape.

Krav Maga

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Highly Effective and Easy to Learn Reality-Based Training Gun & Rifle Disarming, Vicious Knife Attacks and Threats, Violent Strangulation, Ground Survival, Fast and Brutal Striking Scenarios, Pressure Points, Violent Headlocks, Explosive Baseball Bat Attacks, Clinch Defense, Surprise Attacks, Escape from Unexpected Street-holds, Improvised Weapons, Crime and Terrorism Survival Skills, Grappling and Striking techniques ,Pre and Post Conflict Tactics, Commando Training Tips and much more! While practicing the CKM tactics and techniques, you are also taught to understand the psychological and mental aspects of the attack. To maximize your street survival skills so you can perform under stress, CKM drills are progressive. You start training slowly and precisely (in some cases even blind-folded) so that the tactics and techniques are built into your muscle memory and become part of you. You gradually increase the amount of pressure in your training to include balance, psychology, noncooperative attackers, multiple attackers and the adrenaline factor. We train as realistically as possible while always keeping safety in mind. As you progress in Commando Krav Maga, the level of intensity becomes increasingly demanding both physically and mentally. Through advanced training, you will gain the skill and self-confidence to effectively survive any confrontation.

Progression In Commando Krav Maga there are a total of 10 Levels. You can progress from levels 1-8 either as a certified CKM Instructor or as a CKM student. The grading requirements are different for instructors and students, and offered as separate programs. Levels 9 and 10 are designed to continuously develop and improve the Commando Krav Maga system which emphasizes that CKM is constantly evolving. These two levels are exclusively reserved to the highest level CKM Instructors specifically invited by CKM Founder, Moni Aizik.

â&#x20AC;&#x153;While practicing the CKM tactics and techniques, you are also taught to understand the psychological and mental aspects of the attack.â&#x20AC;?

CKM UNIVERSITY ONLINE Anywere! anytime!

Israeli Fighting Systems The modern history of Israeli fighting systems dates back to 1919, with the implementation of the British Mandate. It was in that year the Jewish people formed an underground army known as the Haganah (Hebrew for defense) to deal with the ongoing conflict with various terrorist gangs, and in anticipation of the creation of a Jewish state promised to them by the British in the Balfour Declaration. Throughout its existence since that time, the little region in the Middle East now known as Israel has had to fight daily in order to survive. Completely surrounded by enemies under the most hostile circumstances, Israel has always been outnumbered in its battles. In response to continuous overwhelming odds, the Israelis developed systems of combat that emphasized mental toughness, versatility, innovation, and practicality at its core. The formalities of traditional defense systems were abandoned in favor of methodologies that valued rapid and instinctive learning. These philosophies helped Israel and its citizens to survive in the face of constant aggression as the nation formed one of the most respected military forces in the world with the Israeli Defense Forces (IDF). Faced with warfare and terrorism, the Israeli military developed combat systems named Krav Maga (Krav = fighting; Maga = contact) that were extremely practical in the battlefield. Israeli fighting systems have been successfully used for decades by Israeli Special Forces, FBI, high-profile bodyguards, counter-terrorist police units, and SWAT units from around the world. Commando Krav Maga (CKM) Commando Krav Maga (CKM) is considered by many experts to be the most evolved and effective Israeli Hand to hand combat system in world. Founded by Moni Aizik, a former Elite Commando of the Israeli Special Forces, Commando Krav Maga is the ultimate reality-based system engineered for the most brutal and vicious street confrontations. With its no-nonsense approach and straightforward practical moves, CKM prepares you for the unexpected with techniques that can be utilized effectively under pressure. Commando Krav Maga is not a traditional or sport-based martial art. There are no competitions, rules or regulations. Instead, CKM is a reality-based system designed for the primary goal of survival.

Krav Maga

CKM UNIVERSITY ONLINE Anywere! anytime!

CKM Concepts Combat in the street is completely unpredictable. There are no rules. There are no referees the fighting has no limitations. Most important … there is no honor code and anything can happen. The attacker might pull a gun, a knife, or have friends that viciously swarm you. Thugs and criminals are capable of stooping to any subhuman extent. The CKM Solution…Think like a Commando. Engage the enemy only if there is no other choice, but if you must then exploit his weaknesses to create maximum damage as quickly as possible. Then rapidly disengage before a weapon is introduced or his friends come to jump in. The goal is simple…Survive. This is the reality of the street. Commando Krav Maga’s (CKM) highly effective tactics and techniques are built upon a foundation of key survival concepts: Once you understand the key concepts and apply them along with Commando Krav Maga’s no-nonsense street tactics, you have a much greater chance for survival.

Engage/Disengage! In a street fight there are no rules or referee stoppages. Staying engaged with your attacker and trying to punish them can be fatal. At any time the attacker can pull out a concealed weapon or their friends could jump in. This is why one of the key concepts in CKM is to disengage whenever you can, but if you have no choice, immediately engage to create as much damage as quickly as possible then disengage to safety.

Maximum Damage/Minimum Time! Further building on the concept of Engage/Disengage, CKM tactics and techniques are designed to inflict the maximum amount of damage in the minimum amount of time during a life-threatening confrontation. You are trained to debilitate the attacker with devastating street tactics that will ensure your survival.

5 Seconds Rule! In CKM, you are taught Ground Survival rather than Ground Fighting. No matter how superior your grappling skills, staying on the ground during a street confrontation can be fatal. Unlike an MMA (Mixed Martial Arts) ring, the streets are unpredictable. Your attacker can suddenly pull

out a knife or his friends may jump in. In CKM, you are trained to get up in 5 seconds or less from any devastating ground attacks including ground and pound, submissions or lethal weapons. Once you’re up, the goal is to disengage to safety rather than trying to punish the attacker.

The What-Ifs! In order to train realistically, you need to implement the what-if mindset by putting yourself in the attacker’s shoes. As the street is unpredictable, you need to consider the different variables. “What if the attacker is bigger, stronger or faster?” “What if the attacker moves from one attack to another?” “What if the attacker’s friends jump in to help him?” “What if the attacker is carrying a concealed weapon?” By internalizing the CKM what-if mentality, you will develop the proper mindset to always prepare for the worst!

Adaptation! In Commando Krav Maga, you are trained to adapt quickly to the changing environment under the most realistic scenarios. After perfecting your tactics and techniques through progressive practice, you must test yourself under the most stressful and dynamic conditions. One of the best methods of developing effective instinctive reaction is implementing CKM surprise attacks into your training. Simplicity is Genius! Any technique that requires more than two gross motor skills is extremely difficult to perform under stress. In Commando Krav Maga, most of the tactics were designed to be simple and universal so that you don’t have to think about the move under stress. They work regardless of the direction of the attack or size of the attacker. Although the tactics and techniques in CKM are simple to perform, it took many years of research and field testing to refine and evolve CKM to where it is today. Think of a clock: simple on the face but when you look inside, you will see how many detailed and intricate parts it takes to make the clock move. This is symbolic of the ingenuity behind CKM’s simple and highly technical yet straightforward tactics.

Krav Maga

CKM UNIVERSITY ONLINE Anywere! anytime!

Ethical In CKM, the intention in any conflict situation is to find an honorable path towards a peaceful resolution. CKM is all about avoiding the fight. Violence is the absolute last resort. CKM always gives the aggressor a chance to save face, an honorable solution as a way out, without ever compromising his own sense of self esteem. Your body should say,“I don’t want to fight”, while your eyes are saying, “watch out”. Many times, a fight is all about somebody’s ego, either theirs or ours. CKM knows that fighting is mostly avoidable and as such its practitioners do their best to deescalate any situation that could turn violent. Every practitioner of CKM seeks to dissolve his own individual ego through intense training and introspection. Because every CKM technique is potentially lethal, CKM insists that its practitioners respect every other human being, regardless of race, religion or gender. Therefore, the fundamental CKM principle is this: No first use of force.

Pragmatic The second principle of CKM is this: While negotiating for peace, prepare for war. CKM evolved in the hostile environment of the Middle East. So, CKM intrinsically is a mature and pragmatic body of knowledge. Though every CKM practitioner does his best to deescalate the conflict, CKM is not oblivious to the fact that there are many unintelligent people out there who might mistake a desire for peace as weakness. So, even as CKM tries to negotiate a honorable peace with the aggressor, the CKM practitioner instantly begins to prepare for combat. The CKM starting stance for instance conceals far more than it reveals. If there is going to be any kind of fighting, the opponent will know nothing about what the CKM practitioner knows. This allows CKM to launch the most devastating counter attacks from what looks like an innocuous position. CKM practitioners are taught to loudly announce their intentions of not wanting to fight. This further ensures that should the law enforcement authorities intervene, they will have witnesses to show that the CKM practitioner did not want to fight and that whatever happened subsequently was the result of the aggressor. Fighting in self defense is legally justified in most countries. Unprovoked physical confrontation and the use of excessive force is not.

“Combat in the streets is totally unpredictable. There are no rules. There is no referee who will stop the fight, or throw in the towel. There is no honor code.”

CKM UNIVERSITY ONLINE Anywere! anytime!

Dynamic

devastating counter attacks if necessary.

Static systems that claim to know all the answers are obviously highly suspect. All bodies of knowledge must keep evolving to keep pace with new inputs or else they become outdated. CKM is no different. CKM knows that criminals and terrorists continuously keep changing their tactics. Therefore, CKM keeps evolving to keep pace with the new tactics and weapons of the enemy. It is totally dynamic. Combat in the streets is totally unpredictable. There are no rules. There is no referee who will stop the fight, or throw in the towel. There is no honor code. Treacherous behavior abounds. The attacker might pull a gun or a knife, or have friends lurking not too far away…possibly even a gang. Such people are capable of stooping to any subhuman extent.

3. The Only Winner is the One that Goes Home Safe! Don’t let your ego get in the way of your judgement. Even if you beat someone senseless in the street, you can be charged criminally and end up serving a jail sentence. There is nothing to prove by fighting someone. You are a true winner if you go home to your loved ones alive and safe.

The CKM Solution Think like a Commando. Engage and rapidly disengage. Engage the enemy only if there is no other choice, but if you must then use appropriate force to stop the threat. Then, rapidly disengage before his friends come to his rescue. The goal is simple…Survive. This is the reality of the street, not of the dojo. Some of the important philosophies in Commando Krav Maga are: 1. We Don’t Live to Fight, We Fight to Live! In Commando Krav Maga, the intention in any conflict is to find a peaceful solution. Violence is the absolute last resort. As a CKM practitioner, it is important to understand that you have a responsibility to use your skills for protecting yourself or your loved ones. CKM tactics and techniques are potentially lethal and not meant for satisfying your ego by starting fights and hurting others. Instead, you are taught to respect others and swallow your ego. In a confrontation, use of force should only be utilized if you have no other options. 2. We Look for Peace While Preparing for War! Even though you are not looking for trouble, CKM helps prepare you for the unexpected. There may be times when you look for a peaceful solution by trying to deescalate the conflict but an aggressor takes this as a sign of weakness. As a CKM practitioner, you are always ready for combat while never revealing that you know something. Your first intention is to always make it known that you don’t want to fight. However, if the aggressor engages, you are ready to launch

4. Evolution or Extinction! The key to survival is to continuously evolve and progress. As criminals evolve with the weapons and tactics they utilize on their victims, Commando Krav Maga recognizes the need to keep ahead of new threats. Any system that remains static can quickly become outdated. As such, the tactics and techniques in CKM are constantly being evaluated and tested to see if there are simpler, faster and more effective methods. The only constant in CKM are the key concepts and philosophies.

CKM Curriculum Aesthetics is not a main concern in CKM. It is a system which focuses entirely on raw survival. Techniques and proper body alignment are learned muscle behaviors. Perseverance and the will to live are far more important to those who embrace CKM philosophy than beauty of movement and expression. The curriculum is rooted in repetitive training concepts which allow students to reach defensive proficiency in months instead of years. CKM’s iterative approach to reactive training enhances mental clarity, technical prowess, and physical stamina during times of extreme stress. Each pattern of moves has evolved through real life survival situations. Drills using surprise and multiple attackers help students explore strengths and weaknesses while honing reflexive skills. The goal of this type of training is to ultimately create instinctive reaction to whatever kind of attack is delivered.

Krav Maga â&#x20AC;&#x153;Think like a Commando. Engage and rapidly disengage. Engage the enemy only if there is no other choice, but if you must then use appropriate force to stop the threat.â&#x20AC;?

CKM UNIVERSITY ONLINE Anywere! anytime!

Techniques and Tactics Learn the most complete foundation of Commando Krav Maga (CKM) concepts, tactics, and techniques while experiencing the rewards that come from conquering the most challenging program ever developed in reality ¬based defense. Over the course of four intensive days (@10hrs/day) get highly effective and easy to learn reality¬ based training. Comprehensive Survival Skills: • Gun Disarming • Vicious Knife Attacks • Violent Strangulation • Ground Survival • Fast and Brutal Striking Scenarios • Pressure Points • Violent Headlocks • Surprise Attacks • Escape from Unexpected Street-Holds • Improvised Weapons • Pre and Post-Confrontation Tactics • Extreme Conflict Mindset and Psychology…and more! Acquire the tools and knowledge to get into your best physical and mental shape! This world renowned boot camp is designed for men and women age 18 to 80. All training is by our professional high ¬level Elite Team Instructors who guide you through the course safely to help develop the skills needed to protect yourself and the ones you love. At the end of the four days you will have the option of receiving an honorable Commando Krav Maga Certificate of Achievement, or be tested to become an Officially Certified CKM instructor.

Sifu Alfred Johannes Neudorfer and Sifu Rosa Ferrante Bannera, founders of Wing Tsun Universe - WTU, a movement which characterizes not by the use of techniques, but of qualities, exchanges, principles and concepts of movement - focus their first DVD in Siu Nim Tao (SNT) or "9 ways". The SNT is the basis of Wing Tsun, Wing Chun and WTU. The understanding thereof is the basic condition for everything that comes after, because if you observe the way people perform the sequences of this movement, you can easily deduce what they will be able to do. If something is wrong with the movement, everything the practitioner will later develop will be erroneous. WTU movements (forms) involve inherent functions from which can derive applications. The significance of the primary movements makes them derive in other movements and to generate applications based on the principles and interactions that help to their understanding. The WTU also incorporates an extra "set" its founders considered necessary due to the current circumstances. The DVD includes the Movement (form) Siu Nim Tao, its 9 sequences and applications, sequences 1 to 3 of the first movement with a training partner (Chi Sao) and a revealing interview with the founders of the WTU.

REF.: â&#x20AC;˘ DVD/WTU1

ORDERS: Budo international.com

In this new DVD of Vovinam, Patrick Levet has wanted to show the facets of the use and handling of the Vietnamese Stick. Although little known, the Vietnamese long stick is, without a doubt, the most important weapon among all the weapons of the traditional Martial Arts of Vietnam. The Vovinam school, in its official program, only proposes the Stick Form (Tu Tuong Con Phap) and the counterattacks of stick vs. stick (Phan The Con), without explaining the intermediate movements. But the Vietnamese stick goes far beyond these two facets and Master Levet offers us 2 detailed DVDs on all the applications of the numerous intermediate movements of the Stick Quyen. This first volume includes a series of specific stick warming up and bodybuilding exercises, the guard, fundamental principles, stylistic handling of the weapon, defense against disarmament, blocking and dodging, displacements, as well as combat techniques. An original work that shows for the first time the Vietnamese stick in a complete and exhaustive way.

REF.: â&#x20AC;˘ DVD/VIET7 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

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Interview

Interview with Michael Matsuda of Martial Arts History Museum, Burbank California The Martial Arts History Museum is the first, official museum in the world focusing on the martial arts. Founded by former magazine publisher and martial arts historian Michael Matsuda, this year, the museum celebrates its 18th anniversary. Designed as an historical timeline, the museum focuses on art, history, culture and the traditions of the martial arts and its impact on society. In this article we took a few moments to interview its founder, Michael Matsuda. BUDO: Let's start out by asking, what is your background in the martial arts? Michael Matsuda: I started the arts at my local Japanese Community Center in 1968. Judo was really the only art available to us at the time, it was torture! I was one of only two kids in the entire school and it was very traditional. When karate schools started popping up I joined for a bit and then I went on to learn JiuJitsu. One day, Sifu Al Dacascos came to visit the school and he was wearing this cool, high-collared black outfit. He was moving in circular patterns and that was it, I knew from there I had to study that art. I started learning Shaolin kung fu from a college student and then later joined the YMCA and learned Siu Lum Pai kung fu from one of Buck Sam Kong’s senior students, Lyle Fujioka. Following my eight years learning Shaolin, I studied Monkey style kung fu for 35 years, which I currently teach today. As unusual as it sounds, I am actually the only 6th generation grandmaster of the Monkey art form. The family tree is very short and sadly, it’s such a difficult art form that everyone drops out after a year or two. My instructor was the only one in the 5th generation and his instructor was the only one in the 4th. I am the only one who stayed and completed it, so I am the inheritor of the art.

“The Martial Arts History Museum is the first, official museum in the world focusing on the martial arts.”

Interview

BUDO: You were heavily involved in the arts in the early days! Michael Matsuda: Pretty much! I used to go to the tournaments when I was young and I got to at least witness the tail end of the “blood and guts” era of pointfighting. I got to see Eric Lee in his early days, Bruce Lee when he was among us, Fumio Demura at the Deer Park and see the Ed Parker’s Long Beach Internationals in the early 1970s. I got to witness when there were virtually no martial arts schools to a flood of schools. I remember going to the Chinese theatres to watch kung fu movies in the 70’s. I was privileged, even though I was quite young, to see so many pioneers in person, it was a great time! I remember full-contact karate in the early stages, that was something else! I was honored to be able to cover those events when I got older and started writing for the magazines.

BUDO: There has never been a Museum for the martial arts, what made you feel qualified to start it? Michael Matsuda: I wrote as a contributing editor of Inside Kung Fu, Black Belt and nearly every magazine for about 20 years. I founded and published Martial Art Magazine for about four years. Now, although I had already degrees in journalism, business and art, I didn't feel I knew enough to start a Museum. I didn't want to be someone who knows nothing about the business and try to start a Museum. How foolish would that be? So, for the next 15 years, I went back to college to learn marketing, how to run a Museum, archiving, display and more. I went to the American Film Institute to learn directing and producing because I knew video played a huge role in the Museum. I learned computer programming and more. I needed to make sure the Museum would not fail so I did everything, education-wise, to prepare for it.

Interview

BUDO: What made you finally decide to create such a facility? Michael Matsuda: The concept of the Museum actually begin in 1988, when I sold my magazine. I wanted somehow to save history and magazines come and go. Who remembers who was on last month's cover? After I felt I had enough formal education to start the Museum, I officially launched it on the 15th of September, 1999. Now, I needed to take this slowly so I began the Museum as a traveling exhibit. I and one of my students traveled across the country nearly every month at a convention, expo, etc. We started as a 10x10 booth then went to a full 1,000 square foot exhibit. We borrowed every item to put on display from everyone I knew. We did this for four years and finally, in 2006, we opened in the city of Santa Clarrita. BUDO: Why Santa Clarita? Michael Matsuda: Through the years I have met with everyone in the political arena. From the Mayor, Congressman, Councilman, Senator, Assemblyman, you name it, to try and get their support to help us. I lived in Santa Clarita and had a meeting with Congressman McKeon. He liked the idea and then we met with the Mayor of Santa Clarita and they wanted me to have the Museum there. The Mayor actually took me to a location and pulled out a blueprint of an area the city was going to use and construct three museums. The Martial Arts History Museum would be one of them. By this time, we had gathered enough funds to open a location and since the city was going to construct a place for us, we decided to lease a space right next to the proposed location so that people could get used to the spot. It seemed liked a good plan. However, a new Mayor headed up the city the following year and he did not want museums in the city. So, after a year, we packed up and looked for a city that was open to culture and art. In 2010, we moved to the city of Burbank, CA and have been there ever since. BUDO: What type of impact do you think a Museum has for the martial arts community? Michael Matsuda: Having a Museum validates the martial arts. I don’t mean validation for styles’ sake, I mean it shows the world that the martial arts industry, its people and the entire community are important enough to have a Museum. It reveals that the martial arts isn’t just a sport or hobby, but that the martial arts played a unique role in history, especially in America. The martial arts have changed people’s lives, it has created new industries and opened the doors to goal-oriented frames of mind. So many of our pioneers made huge sacrifices to bring their art to the West. Many endured prejudice, racism and more and if there is not a Museum to reveal what they did, all that history would be lost forever. BUDO: I heard you sold your home to purchase the Museum facility, why? Michael Matsuda: I created the Museum because I felt it was the right thing to do. I love the arts, been doing it for 47 years now, but I felt that we needed something that would make an impact on the whole world. A place that would reveal our culture, history, artistry and impact the arts have had on American history. This Museum is not about me, you don’t see my picture all over the Museum, this is about all of us. It’s about Asian culture and tradition, it’s about the sacrifices that so many made to bring the arts here. Why me? It all starts with one person, one idea and then it goes from there. Has it been easy? No, not at all, it’s been a hard road! Through the years, I and so many others have always supported our martial arts movie stars. Granted, they weren't actors, but they were part of community so we went to the theaters, bought our tickets and supported them. I am so glad that all these stars have benefited financially, however, it was my hope that some of them would contribute to the Museum. Sadly, so far, that has not be the case. So, it was up to me and the martial arts community to get behind the Museum and make it happen. If I had to say what is my biggest disappointment, it would be the lack of commitment from those stars we faithfully supported.

Interview

BUDO: So, what was the process and obstacles you faced in setting this up then? Michael Matsuda: I wanted to very cautious about creating a Museum for the arts. Some people think you can just put pictures on the wall and uniforms everywhere and call it a Museum. I spent many years on the road as a traveling exhibit. We took the Museum from the West to the East of the nation. I wanted to see if there was enough interest in creating a Museum. If there wasn’t enough interest, then there would

be no point in starting the Museum in the first place. We traveled for years and later became a non-profit organization. During that time I’ve met with every leading government official. From mayors, congressman, senators, etc to pitch the idea for the Museum. I’ve had doors close right in my face, threats, people trying to deceive us, cheat us, steal from us and thousands upon thousands of promises that were never kept, it has proven a real ordeal at times!

BUDO: With all those inherent difficulties, why did you continue? Michael Matsuda: Because I knew without a doubt, we would succeed. No matter how many times I had fallen, I had to get up and keep going. Despite the rocky road, we got to know so many giving individuals that would join us and help us along the way. People who would donate funds, help us carry equipment, stay up all night to set up our stuff and much more. These amazing supporters and friendships we have created along the way kept us going. When people ask me what is your favorite or best thing in the Museum, I say, â&#x20AC;&#x153;it was the journey and the wonderful friendships we made along the wayâ&#x20AC;?. BUDO: What do you feel is the main focus of the Museum? Michael Matsuda: There are several areas of focus for the Museum. History is of course, our most important. The martial arts played such a unique role in both Asian and American history. For the West, the biggest influence began in films and from there, the martial arts school explosion occurred. Today, we have over 27,000 known commercial, martial arts schools in America, but I want to point out something that I feel requires great attention. Today, so many of our pioneers and legends are passing away. Many have written books and which will eventually go out of print. Many were in magazines and nearly every martial arts magazine has folded. Without a Museum, so many of those pioneers, their legacy and the important role they played in his-

Interview

tory will disappear. That is truly sad and that’s what is happening. As one pioneer told me, “This is not for me, this is for my great grandson to learn what his great grandfather did in history”. Another nice story to relate, one lady had the first, actual kendo uniform from Funakoshi’s student from 1920. It was in her closet for decades. When she heard about us, she was so relieved and donated it to us. She said, “Now, my grandfather’s history will be remembered. I didn’t want to throw it away because it meant so much to him.”

more. When there is an understanding of the potential of an organized Museum such as this, we can make a bigger difference. Think of it this way, when a new martial arts movie comes out, there is a temporary increase in school enrollment. The Museum is there all the time with thousands of visitors from across the globe. They become inspired and in turn, they join a martial arts school or they buy a martial arts product. Imagine having announcements, book signings, movie premieres and more a the Museum.

BUDO: Visiting the Museum and I truly learned a lot, it was very inspiring. Michael Matsuda: Thank you. I think our most difficult task is for the community as a whole, to understand what a potential impact a Museum will have for everyone. From the garage school owner to the head of the UFC. A Museum opens the doors to young children who have never studied the arts, to visitors who come from all across the globe and

BUDO: What other aspects do you feel are of importance here? Michael Matsuda: Culture. It’s not only important to learn the art, but to learn about the country from which it originated. If you practice a Japanese art form, learning about Japan and how the martial arts played a key role in that country’s history. We bow but don’t know how to do it properly, we utter Japanese words but don't we know the meaning? By learning from the root, where the arts came from and how it played a significant part in Asian culture, we can understand our own art form much better. Countless times I’ve asked karate students which country their art came from and they didn’t know! BUDO: How does the future look for the Museum? Michael Matsuda: I am thrilled the Martial Arts History Museum is doing well. We are a non-profit 501(c)(3) organization and are completely dependent on donations, sponsors and memberships. So much of our support comes from the individual, the small school owner, the people that believe in our efforts and what we are trying to do. To me, these are pioneers. The Museum is able to support itself, but it is my hope to expand so that we can put in more things about the arts. We do a lot of fundraising events to raise money to purchase our TVs, art, displays, outdoor activities, etc. BUDO: How can people donate to this cause? Michael Matsuda: As a registered non-profit, all donations are tax-deductible. If interested they can send a check to the Martial Arts History Museum, 2319 W. Magnolia Blvd., Burbank, CA 91506 or visit our website at: http://martialartsmuseum.com and make a donation online. BUDO: What special message would you like to end with? Michael Matsuda: Opportunities don’t come by very often and the Martial Arts History Museum is a monumental opportunity for the entire martial arts community. We will not have an opportunity like this again, this is our one window and that’s it. I cannot stress that enough. If you think someone else is

going to come by and say â&#x20AC;&#x153;I'll create a Museum,â&#x20AC;? and actually know how to do it, that's just not going to happen. I've invested so much time, education and money into this to ensure it will continue for many generations. The martial arts has been here in America since the 1800s and now, over 150 years plus later, we finally have a Museum. Join us, support us, this is our history. Thank you. Maurice Elmalem 7 Time World Champion, 8 Time Guinness World Record Holder Author, Producer, Artist, Developer Former Budo Magazine Editor www.mauricepromartial arts.com

In this comprehensive instructional video, Andreas Weitzel, founder and head instructor of the SYSTEMA Academy Weitzel (Augsburg, Germany) and one of the leading SYSTEMA Instructors in Europe explains the most important fighting fundamentals. First he vividly elucidates how to walk naturally focusing on the correct execution of steps. He then shows how to use this work in combat applications. A variety of different topics are explained in this movie including: How to unbalance an attacker; How to strike and kick correctly; How to defend against, grabs, throws, strikes and kicks. The explanations in this video are simple but clear with the aim for easy comprehension and lear ning for everyone. During his explanation Andreas always includes and focuses on the most important principles and fundamentals of SYSTEMA by showing how different topics are tightly linked to each other. Furthermore free and spontaneous work against different attacks including weapons is shown under realistic conditions and full speed. In this video Andreas is assisted and supported by Michael Hazenbeller (Rastatt) and Thomas Gößler (Augsburg), two experienced Systema Instructors.

REF.: • DVD/SYSWEITZEL1

ORDERS: Budo international.com