The main emphasis of this DVD is edged weapon. Knowing and understanding all the dangers associated with any edge weapon. The main theme in this DVD is establishing the priority. The main emphasis of training with an edged weapon is knowing and understanding all the dangers associated with this type of weapon. All the “What if’s”, and “Yeah buts”, are all great for trial and error, and assuming predictability. The serious danger of edge weapons is real, and should be treated as such. This means where you should establish your training priority to be a survival tool, in the event this situation happens to you. Let’s face it, you are the one having to survive, not your trainer, helps you train your goals, not your objective. The training priorities I use in LatosaEscrima are as follows: reality, technique and drills. Reality: This is the understanding of exactly what could happen and the dangers when using or going against an edged weapon. Techniques: These movements are trying to give you a generalization of possibilities, and probabilities of what may happen. Drills: Most drills are used to develop and enhance body movement skills used in the technique application.
REF.: • LAT-3
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“Do not despair, not even by the fact of not despairing. When everything seems to be over, there emerge new forces. This means that you are living.” Frank Kafka
ow do we know where we're going, if we don't even know what we want? What we really are is an indecipherable and unsolvable equation because we are constantly changing ... without finishing. How to act in the deeper processes of transformation and change? While we are young, our potential exploits groping in different directions. My uncle, who was then 70, told me the old saying "Hey, I'm already playing!" The years pass by teaching you first what you will no longer be, because you have been discarding it, or because it has been discarding you. So we begin to understand that we are no longer truly youths. Life is a decision process; every time you say yes to something, you are saying no to everything else; each time you open a door, you walk into a room that leads to another. Freedom, I've written many times, is a narrow one-way corridor, where the most that we can do, motu proprio, is to come close to either side of the aisle. We live immersed in the illusion of freedom, on the assumption of being in command of our lives, when in fact we are inserted in thousands of realities larger than ourselves, continuously influenced in an open or underhand manner by thousands of forces, energy and tension, with much more authority than we would like to accept, either by ignorance, either by haughtiness. If you have the chance of beginning to find out how things work, the first intention, after the initial shock, is that of running away. It reminds me of Matrix, with the two pills, red and blue; the problem is that when you choose to take them there is no way back. Leaving behind ignorance fills you with frustration, because what once shone, now you see it dark, and until something begins to shine again on your new gaze, you feel lost, because you don't know who you are; the one who was is no longer there; the one to come, is still coming, but he hasn't landed yet.
C
“Human nature resists when someone tries to change it. When left alone, it changes by itself.” Anonymous
It’s the story of every transformation, of every leap into the void in the profound changes of our life; the vertigo of the unknown mixes with the anxiety of a new identity that is born, but for this to happen, first the former should die. The melancholy of these transitory states is deeper than any other, not because it places us at the crossroads of fate (where the exterior is pressing and you have to move your ass), but because we are really disenchanted. The "I" that watched, now is dying and frequently we cling to it like a shipwrecked to the remains of a sunken vessel. But those are the most valuable moments to grow, because in them we are forced to reassess our vision and plant a new stage; those are the moments in which we are forced to break the deadlock; discarding all illusions, we can deepen in new values, or even in some ancient ones that, enduring the test, will come out vigorous again in that new rebirthing. But all renascence is accompanied by pain, and melancholy is its fund key; a time when we long returning to the sincere and simple primordial unicity of all things. Sometimes, it's in those moments that the most sensitive ones develop a deep compassion for all beings that will never leave them. Only he who has suffered can empathize with those who suffer. We must get out of our personal hells, the cesspools in which death is rampant, remembering, as Castaneda said, that everything that touches death has power. And we have to get out clean, new and bright ... rebirth from the ashes full of light and metamorphosed as the caterpillar from its cocoon to a new stage, to a new freer life, where instead of crawling, we can fly fertilizing every flower on which we rest... Take great care every day of your cocoon, because transformation will inevitably come. Small caterpillar, although now you can't imagine yourself having wings, tomorrow you will fly.
Alfredo Tucci is Manager Director to BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com
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Combat Hapkido “Literally hundreds of different swords, spears, lances, pikes and axes of various sizes for different applications. Most of them heavy and difficult to use. Examining those weapons was like taking a trip to the past and gaining a new appreciation for the toughness of those warriors�
Great Masters ARMORS, SHIELDS AND WEAPONS by Grandmaster John Pellegrini received the inspiration for this article during my recent visit to Spain, one of my favorite countries in the World. I have been traveling to Spain since 1994 and, in addition to conducting Combat Hapkido Seminars for the martial arts community, I always try to squeeze a few extra days out of my busy schedule to enjoy the many things this magical land has to offer: history, culture, natural beauty, great climate and the hospitality of its warm and generous people. And let's not forget the FOOD & the WINE! On this last visit, I was in the company of my wife Trina, Master Mark Gridley and his wife Liz. Just a few hours after landing in Madrid, ignoring our jet-lag, we did a photo session for this magazine and, in the next 2 days, conducted very successful seminars for European Combat Hapkido students and Instructors, organized by our National Director, Master Juan Romero Pons.
I
Combat Hapkido
Great Masters After enjoying the vibrant life of Madrid for 3 nights, we drove north to visit the towns of Segovia, Avila and Salamanca. And, before returning to Madrid for our flight back, we were able to dedicate several hours to the palace of San Lorenzo de El Escorial. The amazing experience of spending 4 days visiting awesome medieval walls, cathedrals, castles, monasteries, palaces and museums, was almost overwhelming. And did I mention the food and the wine? By now you may be wondering what all this has to do with the martial arts. Well, patience my friends… I am getting there. During our explorations, we saw extensive displays of incredibly well preserved weapons and armor from several centuries of history. I took the time to examine them closely and made certain observations as they relate to fighting that I think are relevant to the martial arts and that I believe you'll find interesting. MOBILITY. Most of the armor appeared severely constricting. It required one or more people to “dress” the warrior for battle and, once worn, it was difficult to take off. I tried to imagine executing some of my techniques while wearing those armors: Virtually impossible. Not only the restrictions on mobility but also the inability to articulate small joints prevented the use of most fine motor skills. Kicking would be extremely hard (if not impossible) and falling to the ground fatally dangerous. WEIGHT. Because most armor was made of metal and was designed to protect the warrior from blades and arrows, it had to be strong and, by necessity, heavy. Carrying that weight in addition to the shield and weapons would certainly reduce the stamina of the warrior. Tired and winded, he would not be able to engage in protracted combat (unlike in Hollywood movies). As a personal experience, when I spent time in Afghanistan (2006) and Iraq (2008) training the troops, I was issued, as part of my equipment, a ballistic body armor that weighted about 25 lbs. (c. kg.).
“During our explorations, we saw extensive displays of incredibly well preserved weapons and armor from several centuries of history.”
Wearing that, in addition to the other 35 lbs. of gear, while moving on rocky terrain in 120 degree temperature, was exhausting. Teaching hand-to-hand combat to soldiers wearing that equipment was truly a challenge! So, reflect on the fact that this modern, relatively comfortable, “light weight� body armor is nothing compared to what the warriors of the 15 or 16th century had to wear. WEATHER. Imagine marching, fighting or running in those armors in stifling heat, freezing cold, rain or snow. VISIBILITY. Most of the headgear worn in those times drastically reduced visibility, sometime to no more than a very narrow slit. Peripheral vision, essential in combat, was almost non-existent with most helmets.
Combat Hapkido “Everything we do today in the dojo was originally designed for the battlefield. Inevitably, armors, shields and weapons had to evolve with new technology.�
Great Masters
ACOUSTICS. The same headgear would also seriously impair the hearing of the warrior, magnifying his internal sounds, such as his own breathing, while muffling outside sounds, such as those of an approaching enemy. SHIELD. Although an important part of his equipment, the shield was cumbersome and heavy. Over the centuries, various materials were used, such as metal, wood and leather, with different degrees of success. Also many shapes were tried: round, oval, rectangular. The weigh, material and shape all contributed to the effectiveness of the shield against blades, spears and arrows. During close-quarter combat, the shield would sustain multiple blows and, after a short time, the warrior's arm would be unable to continue lifting it. Smaller and lighter shields could also be used as impact weapons during a close-quarter fight. WEAPONS. Literally hundreds of different swords, spears, lances, pikes and axes of various sizes for different applications. Most of them heavy and difficult to use. Examining
Combat Hapkido
Great Masters those weapons was like taking a trip to the past and gaining a new appreciation for the toughness of those warriors. The martial arts originated with the warrior classes. The warriors trained for war. Everything we do today in the dojo was originally designed for the battlefield. Inevitably, armors, shields and weapons had to evolve with new technology. Strategies and tactics also continue to evolve. However, because of this continuing technology-based evolution, the martial arts have lost importance with the modern “warrior” society that relies more and more on high-tech weapons, vehicles and equipment. But, as I discussed previously in these pages in an article titled “The military & the martial arts”, I believe that even our modern soldiers can benefit from competent, relevant and appropriate martial arts training. Although most modern battlefield situations involve high-tech weapons and equipment, warriors still wear “armor” and still need to learn close-quarter combat skills, armed and unarmed. The situation was different for the civilian population. Over the centuries, peasants, merchants, workers, and virtually anyone who was not a noble or a warrior, had to worry about being attacked by outlaws and roving barbarians. Often they were even brutalized by the noblemen and soldiers who were supposed to protect them! This civilian population did not have the protection of armor and shield and in most cases were not allowed to carry weapons, making them easy prey to violent attack.
“Gangs, terrorists, criminals, psychopaths, predators, and desperate individuals of all kinds are walking the streets of our cities, lurking in the shadows or out in plain sight. They all know one thing: we have no armor or weapons. What can we do?”
Combat Hapkido “The study of martial arts and selfdefense systems is the only effective, proven way to transform your body and your mind into an arsenal of weapons that you can employ any place, any time to protect yourself and others.�
Great Masters So, one of my observations was that in this case…. nothing has changed! Centuries ago only warriors had armor and weapons while the civilian population was left defenseless. Today only professional “warriors” (military & police) have armor and weapons while the civilian population is left defenseless. Of course you can argue that today we have “law & order” in a civilized society, with the police protecting us from criminals and the military protecting us from external enemies, therefore we have no need for armor and weapons. But I submit to you that sadly that is a faulty assumption. All you need to do is watch the news or read the newspaper on a regular basis to realize that the World is a very dangerous and violent place. Gangs, terrorists, criminals, psychopaths, predators, and desperate individuals of all kinds are walking the streets of our cities, lurking in the shadows or out in plain sight. They all know one thing: we have no armor or weapons. What can we do?
Great Masters “Since we cannot all be soldiers or policemen and laws will never be enacted allowing civilians to wear body armor and carry weapons, there is only one solution: create our own security “armor” mindset and learn how to use our natural weapons”
Since we cannot all be soldiers or policemen and laws will never be enacted allowing civilians to wear body armor and carry weapons, there is only one solution: create our own security “armor” mindset and learn how to use our natural weapons. The modern, metaphorical armor is the attitude and lifestyle we adopt when we decide to be vigilant, aware, alert, cautious and ready. This mental armor is forged by your absolute commitment to NOT become an easy prey or a victim. And a great advantage is that this armor is not heavy or in any way restricts your mobility or visibility. You can comfortably wear it 24 hours a day, 7 days a week. As far as the weapons, I am sure that by now you already know what I am referring to. The study of martial arts and selfdefense systems is the only effective, proven way to transform your body and your mind into an arsenal of weapons that you can employ any place, any time to protect yourself and others. Those “weapons” can never be confiscated, prohibited or taken away from you. They don't require any special permit or license. All you need to do is learn how to use them properly. Our system, Combat Hapkido, focuses most of its training on developing the personal armor, shield and weapons of the individual, irrespective of his / her size, strength, or position in society. The beautifully crafted suites of armor, shields and weapons of centuries ago now belong in museums and historical castles for us to admire and wonder what it must have been like to wear them while in combat. And while we must evolve and embrace our modern age, it is important to respect and understand history so that we can learn from it.
Fu-Shih Kenpo
"Can you see that fern and the bamboo?" - the kind-hearted old man asked a student - "When I planted the fern and the bamboo seeds I took very good care of them. The fern quickly grew. Its brilliant green covered the floor. But nothing came out from the bamboo seed. However, I did not renounce the bamboo. In the second year, the fern grew brighter and plentiful and again, nothing came out from the bamboo seed. But I did not renounce the bamboo. In the third year, nothing came out from the bamboo seed. But I did not renounce the bamboo. In the fourth year, again, nothing had come out of the bamboo seed. Still, I did not give up. In the fifth year a tiny bamboo shoot sprouted from the ear th. Compar ed to the fer n it was seemingly small and insignificant.
"The Story of the Fern and the Bamboo"
The Raúl Gutiérrez Column
The sixth year, bamboo grew more than 20 meters high. It had spent five years digging powerful roots deep into the earth so that they could hold it. Those roots made it strong and gave it what it needed to survive. Did you know that all this time that you've have been fighting, you‘ve actually been growing roots?" - the old man continued saying - "The bamboo has a different purpose than the fern, yet both are necessary and make the forest beautiful. Never r egr et a day in your life. Good days give you happiness. Bad days give you experience. Both are essential for life" - the old man said, then he added – “Happiness keeps you sweet. Attempts keep you strong. Penalties keep you human. Falls keep you humble. Success keeps you glowing... If you do not get what you long for, do not despair ... maybe you're just taking roots...” Anonymous.
Fu-Shih Kenpo
“I can say knowingly that the strongest people are truly those who have had a hard life, full of hardship and incidents that forced them to fight to remain in place.�
The Raúl Gutiérrez Column
O
ne of the most important things that man should understand as soon as possible is the simple fact that "perfection, if it ever exists, is something that we human beings don't get to achieve, at least in this life." That is why our existence is subject to ups and downs in every stage of it. So we see that health is maintained until it is lost, and it gains a fundamental importance precisely when failure is due to natural consequences, accident or disease. Likewise, wealth is offered to us and we must enjoy it the most while it is still our ally. And, by the same token, shortage also has its days numbered. Everything comes and goes, nothing is forever -Yin and yang -, there must always be a balance, and in its permanent search, changes will occur in either direction. These changes mark success and prosperity or failure and suffering. From the moment in which the Self sees the light of life, he must also accept death. It's impossible to cling on to a life without end. When we cease to exist on this plane, an essence of our energy travels and integrates somewhere in the universe. Sometimes I tell myself that one of the important matters that we should receive at home, school or university is precisely that of lear ning to live life, with
explanations based on the experiences lived by mankind on its whole past, in order to warn us about the consequences brought about by the specific behaviors and actions of human beings in our society. Of course, I know that in one way or another, this is transmitted to us, as well as I know that “man will stumble twice (or seventeen times!) on the same stone”. And this explains that, since all things in life go wrong, we preferred to accept that we are sinners with large continuous failures before trying to improve and create a better world. They say that adversity is the best Master. I couldn't agree more. If you comment a problem, a pain, a desire, a feeling, to your friends, all of them will nod or will express their agreement with their words, but no one will really feel or even understand the way it exactly affects you. First, because pains, worries or feelings can’t be communicated with either words or gestures, and also because the others will not understand it until they experience it themselves, and even still, they will only get a bit closer to your reality, but not exactly. Today, at my nearly 65 years, I can say knowingly that the strongest people are truly those who have had a hard life, full of hardship and incidents that forced them to fight to remain in place.
And indeed, the weakest, even those that consistently fail, are usually those that had almost everything with little or no effort. As I understand it, parents who can provide pleasure, money and make life easier for their children, do so because probably they lacked all those things in their youth, and so it's quite comprehensible. But in this point we must be very careful because at the end, excesses are always highly risky and dangerous. In life, we must strive in every respect in order to find the path, to know what is effort and pain, to discover the way to improve ourselves, the way to solve... In my childhood (I was born in 1950), we lived harsh times of shortage in all aspects. Carving a path into society was not easy, and achieving personal aspirations required a lot of will, humility, sacrifice, constant effort, simplicity, respect... Still, we were physically, mentally and spiritually healthier. As we just had to moderately survive, there was no spare money to squander. We took a greater care, respect and appreciation of what we hardly possessed. We took care of our food, clothing, footwear, utilities. A car would last for 20 - 25 years, so it became a friend, a companion. We loved it, we took care of it and we treated it with respect and appreciation. Today everything has changed, and without underestimating the
Fu-Shih Kenpo “ People accustomed to fight, will suffer less and will have more ability to resolve the various adverse situations along the way, and they will do so with more joy than suffering.”
“From the moment in which the Self sees the light of life, he must also accept death. It's impossible to cling on to a life without end.”
The RaĂşl GutiĂŠrrez Column advances of science and technology, now everything is much easier, there are more resources and possibilities. Yet, scarcity has become excessive. We also knew how to break our time down between school, homework, home and entertainment. We played outdoors, which was extremely healthy, we spent hours running around playing sports in the open air no matter if it was cold or hot. Our body and mind benefited by physical efforts and the constant recycling of fresh air that nourished our cells, blood and brains. I don't remember having ever seen an obese child or adult. We had a better temper. We liked to go to school, study and progress. They were very distinct stages. Our habits in adolescence were much healthier. We drank no alcohol; there were no drugs like today and few were those who smoked, and so we spent Saturday nights dancing, playing guitar, telling jokes with two bottles of soft drinks, some food, and goofing around with some girls. I am not against the advances of technology, on the contrary, I am one of those who enjoy and benefit from all facilities and means that we have today at our fingertips to research, develop, fulfill, etc. But we get to the same point: let us not neglect ourselves. Let's make good use of all that our society offers us, without waste or excess. Let's leave some time for freedom, for walking, playing sports, develop our hobbies, and share with family and friends. Let's take care of our body, mind and spirit. I usually say that we must be always prepared when the opportunity comes, the good times, the fat cows... And we must be also are well prepared when we turn the tables and we see ourselves involved in certain predicaments that nobody wants, but that arrive on their own and we must learn to solve. In my training sessions or in the seminars I constantly give around the world, I often see that when we decide to start something, we must do it decisively, with a challenging spirit, perseverance and concentration, knowing what we are facing something that will not be easy or comfortable. There will be pain, sacrifice, suffering and also pleasure. But this is a way of self formation, a way of preparing ourselves to learn to overcome all the obstacles we encounter on our way. It is better suffering in our school or training place, rather than out in real life. It is better that we never have to suffer or use our knowledge to inflict harm and pain. But if damage comes, we must know how to solve it with less effort and less collateral damage. A well-trained person has a better capacity to address and solve problems. And if he has to use force, he will do it protecting even his opponent / s. A person without knowledge or control will cause and receive more damage because the solution will take longer.
Life has taught me to be humble, patient, tolerant, respectful and appreciative, to understand that life has nothing against me. Things just happen naturally, because we are constantly exposed, 24 hours a day, 365 days a year, to multiple risk factors. It has nothing to do with "God". Simply analyze the many risks we face every time we leave our home to go to school, college, work... or simply to take a walk. And not only in the street, but also inside our own home occur many things that affect us in a bad sense. I've also learned that pain can be overcome with pain. A determined pain causes you less harm when you already have it registered in your being. On the contrary, any new pain will surprise you and affect you in a greater degree. Studying, researching, training, creating, suffering and being happy, all is part of our own roots. People accustomed to fight, will suffer less and will have more ability to resolve the various adverse situations along the way, and they will do so with more joy than suffering. Others won't find solutions and will try to get the attention of others for help, or else, they will remain complaining and moaning; these are, of course, those who have not walked that long road of research, learning and effort, because they've always had everything without having to earn it, those who were invaded by their own vagaries and stupidity. Such people are often immature, insecure, envious, selfish, whimsical, jealous, and vain. On the contrary, who he does know about the hard existence, often rejoices in the success of others. Because he knows that if someone has succeeded, it is because he or she deserved it, with the exception of those whose success has been gifted or purchased. The success of those who have to pay to find a gap among the winners is always ephemeral. In a short term, failure is again in front of their noses. Is the case of the politicians who invest in major campaigns to position themselves; they have a short period to exploit this false success and soon will be relieved by another who has played the same game, only to fall into the same wheel. They come and go. Only those who have finally set roots with their good work will have a more extended period of glory. Parents who are truly aware about what and how an adequate education should be, will get excellent results in their children. Instructors or Masters who are patient and persevering in their teaching will also harvest big triumphs among their students. "CATCH EVERY MOMENT AND LIVE IT INTENSELY, BECAUSE LIFE SLIPS AWAY LIKE WATER THROUGH OUR FINGERS."
Shaolin Weng Chun Kung Fu Spirituality S p a c e a n d J o y I n We n g Chun s birthplace Shaolin, two ways of cultivation of the mind were combined into a unique method, which you can find only in China: Chan (Zen) and Pure Land Buddhism. The Chan (Japanese: Zen; Cantonese: Sim) is known in Sanskrit as Dhyana, which can be translated as „meditation“. Chan means to be present in the moment, without distraction by expectations or fears. It signifies the return to the natural state of being. For us Kung Fu practitioners, this means our training, our fighting, our everyday life also becomes a practice ground.
Weng Chun
“Among Shaolin (Weng Chun) Kung Fu practitioners, you will often hear the word „Amitofo“ as a greeting or as meditation practice. This is the Nianfo practice, the reciting of Buddha s name with the objective of being born in the Pure Land of Amithaba Buddha.”
Weng Chun
e seek to remain aware in the present moment, pure, joyful, peaceful, unshakeable, with an open heart, and therefore to firmly stick to the path (dao). This is how Chan began, and how it has been passed on: With a flower, the expression of vitality and of our desire to grow, of our awareness for the moment, and through experience, from master to student, rather than through the mere study of texts or through many words. The direct experience of reality of our mind was the main focus of the Chan approach of Shaolin. „To be free from attachment to all outer objects is Chan, and to attain inner peace is Samadhi” (Hui Neng, the 6th Patriarch). Among Shaolin (Weng Chun) Kung Fu practitioners, you will often hear the word „Amitofo“ as a greeting or as meditation practice. This is the Nianfo practice, the reciting of Buddha s name with the objective of being born in the Pure Land of Amithaba Buddha. At the very first moment you may think this is a contradiction with Chan. But let us have a closer look at the Shaolin Pure
W
Weng Chun Land- approach. In the „Amithaba Sutras“, the methods of the spiritual practice are explained. There are three levels to recite the Buddha s name. At first, as a beginner, you have a disturbed mind. After some practice, you attain the ability to focus your mind, and the goal is to be entirely focussed on the recitation of the Buddha s name. Two levels are to be distinguished here, and if you are able to focus every single thought on Buddha s name, you have accomplished the first step. If the practice of the recitation of the Buddha s name leads you further, you will attain direct insight into the ultimate reality, realizing the nature of emptiness and of your own Buddha nature in ultimate truth, then you have reached the second level. In one of the Amithaba Sutras it is said that the mind is in fact Buddha, and Buddha is the mind, therefore a pure mind is the Pure Land. So, if we are reciting Amitofo, short for Namo Amithaba Buddha, the Namo means “taking refuge” or “coming back“, Amithaba is „infinite/ boundless light“, and Buddha stands for „clear awareness and all the power and all the wisdom that is in your minds natural state“. As a Shaolin (Weng Chun) Kung Fu practitioner you
“We try to create the Pure Land with our mind, with our body, with our speech, in our families, in our daily life”
Weng Chun recite Amitofu not only with your inner and outer speech and your mind, you perform your very own nature with your body. We try to create the Pure Land with our mind, with our body, with our speech, in our families, in our daily life. So the Pure Land approach corresponds with the Chan approach. The secret sign for this deep spiritual work is our sun and moon greeting in every south Shaolin (Weng Chun) form. It represents the „boundless light“ of the sun and the „clear awareness“ of the moon. Today most Kung Fu practitioners understand the greeting as "overcoming the Ming", but this is not the original meaning but rather a later, political interpetation by the triads. I invite you to go back our Shaolin roots and to let inspire yourself by the original meaning which
“If the practice of the recitation of the Buddha s name leads you further, you will attain direct insight into the ultimate reality, realizing the nature of emptiness and of your own Buddha nature in ultimate truth, then you have reached the second level”
connects us with the energy and spirit of the sun (Amithaba Pure Land) and the moon (Chan).
Let us try a Shaolin Weng Chun Chan Pure Land- meditation: Sit or stand relaxed, let the stress and tension of your muscles and your body go with your breathing and imagine you sit or stand at a nice ocean beach. Watch the waves come and go, and let your thoughts come and go, without clinging to them, and without trying to keeping them away. Breathe naturally, be aware of your breathing. Now, see with your inner eye the warm sun in the blue sky and imagine in the sun
“I invite you to go back our Shaolin roots and to let inspire yourself by the original meaning which connects us with the energy and spirit of the sun (Amithaba - Pure Land) and the moon (Chan)�
Weng Chun Amithaba Buddha (if you trust in Buddha, if not feel the sun energy). If you breath out recite A-Mi-To-Fo, slowly with a gentle voice, if you breathe in you think A-Mi-To-Fo, let go all other thoughts, only this one thought matters: Think A-Mi-ToFo while breathing out, think A-Mi-To-Fo while breathing in. Repeat this 108 times, while holding the image of the sun and Amithaba Buddha. After that, take your time to enjoy your mind being in silence, peaceful and unshakeable. Feel your unlimited space, the joy and love in your mind, your true nature. At the end, feel your breath moving your belly in and out, wish that all beings are joyful as well, and bring the sun into your daily life. Amitofo! Text: Andreas Hoffmann, Christoph FuĂ&#x;, Photos: Andreas Hoffmann
This new work on Fu-Shih Kenpo by Soke Raul Gutierrez is centered on the traditional forms of the style, their applications and self defence. We will have a deeper insight into the form "The Tiger Defends Himself", with each of the corresponding technical applications, the form "Tiger Teeth", and a special work on weapons. Then the Master will explain in detail the extense series of advance techniques on self defence, indicating the whys of certain movements, the necesary precautions to take into account, possible angles and the variations that could be applied in each technical group. The DVD completes itself with a series of combat techniques for competition and conditioning work. where Master Gutierrez explains how to prepare oneself physically with the use of weapons, arms and leg conditioning, self defence preparation and for combat. Without any doubt this work is rich in knowledge based on the exchange and coordination of different styles and how to learn to respect the differences from each source of works.
REF.: • FUSHIH-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
The French Combat Baton Combat sport or martial art, the French discipline “Canne de Combat�, Combat Baton or Combat Walking-stick, has earned its letters of nobility through the centuries without losing its historical heritage. Bertrand Dubreuil (state title, eleven times champion of France of baton fighting, coach of the French team, president of the National Committee of Combat Baton and Stick, integrated in the French Federation of Savate French Boxing and associated disciplines) explains in this introductory DVD to Combat Baton edited by Budo International, that the Baton and the Stick were associated with fencing as training weapons in French military schools in the early nineteenth century. Later, in the second half of the century, the basic technical principles were established for civil practice under the influence of teachers and founders Louis Boucher (1807-1866), fencing master, and Joseph Charlemont (1839-1914), master of French Boxing and Combat Baton and Fighting Stick. Thus began the common history of the practice of Combat Baton and French Boxing in the same weapon rooms. These first technical encodings made evident the will to make these wooden weapons effective weapons.
French Martial Arts
“Combat sport or martial art, the French discipline Combat Baton, or Combat Walking-stick, has earned its letters of nobility through the centuries without losing its historical heritage.�
Thus began the common history of the practice of Combat Baton and French Boxing in the same weapon rooms. These first technical encodings made evident the will to make these wooden weapons effective weapons. Thus, the basic historical technique of the "arming" of the blows takes on its full meaning. In fact, during the execution of the attacking blows, the "arming" rule imposes a previous stage where the hand which holds the weapon must pass behind the line of the shoulders before returning to the target. To understand it better, it is necessary to know its historical justification. In history, the stick and the baton
have been successively tools, symbols, distinction objects and rudimentary weapons, before being integrated into military schools. Less expensive and less dangerous, these substitution weapons made the apprenticeship of fencing more affordable. Early in their history, these wooden weapons, inspired by the "French art of war," adapted for themselves the techniques of sword and saber, among others, with the development of hits in front of the guard. Later on, after simulating for a long time the typical fencing cuts and lunges, the baton and the stick put aside the false
French Martial Arts
“Bertrand Dubreuil has a high idea of the art of combat and he likes to remind that the practice of a Martial Art must be lived with a consistent sense of the value of respect, beyond the walls of a gym.�
French Martial Arts threats of their virtual techniques, and these wooden weapons would to determine themselves as a proper discipline, through techniques whose effectiveness would come from their own nature, from their condition of blunt and not cutting weapons. This mutation was marked by the need to add power to the hits. That's when the first reinforced movements of attack appeared. Like an arch opens before shooting, in the same way that the javelin thrower and the tennis player, the principle consisted of bringing the arm backwards behind the bust, meant as a spring, to give momentum to the weapon and thus power to the hit. The "arming" rule was born! It gave a true identity to the discipline presenting broader, fearsome and esthetic new movements. From this specificity, the driving features of the baton and stick discipline acquire their full meaning because they perpetuate some old techniques choices, not only for their historical value, but above all for their inherent efficiency, which even today, has no equivalent around the world in any other combat sports of the kind (execution speed that can go up to four cane lashes per second with "arming" and complete development of the arm for each hit). Today, the "arming" of the blows is only a demonstration of power without the impact force induced by this impulse. The current methodology of discipline expects the impact of the objectives to be controlled without violence, a simple contact between the weapon and the target is enough.
“The Baton and the Stick were taught in the weapons rooms, in schools and in the army until World War I.�
French Martial Arts The baton and the stick were taught in the weapons rooms, in schools and in the army until World War I (in the first half of the second decade of the 20th century), but its practice gradually disappeared with the growing importance of new sports. We had to wait until the 1970s to witness the revival of the Combat Baton, work of Maurice Sarry, as well as Bernard Plasait, Michel Gomez and Philippe Conjat. A new encoding laid the foundations for developing Combat Baton tournaments, while the Stick remained an exhibition discipline.
This revival was marked by the norm of the "compulsory low slot" during the execution of attacks to the leg, to avoid the oblique trajectories of the blows, for reasons of safety and legality of the action. Today, this martial discipline with forays from the "French art of war� is aesthetically located between Fencing and Capoeira. The Championship of France and the French Cup were created in the year 1980. The first Combat Baton World Championship was held in RÊunion Island in 2004 and the first European Championships took place in Strasbourg in 2006.
La Canne
Outside France, the baton and the stick are practiced in the following countries: Germany, Italy, Slovakia, South Korea, Canada, Mauritius, and Madagascar. The Combat Baton (chestnut wood, 95 cm, 110 gr.) is grasped with one hand. The stick (140 cm, 400 gr.) is grasped with both hands and repeats the movements of the Baton. The "cutting strokes" are only allowed executed with the side of the weapon. Stick competitions do not exist, although it's
French Martial Arts
“The Baton and the Stick were associated with fencing as training weapons in French military schools in the early nineteenth century.�
La Canne envisaged the idea of creating a competition of the style in the near future. In the Combat Baton tournaments, competitors move around a circular surface of 9 meters in diameter, which offers endless tactics and choreographic possibilities. The blows are actually performed (without violence) and competitors are protected by a padded suit and a helmet. The authorized striking areas are: head (except the back), the flanks (except the back and only the shoulders), and the shins (a low slot must necessarily accompany these attacks in the lower line). Rounds are regulated by an arbitrator and blows are validated by three judges who raise flags. Rounds are composed of three to five phases, lasting two minutes each. However, the demands of a competition should not hide the pleasure that the baton or "entertaining" stick practitioners feel as soon as they acquire the first rudiments of the art. Today, through the impetus of Bertrand Dubreuil, the Combat Baton and the Fighting Stick offer significant technical and tactical possibilities. In fact, when we look at the recent evolution of the technical and tactical configurations of this discipline, we see that it has huge sports and martial qualities, among them what we could consider a particular choreographic speed, with crossed dodges and stunts, combined with a high execution speed. The bet was to derive profit from the historical and technical coercions like the "arming� that forecasts the blow. Thus, taking advantage of this obligation to arming was bor n a
complex set of fixings that granted continuity and intelligence to the actions. We noted then that the slot or deception no longer belonged to the field of the direct blow opportunity, but were part of a complex process of destabilization of the adversary. Bertrand Dubreuil created the art of fixing, by incorporating "degrees of intent" integrated in graduated times of action. That is why one single baton blow can change its target to five times while varying its execution modes (speed, plane and axis) without breaking the initial movement. The best example to illustrate this subtlety of the game is when you get to touch your adversary in slow motion, after an excellent fixing, a bit like the bullfighter manages to slow down his passes and dodges to the extreme. Bertrand Dubreuil has a high idea of the art of combat and he likes to remind that the practice of a Martial Art must be lived with a consistent sense of the value of respect, beyond the walls of a gym. For him, respect is not enough and even more in competition. He even demands from us to come to admire our adversary and express courtesy regularly, especially on the part of the loser, who shouldn't show any sign of short temper. He keeps repeating to the competitors that they are gentlemen and for this reason, they should lead by example. He also explains that the combat is a dramatic and cathartic staging, which should serve to expunge some inner conflicts and evaluate yourself and not as a place of discord and violence. For Bertrand Dubreuil, defense is a major sector in combat, as it was one
of his specialties. He estimates that winning a fight with a high score on both sides is not acceptable (though permitted by the regulation). He upholds the principle of the defensive effectiveness of any Martial Art, considering that a combat discipline must supply its practitioners the means to protect themselves against all forms of possible attacks, even when they come from other Martial Arts. He considers that if attacking is an art, defending is a science, the science of the anticipation and the economy. The defense
must bring into play the least possible energy, so as to preserve it for the offensive action, which requires a very good perception of the adversary to favor anticipation. To go further in anticipation, Bertrand Dubreuil has developed the "active defense", which consists of adopting a particular defensive behavior resulting in the adversary's offensive response, which in turn allows you to foresee the choice of techniques and the moment to bring them into action. The Combat Baton competitions have permitted to experiment and verify the tactical
DVD & video download choices and is not a coincidence that Bertrand Dubreuil has obtained convincing results and currently has to his credit four major champions: Antoine Dubreuil (twice France Junior Champion), Cécile Serris (France Senior Champion), Jonathan Dubreuil (six consecutive titles of France Senior Champion) and Francis Bareilles (a title of France Senior Champion and five times France Veteran's Champion). Each year, on the last week of July, a large international seminar open to all is organized in Saint Pierre d'Oléron (France), directed by Bertrand Dubreuil. With him, Francis Bareilles, Luc Cheynier, Roland Hoffbeck (national technical director of the discipline) and Guillaume Bérard share their valuable teaching experience. In the Combat Baton introduction DVD edited by Budo International,
with Bertrand Dubreuil, we meet again with Francis Bareilles, whose creative genius inspires incredibly original linkages. Apart from the national seminars, the National Committee of Combat Baton and Stick organizes roving seminars, responding to demands from all over the world. Bertrand Dubreuil is not the only one who teaches the art of the canne and the stick, many talented teachers work everywhere both in France and abroad. The Combat Baton is spreading far and wide, including our wheelchair friends; after having done some tests, we are even planning to organize a competition between normal and handicapped students, which would represent a world first in combat sports. Try this dis cipline! ...Yo u'll wo nder ho w y o u ev er liv ed without it.
French Martial Arts
The DVD "Krav Maga Research and Development" comes from the will of four experts in Krav Maga and combat sports, Christian Wilmouth and Faustino Hernandez, Dan Zahdour and Jerome Lidoyne. To date, they lead several clubs and a group of twenty instructors and monitors from multiple disciplines, from Krav Maga or Boxing to the MMA, Mixed Martial Arts. This work is not intended to highlight a new method or a specific branch of Krav Maga, it simply aims to present a Krav Maga program that focuses on the importance of the "content" and share their experi
REF.: KMRED1
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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Maybe it's the renewed passion for grappling, perhaps it's because of the work of Masters and specialists who, as Vincent Lyn, have always bet on the efficiency and intelligence of an extremely powerful method to face self-defense; the fact is that in recent years the Chin Na has gained a great prominence, unthinkable only a few decades ago, when it was just an illustrious unknown. The martial artist, Master and note film actor, Sifu Vincent Lyn, brings us the experience and knowledge of his family system in respect of Chin Na. A job that certainly will appeal to regulars and newcomers, and of course, to all those who know the power that a simple wrist dislocation has to resolve an unwanted confrontation, especially to neutralize an opponent even before the arrival on the spot of law enforcement officers. An article and a DVD that for sure will please everyone.
Text: Jeffrey Helaney & Vincent Lyn Photos: www.budointernational.com
Chinese Arts “Learning how to control and manipulate the adversary is something highly specific of the martial science. To achieve such skill, the trainee must have knowledge of anatomy, physiology and basic physics.�
Reportaje
“A common mistake regarding Chin Na is that is not a Martial Art in itself, but a series of techniques that are incorporated into various styles of Chinese Martial Arts.�
Chinese Arts Introduction to the Art of Control and Manipulation of the Body Learning how to control and manipulate the adversary is something highly specific of the martial science. To achieve such skill, the trainee must have knowledge of anatomy, physiology and basic physics. In addition, the styles more focused on the manipulations require higher motor skills, or put another way, more practice than the arts of pugilistic style. Parting from this premise helps the practitioner to determine whether or not these arts fit in his or her fighting style.
Control and manipulation are based on interrelated principles. One is that of redirecting the energy. All we need do is apply a scientific principle studied in high school: "A body in motion tends to stay in motion unless an external force acts on it." We also know that it is necessary to apply the same amount of force on a moving body to curb its momentum. From this point of view, in the process of energy conservation, it is much easier to redirect it than to stop it. For this reason, many of the techniques of the control Arts resort to a pull or push movement, rather than a strong block. According to these principles, the energy of an attacker can be redirected and turn against the perpetrator. Thus, the techniques used to stop or push are only used to
Chinese Arts
“The effect caused after affecting the nerves through acupuncture points is different for everyone, because each person has his or her own threshold of pain and not all techniques work the same way for everyone.�
Chinese Arts redirect her energy while grappling techniques allow the practitioner to add more power to the attacker's energy. Techniques that lead us to the next principle of control: shifting the balance. The main objective in redirecting the energy is to put the opponent in an imbalance situation. Thus, his counterattack is hampered and this allows the practitioner to manipulate him to a point in which he can't stay in balance. On many occasions, shifting the balance is used for both toppling an adversary and bringing him in a position that allows us to apply a neutralization technique. The most common in the Arts of control is the so-called submission, a painful technique which includes joint locks or pressure techniques that are directly applied to the acupuncture points. In any event, these types of techniques are used to distract and subdue an opponent in the case of a final attack in order to prevent him from starting his counterattack. An example is the wrist dislocation, which can cause from extreme pain to wrist fracture. The attack to acupuncture points assumes for the practitioner, almost always, a genuine challenge. To achieve submission using them, the practitioner should exert a strong finger pressure on a particular point or to cause either disruption of Qi energy or over-stimulation of the affected nerve. For example, the known acupuncture point LI-4
(Intestine 4), to be found in the hand, is very recurrent to neutralize an aggressive attack. Another point frequently used affects the hypoglossal nerve, located close to the angle formed by the jaw bone. To access it we must hold the head and exert finger pressure towards the crown. The effect caused after affecting the nerves through acupuncture points is different for everyone, because each person has his or her own threshold of pain and not all techniques work the same way for everyone. The practitioner must have a broad practical understanding of the physiology of the human body, from both easter n and wester n perspective. Although there are many kinds of control arts, all of them have similarities based on the anatomy and physiology of the human body. In future articles we will study in detail the mechanics of the body, but for now we'll just resort to the basic concept that defines body mechanics as the study of its natural movement. If we alter the natural functioning of the body, we are initiating a process of control and, regardless of the art we practice, in this end there are universal concepts. From this theory it is very easy to understand why control Arts work similar techniques, even knowing that they were developed in very different cultures.
In China, for example, the Art of grabbing and controlling, called Chin Na, is present in many styles of KungFu and is mainly used in some Aikido, Hapkido and Jiu-Jitsu systems. A common mistake regarding Chin Na is that is not a Martial Art in itself, but a series of techniques that are incorporated into various styles of Chinese Martial Arts. This Art is strongly linked to the Ling Gar style of my family. And it must be clear that for a student who has no ability to strike
with hands and feet, the Chin Na will be of no use, even if he has the knowledge of anatomy, physiology and kinesiology that requires a Master, because he will lack sensitivity and subtlety that demands this way of controlling an opponent.
What is Chin Na? "Chin" means holding or grabbing; "Na" is retaining and controlling. So Chin Na can be translated as "hold and control". Speaking in a general way, most Chinese martial styles include four technical categories to be more effective in combat. The first
integrates techniques of hitting, punching, pushing, pressure techniques, etc. The second deals with kicks, sweeps and steps or displacement, with little contact with the opponent and with an explosive and harmful hitting power. The third is called "Shuai Jiao" (Wrestling) and includes the development of skills to destroy the opponent attacking his stability and balance through takedowns. The latter is the Chin Na and it integrates techniques specialized in controlling and disabling joints, muscles and tendons. At this point it is noteworthy that in a real combat situation the first three categories are applied at a time and cannot be separated from each other. For example, while with one hand you grab and control your opponent, you use the other hand to hit a vital structure. Or, while you are grabbing a joint, you attempt to overthrow the opponent to start the subsequent attack. Many Chinese martial artists believe that there are many other techniques apart from grabbing, such as pressure or hitting nerve structures that cause numbness in a part of the opponent's body (and even loss of consciousness),
Chinese Arts which, being control techniques, they recognize as being part of Chin Na. So, the Chin Na grabbing techniques are used to control and immobilize joints, muscles or tendons of the opponent, to the point that he can't move, thus neutralizing his ability to fight. The Chin Na pressure techniques are usually applied to numb the opponent's limbs, getting to cause him loss of consciousness, and even death. Or they are applied on the Chi cavities to disrupt the normal flow of Chi to the organs or brain, or also on nerve endings to cause extreme pain and even death. The Chin Na hitting techniques are applied to vital points and can be fatal. We can also attack the cavities of these channels or hit certain vital areas to cause arterial rupture. All these techniques, as we’ve already said, serve to "grab and
control" the opponent and can be divided into the following categories: 1. Muscles / tendons separating techniques. 2. Bone spraining techniques. 3. Breathing interrupting techniques. 4. "Dim Mak" which translated from Cantonese means pressing the vein / artery, sealing or blocking the vein / artery and pressing a primary channel of Chi. All of them are easy to learn, both theoretically and in practice. All they require is muscular resistance and sufficient strength to achieve an effective control. Using these techniques to fracture bones or cause injuries to joints or tendons, requires Jing (martial power). Sealing veins / arteries and pressing nerve structures demand a
thorough knowledge of anatomy (location, depth, etc.), synchronization of the circulation of Chi; development of Yi (mind), Chi (inter nal energy) and Jing (martial power), as well as knowledge of specific forms and techniques. That is, in general, it requires a formal instruction under the guide of a qualified Master, not only to acquire the necessary lessons, but because most of the techniques are lear ned through sensation and feeling. Furthermore, as many of these techniques can easily lead to death, the Master will only transmit his knowledge to students with the deep moral conviction that they are worthy of his trust.
"Chin" means holding or grabbing; "Na" is retaining and controlling. So Chin Na can be translated as "hold and control".
“Sealing veins / arteries and pressing nerve structures demand a thorough knowledge of anatomy, synchronization of the circulation of Chi; development of Yi (mind), Chi (internal energy) and Jing (martial power), as well as knowledge of specific forms and techniques.�
Karate Kata. A step forward Many times we think we know almost everything about our passion or about the activities to which we devote a great deal of our life. Lately I've been wondering about how high-minded sound all those "epic martial arts sentences" and how little are they implemented, much less understood. Phrases like "Karate ni sente nashi", "Ken zen ichi", "Hito kata sannen".... make me realize the importance of the inner work, as much as the outer, in Martial Arts. When we speak of "one kata, three years," we can come to think that in the past, there not being means of communication as rapid and wide as the ones we have today, the oral transmission of techniques made the understanding slow and this would explain the need for such a long time to learn a series of gymnastic movements.
Text: Kyoshi JesĂşs fernandez Photos: Borja De La Lama
Kata
T
herefore, the maxim of the traditional karate could be updated today as: "3 kata one month, and I still have spare time for other things". To some extent, progress in communications and access to information that we enjoy today are not comparable with what they had at that time, of course, and therefore they can help us somehow, but my approach is: Wouldn't there be something else that justified dedicating so much time to learn a kata?
Of course my view is YES, THERE IS. But a resounding YES, as Kata can be understood from different angles. And although in previous articles I put kata as one of the vertex of the triangle formed by Kihon, Kumite and Kata, in this analysis I'll put it as the axis around which the other two pillars are held. Today I want to pick up the idea that on the basis of Kata workout, we can improve and deepen the other two fundamental aspects: Kihon and Kumite A good Kata workout will refine our basic technique. The movement and
dynamism of Kata improve our shifting technique and allows us to understand the rhythms and Kime when it comes to perform a technique, as well as the analysis of Kata teaches us tactics when it comes to study combat. Performing Kata in which all elements are made with the same concentration and similarly, results in a linear, monotonous and boring Kata, as we have seen so many times. Instead, a Kata well executed can't seek just the aesthetics or the rhythm without understanding the whole. Of course this is not against the
Karate
Kata
“The movement and dynamism of Kata improve our shifting technique and allows us to understand the rhythms and Kime when it comes to perform a technique, as well as the analysis of Kata teaches us tactics when it come to study combat.�
Karate exhibition and competition, but I'm sure you understand what I mean, and now the approach is that of performing a Kata for ourselves as a study, this is the matter at hand. To me, aesthetics when executing a kata is the result of a good understanding, good practice and good technique, but not the other way round. For example, if when performing a given Kata, the leg doesn't remain fixed at the height of the head (something that as Budo would be unthinkable, because using your legs above the waist would be against nature, legs being in the lower body and arms at the top); on the contrary, if that same leg technique is executed at the chudan or gedan
level, and it manages to convey the imaginary combat and the application being made, then, that is the correct implementation to me. I remember a story with my children a few days ago, they are small and they still have a very limited knowledge of Kata, so I asked them to observe me and tell me the first thing that came to their minds. I performed a Kata of the White Crane and my surprise was that the first thing they thought of was an eagle, then a flamingo or a similar bird. My joy and my self-esteem went through the roof, I had managed to convey the essence of the Kata and they had understood me. I think now you can better understand what I'm trying to transmit in this article and in future works. Let's take an example (when I give my lessons I like to activate the cognitive part of the students and make them participants in the class, instead of make them repeat and execute what a higher degree tells them to do, so that they understand the purpose of the class and the reason for which I will demand the best of each). If we take Heian Nidan and we observe a standard performance, we'll see that the 99% of the student will carry out the Kata with the same tension and Kime all their techniques. That is, the Uchi Yoko Uraken will be executed with the same power as the Gyaku Tsuki (and for now I won't talk about other elements). But what if a technique is Tsuki Waza and the other is Uchi Waza? Are they the same when it comes to hitting? Is it the same using the articular chains of the arm outstretched trying to get a point of maximum concentration, than a technique that seeks the snap and therefore the speed for maximum effectiveness? Indeed the answers to the above questions are "NO". So why do we perform all our techniques the same way, understood as seeking the same KimĂŠ and strength throughout.? That's why, should you agree on these considerations, the study of kata must be very careful to understand the Kihon, but this time as a result of good performance of Kata. Thus Kata rhythms vary depending on the technique applied, without this opposing the rhythm of Kata as a
Karate whole and that is defined in many cases. That is, a slow and concentrated movement to perform Haishu Uke or Shuto Tate, will not be altered to carry out the defense or attack that could be done with these techniques. First the rhythm of Kata, then execution of the technique according to its nature. That is the beginning of the way We are now at the point of joining the Kata technical part with the combat. That is, we must study the Kata and its Bunkais with the idea of understanding the movements and tactics in them. The works (DVD's) that I carried out about Kata and Bunkais for Budo International were in that sense. They were not a exclusive work on Bunkais, but a method to develop the understanding what Kata want to teach us apart from improving the combat technique and tactics. Thus, I began with the Heian Kata series with applications that followed exactly the embusen. Those who only saw the pictures would think that I was mentally ill. How could anybody hit while withdrawing and taking steps backwards ... That was not the message, but first learning how to apply the basic technique of Kata in its natural movement, even sacrificing the reality of Bunkai, because at that time, it was not the priority. Once we understand the Kihon of Kata and its practical application, let's give it sense, for which I began to modify the directions in front of the attacks, depending on the application of the Tenshin and the Tai Sabaki, that allowed me to take advantage over one predetermined attack. In this way, the Bunkai began to emerge and acquire a character of its own in front of the standard implementation of a series of movements of Kata. That is, we begin to understand how the kata can serve for
Kata
Karate applications of Yakusoku Kumite and teaches us tactics, such as working covering our backs against a wall, cliff, boat or what history has been teaching us when we workout the Tekki or when we perform the Gankaku Sho (Kyan no Chinto) with a diagonal embusem, as the elders used to do to avoid being copied if it was seen through a hole in the wall of the ancient Okinawan dojos. Another notable aspect of traditional Kata would be the way they teach us that nothing has been left to chance. The guards, Kamae, slow movements, feints, etc., open up a range of projection, dislocation and choke techniques that seemed to be hidden when seeing the execution of a Kata. Hence the starting and ending guard positions of each Kata, which are not only folk forms of greeting, but often hide more than techniques (which seem secret) and reveal the philosophy of a true Martial Art. For example, when in a starting and ending Kamae position, one hand wraps a fist, it means that the control and peace (open hand), protect and block the aggression and fighting (fist) that is within it, and that if released it can be wild. That would be the moment when we started to perform the kata. I hope to have contributed a bit in this wonderful world of Martial Arts and it serves someone to ask himself or herself: Why do I keep practicing Martial Arts ? When can I feel satisfied of having got to know completely a Kata? This is what motivates me to continue learning and working to improve as a martial artist and, what is more important, as a human being. Jesús Alejandro Fernández Martínez Kyoshi SKIF
DVD & video download
Kata
Karate
RECOGNIZED DEGREES KARATE MASTERY • Renshi. Shotokan Karate Do International Federation (SKIF) • Kyoshi. Shotokan Karate Do International Federation (SKIF) (2012) KARATE DO. • 6th Dan. Spanish Karate Federation (2013) • 6th Dan. Shotokan Karate Do International Federation (SKIF) (2012) • 6th Dan. World Kuntaiko Budo Association (WKBA) JU JITSU. • 5th Dan. Madrid Wrestling Federation • 6th Dan. Spanish Federation of Ju Jitsu (2013) • 6th Dan. World Kuntaiko Budo Association (WKBA) (2013) ACADEMIC TRAINING • National Coach (Technical Level 3). Spanish Federation of Karate • National Coach (Technical Level 3). Spanish Wrestling Federation (Ju Jitsu) • International Instructor (WKBA). World Kuntaiko Budo Association OTHER DATA OF INTEREST • Chief Instructor (Technical Director) SKIF Spain. • Shodan Nawa by Zembukai Association • Representative and Technical Director for Spain of the World Kuntaiko Budo Association • Karate World Champion (Master category) in Kata SKIF (2009. Greece). • Yawara Jitsu Spain Champion (Self Defense) 1989. • Tai Chi Practitioner (Professor Hirokazu Kanazawa). • Representative for Spain of Master Hirokazu Kanazawa Jesús Fernández e-mail: jesfermar@hotmail.com
WING CHUN GUNG GUNG FU: FU: The Explosive Art of Close Range Combat
Five brand new Wing Chun DVDs 1 DVD: “Bot” Jom Doh Basics Complete “Bot” Jom Doh Form, 108 Motions, Historical Information about the Wing Chun Broadswords, Detailed Knife Blocking and Striking Techniques, “Bot” Jom Doh Footwork, Details of the footwork orientation of the form, One-man “Bot” Jom Doh Drills 2 DVD set: “Bot” Jom Doh, Applications, Drills, Concepts & Principles Applications of the motions from the “Bot” Jom Doh form, Knife vs. Knife, Knife vs. Pole, Drills, Concepts and Principles, Specially created Knife drills for the Wooden Dummy, Detailed Knife Blocking and Striking, Knife techniques as compared to their empty-hand counterparts, Cutting Principles
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“Look Deem Boon” Gwun Volume 2 (60 min.) Heavybag Drills, Dummy Drills, Two Man Drills, Form overview, Pole vs. Knife
Kyusho
Evan Pantazi Torque Kyusho works with torque. To r q u e i s n o t h i n g m o r e than a measurement of twisting, or rotational, force. It generates far more than a straight line issuance of power and many fighters have talked about this since the early days of Boxing. Those old boxers always stated that you twist the glove on impact‌ it was for different reasons, but still t h e y k n e w. T h e y u s e d i t primarily to open a cut, preferably over the eye to have the blood drip into the eye and have a blinding affect‌ that would remain the target for the rest of the fight. They also knew it had far more impact even if it did not open a wound as the stretching with the impact made the hit far more effective.
Kyusho
So what makes torque stronger than linear power? Let's start with Kinetic energy; in physics, the kinetic energy of an object is the energy that it possesses due to its motion. It is also defined as the effort or inertia needed to accelerate a given mass from rest to a specific velocity. Kinetic energy is divided between linear kinetic energy and rotational kinetic energy. The overwhelming advantage of using the rotational technique is the greater ability to increase the speed of a strike over a given distance due to the greater acceleration path. This increased path of acceleration can be up to 1.5 times greater in the rotational as opposed to the linear technique. Kinetic energy can also be passed from one object to another as in a game of billiards. This is observable when a player imposes kinetic energy on the cue ball by striking it with the cue stick. When the cue ball collides with another ball, it slows down dramatically and the ball it collided with accelerates to a speed as the kinetic energy is transferred to it. These are called elastic collisions, in which kinetic energy is preserved, (with inelastic collision, kinetic energy is dissipated in other ways or energies, such as heat, sound, breaking, etc. Now it is also possible to combined linear and rotational energy for a maximum speed as well as transferrable power level. So as you initiate the strike with a linear projection and at the very end add the rotational speed and force on contact, you will then gain the maximum affect. But why is torque more influential with Kyusho on the opponent than the straight line kinetic energy transfer? Most beginners try ballistic straight line power or force, which is why Kyusho does not work for them until they develop the correct touch with torque. But not only does it increase penetration power, there are many other vital components involved. By using a rotation as seen, explained and demonstrated in the 6 Ji Hands DVD, we use this double power transfer for greater penetration into the target area. The nerve is more cleanly accessed as the action of the rotation serves in pushing the muscle structures aside. This gives a clear path to the nerve without the muscles protecting or padding the contact area from the weapon. It also serves to gain depth from the increased speed and velocity of the action. In this action the nerve, once exposed and accessed, is also stretched making it far more vulnerable and reactive with greater results. The action can be instrumental in also
Kyusho
pinching the stretched nerve against a basing object like a bone structure for an even more acute message to the brain. This can cause an overload of sensory input and trigger a safety mechanism in the body such as dropping to a prone position (via feinting, dysfunction or unconsciousness), for recovery. Now if the target is in a muscular section of the body (as opposed to a head point with few layers of skin, fat and fascia), it also serves to attack the reflexive system taking it from somatic motor affect to more autonomic reflexive and subconscious level. This is accomplished by simultaneously affecting the Muscle Spindle Cells or Golgi Tendon Organ depending on where you struck. The same stretching action that will be issued on the nerve will also catch one of these two structures as well yield even greater effects on the opponent. It also serves us in classical boxing or kick boxing and even the more modern MMA training, by adding that extra rotation on contact that the old boxers used. Let's take the jab for example; most fighters will use linear power which stuns on contact but if the just learned to also drop the knuckles (even through gloves), down on impact, the results would be far greater and especially so when used on a Kyusho target. Take the chin as yet another example in this rotational energetic, if we jab straight in, there will be little discer nable results other than a flinch or withdrawal of the recipients head. If we manage to drop the knuckles at the end of the jab on impact to the chin, then the angle to trajectory to access the nerve is accomplished and there will be far greater dysfunction, sense impairment or altered state of consciousness. This also holds true for the cross, hook and uppercut… the 4 main strikes used in matches as well as street altercations. By learning the Kyusho targets and working them with the rotational strike, you will become far more powerful, potent and protected. To summarize, we have: • Increased acceleration of our attack • Increased penetration • Increased velocity of the strike at delivery phase • Narrower base of power transference Advantages of the rotational technique include: • Practitioners do not have to be as big or as strong • Greater variations in training for rotation technique compared to linear attack • Tension required and strength needed for linear attack can be counterproductive as opposed to the relaxed and more fluent movement of the rotational attack So the “torque” (measured energy) in Kyusho is not measure by mechanical device, it is measured in physical result during training or need. Sorry Vince energy is really real.
The "Kyusho Tactical Control Program" (KTCP), was designed for Subject control escalation with Legal, Medical and Tactical Deployment research, field-testing and coordination. The scope of this program is for use by but not limited to, Law Enforcement, Security, Emergency Medical or Response, Coast Guard, Military, Governmental Agencies, Body Guards and Personal Security. This Basic Module is comprised of one set of 12 primary targets and integrated into 4 modules of escalating force restraint continuums. There are several weak structures in the human body that can be utilized by an Agent to simply gain control of a perpetrator more efficiently than conventional use of force methods. This would be in the protocol should a situation escalate past the verbal command stage. These Kyusho (Vital) points are where the Agent can make use of internal systems of physical control such as, Nerves, Tendon Structure and natural Nerve Reflexes of the body. Not requiring heavy force Fine or complex motor control or even sight… all of which is subject to failure and loss in high adrenaline states. This information is dedicated to the Brave and Resilient Members of these Agencies around the world… Thank you for what you do!
REF.: • KYUSHO 22
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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REF.: • LEVI LEVI8
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