Martial arts magazine budo international october 2014

"There is no great genius without a touch of madness."

Séneca

A

Master from whom I learnt a lot (my masters always taught me many things did... Thank you!), used to put into perspective the idea of technician as the lowest step of the evolutionary assembly of consciousness. In his view, the strategist ruled from the highest place, followed by the tactical, and finally, there in the background, was the technician. As much as the vision was somehow pejorative, it is fair to say, of course, that without the figure of the technician, our world wouldn't work. He is the closest attached link to the immediate reality, the one who works on more tangible things link; he makes airplanes do not fall and trains run, carries out a transplant or builds a computer... In every classification we always tend to emphasize what attracts us more, but each one of us fulfills his role, occupies his space and realizes himself in his own nature. It seems that this is precisely one of the hidden keys to happiness: that the functions one performs correspond to his own nature. Out of context, we are all more or less clumsy and feel less satisfied and less valued by others.

Reductionisms are always the result of the personal fondness of everyone. Technique is not everything, far from it. With no heart, no spirit, technique is an empty shell; a machine, a robot. The value of the great things lies in the intangible. It isn't the same drawing a few passes with the cape than real bullfighting, in which you create the proper conditions to make things happen... It isn't the same accompany the nature of things, than fight it. The subtle always rises, the refined over time always wins, because the immediate adores the tangible, as much as the permanent adores the abstract, the idea. Art, mystery and the “soul” of things, don't exist by the technique, this is rather a consequence of the above. Playing notes is not making music, and even if the notes you play remain within the parameters of harmony, is the stitching of them, created by the heart and the feeling of the composer, what provides them encouragement, coherence and sense.

There are no tricks, technique, or artifice to replace that mystery. Being experienced doesn’t mean being creative.

They say music is mathematical, but no mathematician has ever got a bestselling by mixing figures, or left in the collective memory eternal melodies like Yesterday or many others. Genius feeds on ends, torment and distress.

Ordinary mortals adore and idolize geniality, but the truth is they can't stand genius. Armed with great virtues, they walk with their large defects, squandering much good in their effort to avoid falling, or doing much evil in their effort to prevail. But it's in defects which unexpected virtues arise: Belmonte created modern bullfighting because he had no physical ability to run before the horns of a bull. In

"You bullfight and excite the public in the same way that you love and fall in love, by virtue of a secret source of spiritual energy that, in my opinion, has there, in the depths of being, the same source origin. When this hidden wellspring is dry, it is useless to try. Will has no power in this matter. No one falls in love at will, or bullfights at will."

Manuel Chaves Nogales

his time, bullfighting was dodging bull attacks with as much gracefulness as possible, but by remaining still, he had to trick him with the cape and the muleta, and thus modern bullfighting was born. Before him it was said, "Either you get out, or the bull gets you out". He sentenced: " Knowing how to bullfight, neither I'll get out, nor the bull will get me out ". A bullfighter of the time, Rafael Guerra, used to say: "If you want to see Belmonte, you better hurry up, because one of these days a bull's going to kill him".

But it was Joselito, his counterpart, the one who finally got killed by a bull; Belmonte died at age 70 by shooting himself, they say, the day he couldn't mount his horse, his other passion. Well, the most remarkable people are essentially large morons. You can't be good at everything; the bigger the virtues, the greater the defects; it's in the compensation of these huge gradients, where eventually emerges the genius, an effect that seems antithetical to the idea of happiness. Most of these individuals are curiously absent from their own process, determined as they are to be great at what they are not, and on being right even when they are wrong. They are often obsessive and selfdestructive.

Because when the differences of level are very large, balance and serenity become extremely difficult, making wisdom and temper two highly complex conquests, usually supplanted by circumspection, gravity and even authoritarianism. A well-known Japanese Aikido master came to tear a tooth in a furious rage ... Picasso was a terrible arrogant tyrant ... Paul Gauguin defined himself in his "The Writings of a Savage" ... Only time gives the right perspective to these characters. Those who achieve some peace usually do it very elderly and alone, after a tormented life fighting against themselves. But the result of this brutal confrontation can become something special that touches many lives. The fate of a genius isn't at all easy (neither for himself nor for his closest ones).

Fortunately I'm not a genius, I remain a simple "border line"... mine is closer to the idea of the orchestra-man (I'd say "renaissance", but nothing sounds more pretentious), I don't know if it's by nature, by choice or by a mixture of both; in regard with the personal character, what you carry inside by nature and what you do, end up tangling up with the passing of the years. Gato Pérez said "if you don't have happiness in your life, you are not wise or anything like that"; if it is just in therapeutic doses and even stumbling, we all need to have some happiness to get by.

Joy and positivism are at times more powerful than worries and concerns, as the old Spanish saying goes, "You can catch more flies with honey than with vinegar". But it was another teacher the one who confronted me with a bigger

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

intensity to the paradigm of "technique versus art": my Master of painting, Manolo Tarazona.

I was the only student he had, probably because I was the only one who could put up with him. He defined himself as abnormal, because he had been conceived in a bombing raid. Disney chose him along with ten other European children that were granted a scholarship in USA, because at the age of 13 he was earning a living by drawing successful comics; but he said he wanted to be a painter in Paris... which he managed to be. He worked at one time for DalĂ­ performing a golden painting technique; once the job was finished, which was very well paid, his dealer told him that the Master wanted to know him. Manolo immediately replied: "Well, I don't." Stunned, the man asked him why and Manolo said, "Because he would disappoint me." He took his million pesetas of the time and went under DalĂ­'s account to tour the Americas with his lover (this time an Englishman).

He, who was a genius, told me he would teach me the technique, but he would try to explain to me what is most important: How to be an artist.

For him, painting was the final process, the therapy and the outcome of his approach to feel life. That sensitivity was a strange meeting of fantasy, feeling, madness, and deception. To find himself, he had to get lost, and I'll say he did! But in that madness, in his personal frenzy, he left some immortal works, and planted a univocal emotion in his paintings hanging in so many walls of the planet; as he said, a window through which flew the fantasy of those watching his works. Being unable to feel like him, to see like him, he lent them his eyes and imagination to put in their lives some of what he had more than enough... and he succeeded... The price was very high, but he lived and died in his law and today I have only affection and respect for him in my memories. May his soul find peace and calm now.

Technique without the spirit is an artifice; but when it comes from the soul, is wisdom, art without artifice and thus acquires all its grandeur.

The hidden truth of bullfighting and art are the phlogiston of wisdom, which, when it makes a real appearance, everything flows without seeming difficulty, but with deep penetration and truth. Mastering an art or technique doesn't make us the owners of them all, not even of ourselves. We https://www.facebook.com/alfredo.tucci.5 accompany life and life accompanies us, and in this process we leave shreds of our being while we go on sculpting our nature. At the end, the elm, cut or not, remains an elm, and an oak remains an oak. Gathering the essence of grove after such decanting is a higher pass where technique has no place, only the spirit is capable of such a feat.

Transcending in this way the limits of the individual does not require genius, but lucidity, detachment and compassion.

“T

here is a term “Zanshin” in martial arts rarely understood fully in Japanese Budo” In Japanese karate most philosophical terms came at the end of WW-2 when the JKA introduced the philosophical terms from Iaido, Kendo, Kyudo, etc into all Japanese arts as the emphasis changed from being combative in warfare to developing the character of participants. No one said it better then Gichin Funakoshi when he said “the ultimate aim of karate lies not in victory or defeat but in the perfection of character”. One of those responsible for this was Hidetaka Nishiyama who had studied Kendo extensively before he began karate.

General Douglas McArthur outlawed the practice of all martial arts at the end of WW2 until 1951 when the ban was lifted and this is when the change happened in martial arts although they were there as part of Bushido or the Way of the Samurai for centuries before.

The term Zanshin means “perfect finish” or “sustained alertness”.

At a recent seminar I attended with Dr. Alex Bennett I was reminded of the term and its importance.

He explained it this way. In competition there are 4 things that can happen at the end of a contest.

1. Quality win 2. Non-Quality win 3. Quality loss 4. Non quality loss.

Each one has a separate meaning.

Quality win is when the winner scores a perfect point and then accepts the win humbly bows out of respect to his opponent steps out of the ring and then celebrates.

Non Quality win is when the winner scores a clean clear points and starts to celebrate before he even bows out of

the ring. In traditional Japanese martial arts this person usually is disqualified.

Quality loss is when you lose the competition and accept the fact with great humility again and simply thank your opponent who won for pointing out your weakness.

Non quality loss is when you lose and jump up and down showing a poor attitude and complain like hell. This is of course the lowest.

Personally I can only recall one instant that I personally experienced Zanshin. I was at a party and young man got drunk and took a shot at me. I have no idea what happened next but it was all natural. I blocked his right hand with my left hit him in the chin with my left and then buried my right hand in his stomach. This was all it took. Then as he laid on the floor in front of me I shifted back watching but far enough away that he could not attack me if he were able to and staying engaged mentally with him in case he moved and he would have then got a right front kick in the head. Thank God for him and I he did not move. After about 3 or 5 seconds I let go of him mentally and got the heck out of there while others scooped him up and thru him out the back door.

This is Zanshin and these attitudes in this writers opinion are what needs to come back into competition but it is difficult when you have other martial arts competing in open tournaments and they have never been taught what Zanshin actually is.

When I was teaching my daughter the meaning of Zanshin she said it is like being a good sport. This is only part of Zanshin.

When you compete in kata the last move is when you must hold the move for a couple of seconds while you are still mentally into the kata demonstrating the understanding of the term Zanshin if the last move is not held the competitor obviously does not understand Zanshin.

In 2008, we publicly released the book on Kyusho in use for Law Enforcement; the program is called the Kyusho Tactical Control Program (KTCP) and it is in use in many countries and agencies around the world. This was just the first of 4 modules that escalated in urgency and stress, yet it proved highly effective and proven.

We h a v e C i t y a n d S t a t e P o l i c e , Sheriffs, Federal Agents, SWAT

teams, Narcotics Agents, High Security Prison Guards, Body Guards, Doormen, Emergency Personnel from Doctors, Nurses and EMT units and so many more all successfully employing the simple and effective control system.

Now “Pressure Point� systems have been trained by field agents for many years, so what is it about the KTCP that is above and beyond these older training programs?

ell there are many answers, but mostly we do not look at it as “pressure points�, rather we look at the underlying anatomical structures of the body and the most simple and effective application of leverage on them. For example we do not look at trying to push a pain point for compliance (yes most do cause pain but not our goal), we instead focus on compressing a nerve that causes reflexive neurological actions, reactions and weakening of the body. This weakening then allows the agent to more

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easily apply their jurisdictions approved techniques more easily.

In addition to the efficiency, it also allows the agent to freely move from target to target as presented during a situation with full body control of the perpetrator and all without physical damage. This not only controls the individual but keeps all parties safer from escalating strength or aggressive actions.

But instead of talking about the benefits for ourselves (as we are obviously bias toward it, we will just include comments from several Law Enforcement agents from

around the world, to tell you in their own words Edited for length these officers full endorsement can be read at: http://www.kyusho.com/ktcp/ :

Lieutenant Gary Gione (Ret.) New York, USA For twenty years and twenty days, I served in the largest Police Department in the world, the N.Y.P.D. I have effected and or supervised over 5,000 arrests in my career…. I can remember many times when I had to use the applications of Kyusho on uncooperative perpetrators. This was done in order to protect myself and escape without injury. Without this specialized knowledge, the outcomes of these encounters might not have been in my favor….. Safety and practicality is very important to the officers of this country and Kyusho provides the officer with another level of protection….

I urge all law enforcement, military, corrections, and security personnel to practice and apply these techniques; it may be the difference between life and death.

Detective Inspector Henrik Engelkes Stockholm Regional CID, Narcotics Division The first time I used (Kyusho). to control a suspect I was surprised that

“I urge all law enforcement, military, corrections, and security personnel to practice and apply these techniques; it may be the difference between life and death.” it worked so well. Some people had told me that the points won’t work when the suspect is under the influence of drugs, so I couldn’t be sure of the effect. But the pressure points have never failed…. Some people argue that people under the influence of drugs doesn’t feel pain.

And thus should the pressure points be useless. That, in my experience, is not true. It doesn’t really matter if they feel the pain. The nervous system will still react as predicted most of the times. It isn’t the pain that is the key; it is the physical reaction to the stimuli… The officer doesn’t need to learn new techniques; they

just need to understand the mechanisms of the body and the techniques a little bit more. The nerves are under the skin, and the reactions when pressure is applied to them are mostly predictable since many of the points activate reflex reactions that can be studied. There is nothing strange about pressure points; it is plain knowledge of body functions and especially about the nervous system.

I can recommend the use of (Kyusho) for all law enforcement personnel. I will also recommend that you always use a certified instructor when implementing the knowledge into an official system.

Markus Maislinger Corrections Officer Salzburg, Austria As an officer for Corrections in Austria, I searched long times in different martial Arts to find a good System, I can use every day on duty.

I trained different styles and tried to combine them with techniques i learned in my basic education, every officer gets. It took me some time till I found a Book of Evan Pantazi on the Inter net.

“Kyusho for Law Enforcement”. I read the whole book in one day and tried to implement the mentioned points and techniques…

Kyusho opens the door for every officer to make their techniqes more efficieant and less dangerous.

In my case, there are different problems, like very little space, and opponents, that have years of experience in hurting people. So Kyusho makes it possible for me to make my work more safer. One more effect is, that inmates respect the way I use my techniques. They know, that I use the force I have to… Kyusho is a safer and better way to work and that s, what inmates know and respect.

Marcello Giannola Polizia di Stato in Palermo (Italy) …the knowledge and use of Kyusho is very important for the p o l i c e o ff i c e r p e o p l e , w h o a re working often in situations of conflict or even dangerous, to meet w i t h t h e p ro p o r t i o n a l i t y o ff e n s e re c e i v e d o r p ro b a b l y re c e i v e d , forcing the operator at frequently less use supplied weapon and use of physical coercion without the use of specific weapons including nonfirearm. All this, implies by these operators, knowledge of a system that has as its objectives the following points: 1. non-hazardous nature of the system or the appropriate response to danger and situations. In order, when po s s i bl e, to en s u re th e criminal at law order, to serve their sentence that civil society imposes

“In my experience of 13 years of police officer …

I found, in the Kyusho, the right way to handle the potentially dangerous people to himself and others.” on redeem, and a social value not in di ff erent t hat away from the generic and personal justice.

2. the opportunity to learn a few simple techniques and easily training without the complicated knowledge of developed engine schemes unless the based engines schemes , valid for men and women.

3. A voiding further legal consequences related to the use of excessive force, criminal complaints for power abuse of and excess negligence related to physical injuries reported perpetrator although not serious but still visible.

In my experience of 13 years of police officer … I found, in the Kyusho, the right way to handle the potentially dangerous people to himself and others.

Name and Picture witheld for security reasons.

As a United States Federal Air Marshal, I have been trained in a variety of different self-defense styles that have given me the proper tools to defend myself as well as my country. While these self-defense styles may vary in execution and method, they all share a similar technique and principal. Kyusho is one of the core foundations that the Federal Air Marshal agency has used to help better equip their agents to be prepared to defend themselves against any style of attack. Kyusho uses simplistic yet highly effective techniques to disarm, restrain, prevent or stop an individual from completing any type of physical assault.

With the basic understanding and use of Kyusho I am able to not only apply the methods to potential life-threatening situations, but also incorporate the underlying fundamental movements in any other type of self-defense technique I may use.I have had many qualified and experienced instructors train me in an assortment of martial

art and self-defense styles; however none have been able to communicate, instruct and deliver their knowledge like Evan Pantazi. I have been fortunate enough to work with Evan Pantazi in a personal and individual setting and his understanding and application of Kyusho is as effective and applicable as any instruction I have received.

His ability to tailor Kyusho’s methods to suit that of the small and unique environment of an aircraft is only one example of how effective and relative Evan’s principals are to my job description. Evan has given me a new and dynamic way to fight and defend myself in any situation.

“Mr. Pantazi’s organized approach is both practical and realistic and is far superior than any other system I have ever trained in.”

Christopher M. Smaby, Training Officer Iowa, USA

João Ramalho Officer – (special anti-riot unit) Portugal

As an unarmed tactical law enforcement instructor for the past 24 years, I have found the skills taught by Mr. Pantazi and Kyusho International to be the most useful and effective in real life situations. Mr. Pantazi’s organized approach is both practical and realistic and is far superior than any other system I have ever trained in. Kyusho has been a part of my curriculum for years and will continue to be so.

Despite my own personal experience in Martial Arts, for many years I have researched and searched for self-defense systems that could be adapted to my professional situation of being a Law Enforcement Agent.

All techniques, theories and strategies I contacted in the many traditional martial arts I experienced during my search were simply not compatible with the limits of intervention imposed

by the Portuguese laws. In the firm belief of finally having found an approach that could be adapted to these strict restraints imposed by my activity, I met Evan Pantazi for the first time in Barcelona at a Law Enforcement Seminar. After my years of pursuit, I understood then that all the questions I had and were never answered were systematically being addressed in an intuitive and simple way by the program that was being presented. …A program that introduced a level of control that permitted me to maintain complete restraint with little effort, and do so without compromising the physical integrity of the offender.

It is my firm belief that the KTCP from Kyusho International will be in few years the mandatory tool for law enforcement agents across the world.

Lt. Wayne Moody SWAT commander Texas, USA I have been using Kyusho on the street for over 10 years… The Goal of any officer who finds themselves in a violent confrontation is to control the suspect. These techniques give the officer an edge while attempting to accomplish this goal. The techniques

“…Kyusho in law enforcement and corrections goes beyond trying to inflict pain on people who can’t feel anything.

It manipulates the nervous system of your opponent to control the situation …” and tactics that will be covered … are simple, sound and street tested. They can be integrated into your existing tactics and skills… I remember attending a Law Enforcement Class 15 or so years ago that advertised Pressure Point Control, I had a martial arts background and when I left the class I was less than impressed. I had a soured impression that pressure points were not very valuable to L.E., boy was I proven wrong, a few years later when I met Expert instructors Pantazi and, Corn, during a Kyusho Seminar. I walked out of this class surprised and excited about pressure point combat. I was on a mission; I was going to work on and test these tactics on the street. So here we are several years later and they have been put to the test. Like I said earlier I have had good results…Do the job, and go home at the end of the day to our loved ones.

Dan King Corrections Officer Tennessee, USA When police officers arrest someone they transport them to an intake area of a jail. The individuals who are being put in custody of the corrections officers at that point often become violent because they have been arrested and may be high on drugs and drunk. The booking area is not a happy place for arrestees. They have lost their freedom, the “cops” are now taking their property and clothing, and the reality of the situation is starting to sink in. This is the point when I have had the most fights in my career as a working corrections officer. Over the years I have studied a few martial arts. The sad truth is that many modern arts are taught more on the art side than the martial part. PPCT even has limits. …Kyusho in law enforcement and corrections goes beyond trying to inflict pain on people who can’t feel anything.

It manipulates the nervous system of your opponent to control the situation … (Just because they don’t feel pain in one spot doesn’t mean the rest of their nervous system is out of order) I’ve fought crack heads, meth heads, and drunks using Kyusho to effectively end altercations. It’s easy to learn… but most importantly IT WORKS – PERIOD

Deputy Sheriff Joseph Lamb (Ret.) Massachusetts, USA When your job consists of arresting people on a daily basis, you quickly learn that standard control

techniques and defensive tactics are just not adequate. I discovered years ago, that learning Kyusho techniques was the perfect addition to the skills that I already had. There is no magic to Kyusho, it is just using knowledge of basic human physiology and applying some fairly simple concepts.

I am by no stretch of the imagination, an advanced Kyusho practitioner. I’ve lear ned some pressure points and Kyusho concepts along the way and I have consistently used them in the course of my duties.

The beauty of Kyusho is that you don’t necessarily have to change what you are already doing, but just gain some knowledge of how to make what you already do, work better.

Kyusho has a number of advantages that can be capitalized on in many different situations. From highly resistant, combative subjects to passively resistant people. … Best of all, you are far less likely to cause visible injuries, thereby helping to avoid excessive force complaints. … By learning Kyusho, you are educating yourself and becoming a better, safer, more humane law enforcement officer, and you just might avoid a few lawsuits along the way.

Jaap Jan de Lange Constable First Class Bant, Netherlands I’ve been a police officer for over 11 years now. I am working as a police-

“Best of all, you are far less likely to cause visible injuries, thereby helping to avoid excessive force complains.” detective at the moment but I have worked as a street cop for over 6 years and I was a member of a special arrest unit specialized in arresting persons in riot situations and difficult situations for over a year.

Since I started studying Kyusho I have used it in my police work and it really made a big difference. The great advantage of using pressure points is that you can use them in everything you used to do already, but get a much better response… Another great thing is that when you understand what a point will do you can use it to get a result without having to use other violence. For example, when a person holds on to a fence or their steering wheel in a car it’s really easy to open the hands by using a pressure point on the wrist. If you don’t know this you will have to

fight to open the hand which will lead to more violence and more comments/complaints from bystanders…

I highly recommend the KTCP not only to all LEO but also to all people who might have to control aggressive persons. The points taught have all been tested in real live against resisting opponents and maybe just as important the way the program teaches the material will make sure you will be able to find the point and be able to use it right after the lesson.

Patrick Hummer Wels, Austria Since I use the KTCP in my work, I find it to be much easier to control and arrest people. …I m sure KTCP is taken soon stuck in the basic training of police officers in Austria.

These are just a few of the hundreds of endorsements we have received over the years. But they all share common traits, that Kyusho is an invaluable tools for Law Enforcement as well as any individual that is faced with controlling others that have lost control.

Again these comments were edited for length these officers full endorsement can be read at: http://www.kyusho.com/ktcp/

“I’ve fought crack heads, meth heads, and drunks using Kyusho to effectively end altercations. It’s easy to learn… but most importantly IT WORKS” Dan King Corrections Officer Tennessee, USA

Major Avi Nardia is one of the leading head official instructors for the Israelite army and police in anti terrorism and CQB, he along with Ben Krajmalnik have made a new basic dvd in the field of firearms and safety, training techniques in IPSC. Instinctive Shooting in Combat. Combat Instinctive Point Shooting - IPSC is a shooting method based on instinctive reactions and kinematics to shoot short distances fast and in dynamic situations. A self defense discipline in order to survive in life t h r e a t e n i n g situatuations , where you need a very fast and accurate shooting abilities, when you must take the gun out as soon as possible and shoot at a short distance without using the sight.

In this first volume you will study how to handle the weapon ( revolver and semi -automatic ) dry firing practice and security, "Point Shooting" or instinctive shooting , at a close range and a series of movements and exercises for weapon retention , low stress and multiple attackers ; exercises on how to recharge with one hand, ... and finally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16 grenade launchers .

REF.: • KAPAP7 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. net

WingTsun

Principles, Techniques and Philosophy In recent years, countless of selfdefense systems have emerged within the world of Martial Arts that lay the foundation of their practice in an "alleged efficiency proven in harsh environments." This impressive slogan, so fashionable today, is not, in my opinion, the best argument that self-defense systems should use.

For me, Martial Arts have fallen into basic errors in their communication techniques which often have led to give the NON-PRACTITIONER a completely distorted image of what we actually do.

Bruce Lee said (with his usual exquisite elegance) that "effective is not the style, but the person..."

There you go!

In the vast majority of cases, these systems are the synthesis of the experiences of the instructors or masters who have built these fighting systems.

Personally I can't see anything wrong with that. I find it courageous and honest to propose new things to the community martial, especially when the teacher or master who tries to convince his students or followers of the goodness of his system, is able to say openly: "This is my vision."

Unfortunately, this is not as common as it should and this "little detail" is often easily forgotten.

In my opinion, the point is that it doesn't matter how many merits might have accumulated either your Martial Arts teacher or any other guru of whatever self-defense system. A system based on the personal experience of a practitioner, will serve him directly or persons of the same characteristics: physiognomy, mindset, etc., but there is not much chance of success in people who are different.

For this reason, I don't pay much attention to those fight systems that are NOT based on the very PRINCIPLES thereof, the principles of the Art of War! Techniques change, but there are principles that are inherent to the art of combat. Time may change or make techniques evolve, but principles are eternal. My recent studies support this theory and especially allow that each individual, with proper training and the necessary time of practice, develops his own skills, his own style!

In the world of Chinese Martial Arts, particularly in Wing Chun, this is a really important issue. For various reasons which I have already discussed ad nauseam in different articles, the world of Kung Fu / WuShu suffered a serious dismemberment from the "Great Proletarian Cultural Revolution," which explains the huge lacks in a technical

and tactical level, as well as in important knowledge, that styles have been dragging to our days.

The typical sectarianism among Martial Arts systems of the different "designations of origin" (Traditional Budo, Arnis / Eskrima / Kali, Korean Martial Arts, Wushu, etc.) has increased these IMPORTANT DEFFICIENCIES. It's funny because many see their fears significantly AMPLIFIED when it is about substyles within the same style. It's as if the biggest enemy of their own style was one of their "brothers".

So, it's quite common to follow discussions among Wing Chun masters, which besides being shameful by the essence, it's even more shameful by the forms.

In my opinion, a Martial Arts teacher should be deeply respectful.

Otherwise, the practice of Martial Arts is meaningless.

We can reflect on some of these disputes and perhaps we might get (if any of them read this column) that someone can see himself reflected in these lines and think about changing his attitude.

There are Masters (or so they call themselves) who claim to possess the ONLY AND AUTHENTIC style, thus eliminating the possibility that ANYBODY who is not their pupils or doesn't belongs to their association or "lineage" may get to know the real truth of the style. The reader will agree with me that those who take possession of the words "authentic" and "unique� definitively rule out all other practitioners in the world. In short, anyone who is not with him shouldn't use the name of the style...

There are Masters who dare to talk, comment and correct other practitioners or even judge the ability of other teachers, when they themselves have never left their "kwoon". In short, the Wing Chun is a Combat Art where VERIFYING one's efficiency is very simple: CROSSING HANDS in ONE TO ONE ... If you really have a complete and utter security in your own efficiency and the inability of others, is as simple as showing it.

Then, many of them resort to use the slogan of "RESPECT", the same they seem to forget when they judge honest persons who are doing their best and give everything they have for their students and schools.

In my opinion, if someone is not able to do that, the best thing he can do is remain silent, being respectful of others and working diligently in order to exceed himself without comparing with others.

There are Masters who despite their mediocrity in all respects, through "strategic alliances" and other various marketing tools, have managed to CONVINCE everyone that theirs is the authentic. I often use the analogy of a FALSE ROLEX. A few months ago I heard a discussion about it, in which the owner of one of the famous Swiss watch was deceived by a skilled con man, who managed to convince him to trade his watch for another of a superior category, same brand, but totally false. In the end, those who are skilled in the art of deception are capable of using the name Yip Man, Authentic Yip Man or any other, using the name of the late master, to cover with an aura of authenticity what in normal conditions no one would take seriously... After this, some novice practitioners just "buy", even if the ROLEX DOESN'T STRIKE THE HOURS because it stops to first exchange.

While this may seem fictional, I can assure you it is absolutely real and present.

These reflections aloud, besides try to make these people can see themselves reflected in these cases,

serve us also to introduce the reader to my theory about the meaning of the practice of an extraordinary Martial Art, which is continuously abused by those who claim to LOVE it so much.

When I do a criticism, I try to be consistent with what I say and provide a solution (always in my humble opinion) for it can help someone.

Long ago I lost hope with some of these pseudo Martial Arts practitioners, but I also meet generous people, respectful and eager to do good things for this style people, and for them I try to give a constructive view.

My thoughts this month are focused on trying to generate a reflection in practitioners of such attitudes, that are completely childish and, taken out of the context where they are performed (the Martial Arts world), can become EMBARRASSING for people who do not belong to this environment.

Fortunately, there is a growing current of practitioners with an open mind who prefer respect, sharing views or simply behave as Martial Artist that respect others' ideas and options, even though sometimes they are opposed.

This point serves me to get into the title of this month's column: Principles, Techniques and Philosophy.

Using some phrases attributed to Grandmaster Yip Man (the greatest exponent of the traditional and authentic in this moment, but who was criticized and attacked by traditionalists of the time), we'll take this: "Everything that comes out of my fists is WingTsun". Although this movie style quote is quite popular, in reality it doesn't conform to the one that Grandmaster Yip Man used to

WingTsun use, it was something more like this: "If it meets the principles... then is Wing Chun Kuen".

Once again, Grand Master Yip Man gives us a lesson of naturalness, evolved mind and knowledge of Chinese Martial Arts.

When a practitioner wants to reach the heart of the matter in this system (and in any other), he is forced to dive into a hotchpotch formed by unverified stories, disorganized opinions, chaotic

prejudices and confused ideas. But there are things that, using a point of humbleness, common sense and the capability to listening the views of people from a more realistic view, can clarify many things for us.

Observing many schools, we find a style separated like a dismembered body and thrown into the field ... In other words, there are styles or branches that keep one part of the knowledge (technical knowledge).

Others that maintain perfectly

preserved the "Kuen Kuit" of the style (knowledge poems). Still others that have kept in their practice some of the keys on the strategy of Wing Tsun. But none of them, or almost none, work these three parts of the system.

Obviously, all of them strive to convince the rest about their part being the best. But what if it were impossible to actually make the system effective and complete without unifying those three parts?

What's more, I claim it's impossible to make this style effective and efficient in the fight, if we are not able to join the THREE pillars and train, study and practice on them.

What differentiates Wing Chun from the rest of all those Self Defense systems emerged in recent years is that in its THEORY, the Wing Tsun Kuen practice relies in definite PRINCIPLES. These principles enumerated endlessly as a "creed"

should be the mainstay of the practice. It seems logical to assume that in a few sentences or rules describing the principles, there is a margin and even some small nuances that can give us slight differences of opinion, but that's not what we are observing now.

I find it absolutely ridiculous when I see practitioners in Northern Europe or United States who are about 6,25 ft. tall and exceed 220 lb., trying to imitate the way of moving of a Chinese

practitioner that scarcely reaches 5,25 ft. in height and whose weight is less than 110 lb. Techniques are based on Physics principles (levers, fulcrums, strength vectors, etc.) and they should never be something to be simply copied. Moreover, without a deep understanding of the principles to which they serve, techniques become meaningless.

This point is actually very common among practitioners from different parts of Europe, so personally I always try to distance myself right away.

Explaining in detail the principles and the why and wherefore thereof, as well as the advantages of using some of them and not others, is much more important than the technique itself. Needless to say that the technique is the correct driver to carry out a winning strategy ... but principles should always stay above technique.

Another point that I observe in my work of study and recovery of the style is the relevance of traditional Chinese philosophy in the practice of Wing Tsun Kuen.

For many years, there was a disturbing tendency to dismiss these issues, because there was no possibility of "selling" them.

Now I say without any doubt that THERE'S NO WING TSUN divorced from Chinese philosophy.

Mainly Taoism, but also Confucianism and Buddhism, permeate the practice of this system and often are the trigger for a PRINCIPLE or principles.

In other words, without philosophy, this style wouldn't exist or, at least, it wouldn't be like we know it.

By getting to know and putting into practice the style philosophy, its principles and tactics, and adapting the technical baggage to carry out those strategies while refining each technique to fit the individual, in my opinion, we can get TWO really important things: 1.- Efficiency 2. - A simple Self-Defense system becomes in practice an EXCITING ART. You choose. To me is ever clearer!

Be thrilled with the practice of this ancient art! Discover its greatness!

Sifu Salvador Sรกnchez Chief Instructor Academy TAOWS

Self Defense Few subjects have generated continued controversy and misunderstandings as what role the Martial Arts should play in Police training. In this issue, I decided to tackle this topic in my usual blunt style and nononsense approach. The reason why this subject is so sensitive for martial arts Instructors is because they all believe (mistakenly) that they ar e all supr emely and completely qualified to teach defensive tactics to the police. Anyone who dares challenge that assumption is instantly attacked and vilified.

On the other hand, many Police officers, especially in command position, consider (mistakenly) most martial arts (which they refer to all as "karate") to be not only useless in police work, but actually dangerous, exposing the department or agency to all kinds of liabilities and negative public opinion. You can see that discussing this subject from either of those two extreme points of view is not going to provide a reasonable solution.

The truth is, as it's often the case, somewhere in the middle.

Police & Self Defense So let's first get some basic facts on record to provide context to our thesis. Police & Security Forces, in various forms, have existed for centuries in most nations. (In the interest of brevity, I will use the word "Police" to include all branches of law-enforcement: gover nment or private, armed or unarmed, in uniform or plainclothes). In civilized, free, democratic societies, ruled by laws, Police forces were created to protect the citizenry and to apprehend criminals. Unfortunately there are also countries around the World that are ruled by ruthless dictators, evil tyrants, religious fanatics and demented lunatics. In those horrible places, the Police is nothing more than a collection of sadistic thugs and cruel goons who

“The Police that we are familiar with, is honest, dedicated, hardworking and, often, underpaid.� are simply an instrument of terror used by the gover nment in power to oppress and control the population. Obviously we do not need to include those "police" forces in this article.

The Police that we are familiar with, is honest, dedicated, hard-working and, often, underpaid. Their duties, by necessity, place them sometimes in dangerous situations and violent physical confrontations. And it is that specific aspect of their work that intersects with the issue of martial arts training. Is martial arts training relevant to Police work? Is it useful to the individual officer?

And, ultimately, is it beneficial to society at large for officers to be trained? Before we can reasonably answer those and other questions,

Police & Self Defense we must honestly examine several important points.

First let's look at the most common objections raised by Police officials against the need for "martial arts" training: 1. Martial arts training is not realistic. It does not reflect real life violence in the "street" or anywhere else. The martial arts do not meet the needs of the officers.

2. If they learn it, they will use it.

They will injure people and it will result in many charges of excessive use of force and police brutality.

3. Training is expensive. The Department does not have the money in the budget to pay for it.

Also it requires time and we cannot afford to pay officers to train or give them time off.

4. We already have our own "inhouse" training program. It is more than adequate and it covers all they need without all the complicated, outdated and dangerous martial arts techniques.

5. We carry a variety of weapons (lethal & non-lethal), so we don't need to waste time learning useless empty-hands martial arts techniques.

6. Only a police officer can teach other police officers. Civilians do not understand our duties & the situations we encounter.

During my decade’s long Law Enforcement and martial arts career, I have heard all of those arguments

“I believe that the evidence is overwhelmingly in favor of training police officers but not necessarily in what we consider "traditional" Martial Arts” (and variations of them) repeated numerous times. Each one contains a "grain" of truth, but all can be intelligently and convincingly refuted.

However, before we do that, let's look at the arguments put forward by martial arts Instructors in favor of martial arts training for Police officers: 1. The martial arts were created for physical combat: on the battlefield, in your house, in the street, on a mountain or on the beach…what difference does it make?

2. I am an expert black belt and a certified Instructor. I am perfectly qualified to teach police officer how to defend themselves and take down the bad guys.

3. I am (or was) a champion who has won many fights and I can certainly teach officers how to win in the street.

4. Martial arts training produces discipline, self-confidence, physical fitness, self-control and other very important benefits that are relevant and desirable in police work.

5. Lack of proper training and lack of defensive tactics skills will result in more injuries to the officers and the individuals they deal with. That will result in increased medical costs and expensive legal litigations.

6. The officer's lack of skills in empty-hands defensive tactics will inevitably lead to more unnecessary and unjustified use of firearms and other weapons.

Again, over the years I have heard (and used myself) most of those arguments. (But not no.3, since I was never a champion). They are all mostly true but they also contain certain inaccuracies and gross generalizations that many Instructors conveniently ignore. I believe that the evidence is overwhelmingly in favor of training police officers but not necessarily in what we consider "traditional" Martial Arts. And I believe that we must listen to the concerns and objections of the opposing view with an open mind, without investing our ego in the debate, and with the goal of finding a positive solution.

Therefore our task will be to critically examine each of the points made by both sides, so that we can truly address this issue and, in the process, hopefully, educate and bring together Martial arts Instructors and members of the Police forces.

Police & Self Defense In our never ending quest for the truth, we will now review both sides of the argument concerning the pros and cons of police officers training in martial arts. We will do so in the most objective and honest manner as possible, keeping in mind that, being human, a certain amount of personal bias is inevitably going to slightly color our presentation. Also be prepared: by being brutally honest, I will most certainly offend or anger some readers. So here we go.

First let's look at the objections raised by police officials (and some officers too) against martial arts training: 1."Martial Arts training is not realistic. It does not reflect real life violence in the "street" or anywhere else. The martial arts do not meet the needs of the officers."

MY RESPONSE: Unfortunately, most of that is TRUE. Many martial arts, with their emphasis on Katas, controlled sparring, ancient weapons, traditional dress and formal rituals, are not useful nor relevant to modern police work. They were not designed to be! Traditional martial arts convey great physical, mental and spiritual benefit to the students (including police officers), but most of the techniques are not suitable or valid for police work. Other arts are primarily focused on "sport" and not on real self-defense. While we may admire MMA fighters, their techniques are not appropriate for police officers. The same applies to "grappling" arts that focus almost exclusively on the ground; while effective, they are not relevant to police work.

2. "If they learn it, they will use it.

They will injure people and it will result in many charges of excessive use of force and police brutality."

MY RESPONSE: True AND false! As noted above, if the officer learns the "wrong" art and then uses it (because it is all he knows), he will probably injure people unnecessarily and create liability for his Agency. However, learning the "right" Defensive Tactics System will actually substantially lower the incidents of injuries to the officers and the citizens they deal with. The use of the proper amount of force in an accurate manner, will drastically reduce the number of legal actions brought against the Agency.

3. "Training is expensive. The Department does not have the money in the budget to pay for it.

Also, it requires time and we cannot afford to pay officers to trainer give them time off."

MY RESPONSE: Nonsense! It is either pay now for training or pay later for medical expenses, lost time for injured officers, increased insurance costs, legal costs to defend against lawsuits and financial awards to injured citizens. A responsible Agency will always have money for training or divert it from other areas of the budget. I would not want to work for a Department who refuses to invest in the safety of the officers and the people of the community.

4. "We already have our own "inhouse" training program. It is more than adequate and it covers all they need without all the complicated,

outdated and dangerous martial arts techniques."

MY RESPONSE: Maybe. Many large, professional, well-funded (primarily metropolitan) agencies / departments do have ongoing Defensive Tactics training programs with competent, fulltime instructors. But‌ in many cases the training is not conducted often enough and not for as many hours as needed. Also, talking with hundreds of officers over the years, I have learned that, in many cases, the instructor was appointed to that very desirable position not for his knowledge and expertise, but other reasons each as seniority, who he knew in upper management, as a special favor and, incredibly, even for incompetence in other areas of police work. Ironically, I have also found out that, in many cases, the only qualification the instructor had for the position was a Black Belt in a traditional or sport martial art obtained many years before.

Now, the newly appointed "expert", will spend the rest of his career protecting his "turf", doing his best to prevent exposing the officers to any other knowledge and, yes, even occasionally disparaging martial arts training.

5. "We carry a variety of weapons (lethal & non-lethal), so we don't need to waste time learning useless empty-hands martial arts techniques."

MY RESPONSE: Of all the stupid reasons to not train officers in emptyhands Defensive Tactics, this is the most idiotic. And dangerous!

Research has shown that, statistically, over 95% of confrontations faced by

police officers are non-lethal, most of them not requiring the use of weapons. Agencies worrying about liabilities, expensive settlements and public relations disasters, should seriously consider the consequences of that dangerous mindset. It has no place in a modern, civilized society and will inevitably result in unnecessary tragedies.

Officers who are well trained and confident in their empty-hands skills, are much less likely to resort to the unwarranted use of a weapon.

6. "Only a police officer can teach other police officers. Civilians do not understand our duties and the situations we encounter."

MY RESPONSE: Although the two statements seem to reinforce each other, the first one is false but the second one is correct. Let's dispose of the first one. Being a policeman does not automatically qualify one to be a professional instructor, competent teacher and Defensive Tactics expert. Actually the majority of famous, World recognized authorities in that subject,

Police & Self Defense are martial arts instructors who have also been in lawenforcement or have done in-depth study & research of the type of physical confrontations faced by police officers.

Those rare but true experts, having transitioned from pure martial arts knowledge to the specific and limited area of Defensive Tactics, have become "specialists" in that field and are eminently qualified to teach police officers anywhere. Those exceptions, however, do not change the fact that most civilian martial arts instructors have no experience in police work, are not familiar with the

legalities involved and have never faced the real "street" situations confronting officers on a daily basis.

We have now reviewed the most common objections raised by police agencies (usually by management) in opposition to martial arts instructors teaching emptyhands techniques to their officers. I believe that we have done so fairly and respectfully, using logic and facts instead of emotions and opinions. I hope you will join us again in the next issue for part 3, the final on this topic, where we examine the martial arts side of the debate and where I will offer my conclusion and some possible solutions.

Every system has its limits and when you need to move from one system to another, you must learn another art and this is what the Kapap tries to avoid. This is Kapap, face to face combat, a bridge among systems. Its founder coined a phrase whose concept is widely used by other traditional martial arts styles: "Don't carry a weapon, be yourself the weapon." If your mind, your spirit and your body are the weapon, then you will be a weapon that will be equally effective when you carry a weapon. This "Avi Nardia Academy" DVD discusses the connection between the "old school" martial arts and the modern CQB (Close Quarters Battle).

His experience as a commander in the IDF (Israel Defense Forces) and official coach of the main Israeli antiterrorist unit, taught Nardia that cultivating the warrior's mind and spirit must be considered a priority over the simple body workout.

Among other things, we will study gun safety as well as the convincing parallelism between Iaido and the proper firearm handling. Firearms are the ultimate in single weaponry, but do not escape the eternal wisdom and logic of the old school. Exercises adapted from the BJJ, disarming methods and intelligent body training using special exercises, with explanations of its benefits and precautions. An educational, inspiring, and revealing DVD, recommended to practitioners of all styles, both ancient and modern. davidgramage@gmail.com

REF.: • KAPAP8

Wood: The broad double strikes of the element wood stimulates liver and gallbladder.

For the enthusiastic student, there are several motives for sure, how you can imagine the element wood.

No wonder, then wood is one of the elements we experience quite early. But are concrete principles or techniques in the context of Kung Fu questioned, even longtime Hung Gar practitioner’s edge their limits. The internet, as a source, is full of clues or descriptions couched in woolly terms about the different elements and cycles. In these terms for example, the spring season is associated with wood. Or in the context of combat we often read descriptions like “Wood is cracked by an axe” (link to the element metal = axe) or “Wood penetrates earth”. As well, the Traditional Chinese Medicine knows the five elements and speaks of wood as follows: The associated sense organs are the eyes. Wood manifests externally in the finger nails. The internal organs are liver and gallbladder, in which the liver functions as the Yin and the gallbladder as the Yang organ. The attributive taste is sour and the corresponding emotion is rage.As beautiful those mystic circumscriptions sound and even tough in certain area of expertise they are fundamentally used, the busy student knows by now, that real Hung Gar masters in earlier days had other goals than poetry.

We remember: In those times it was not only useful but indispensable to know efficient fight techniques to live a good and safe life. The primary goal has always been to handle real threats to life and physical condition. As we know from earlier articles about the five elements of Hung Gar Kung Fu, it isn’t easy to explain the concrete

techniques or principles of wood and how it enhances the core principles of Hung Gar. Most people simply don’t know, because they haven’t reached the necessary level under their sifu (master) yet. Naturally, I try my best with my description here to motivate one or another Hung Gar student to follow the “Hung” path till the appropriate level or beyond: As usual, wood doesn’t simply mean movement XY executed by hand or feet. Much more it describes a certain way of force or power and how the body is used to generate it. The favored animal style to combine the force of wood is crane.

This combination of wood and crane (or other techniques) unleash devastating, relaxed and from the tendons coming yet exploding fight techniques, striking lightning fast and costing the executor almost no effort. You’d think almost of a perfect mini-system within Hung Gar Kung Fu, maximal destruction on the opponent with minimal effort.

But for sure there is no such thing as the invincible technique. Otherwise the efficient martial artist would only learn and practice this technique. Whether we talk about fight, philosophy or health, the element wood its principles, the corresponding techniques and together with the other four elements are parts of an almost perfect system. But before we exceed the limit of this article I want to continue seamlessly with the last of the five elements, water.

Water (ĂŞĂ–): The up and down swinging of the extended arms represent the crashing of ocean waves. In relation to our body the element water is connected with the kidneys and the bladder.

Water is the most important element in our life. Not only is our planet covered with twothirds of water, without it in drinking quality, we survive only for a few days.

We can remember many different manifestations of the element water, be it thunderous waves, a babbling stream or a single drop. This analogy shows the facts I mentioned in previous articles about the theory and principles of the five elements, for water as well: Aside the kind of force and thereby the combination with techniques the question arises about the common tactic or necessary dosage to defeat the opponents attacks. Is my opponent in relation to myself soft and relax, I can win with brute force. On contrary is he tough and his muscles are tense during a fight, I win by using softness and relaxation.

As mentioned this applies

for all of the five elements. But explained with water, the tossing sea compared to a single drop, it is certainly the most obvious illustration. Still it’s the same element. Before we continue with the different kind of forces, I’d like to show you the common and medical aspects of the element water: The connected sense organs of water are the ears and its external manifestation is the head hair. The corresponding body fluid is the spit and the associated taste is salty. Linked colors are black or blue and the emotion of the element water is fear. Talking about the organs the kidneys (Yin) and the bladder (Yang) are related with water. Especially the kidneys play again and again an important role in medicine. Among other reasons they are the reservoirs of life essence. But let’s move forward to the actual background in the Hung Gar Kung Fu. As we already know the fight for life or death is the heart of the matter. The force of the element water goes, again, a certain, abstract body movement ahead. Among others snake techniques with their typical hand position, symbolizing the snakes head, are preferably combined with the force of water. As for all elements those affiliations aren’t to be understood as fix. They are some of many possibilities developed through experience over the past centuries. But the mentioned connections between the elements and the animal styles have been approved by the true school of fighting for survival. May be you can understand by now why those proven techniques and this art hundreds of years old can’t be completely learned and understood today in a couple of months. Hung Gar is optimized to give the ambitioned student better health, a deeper philosophical understanding and quickly the abilities for self-defense. And this idea works perfectly! But there is much, much more. This ancient art offers the willing student to learn and understand more for his entire life. A really profound knowledge waits to be unveiled. Or as a wellknown proverb beautifully says: The journey is the reward.

15 years ago, in 1999, our regular contributor Salvador Herrรกiz brought from California to our pages Master Kiyoshi Yamazaki, international leader of the Ryobu Kai (Jinen Shindo Ryu), so that Budo International readers could know about this prestigious master who lives in the United States and who was very active at that time in the American federative movement.

Now, in 2014, Master Herrรกiz, after another of his trips across the ocean, brings us again near to Master Yamazaki, 9th Dan, who this time is accompanied by his daughter Mina, 5th Dan, since many things have changed in his Karate life and it is interesting to know about that evolution.

YAMAZAKI, SOUL OF THE RYOBU KAI BALANCING BUDO AND SPORT

By Salvador Herrรกiz, 7th Dan Karate Anaheim, California (USA) It's Saturday, a hot day in which I've gotten up early in order to go to Yorba Linda, north of Anaheim where I have some matters to look after. Later, I have an appointment

The master Yamazaki with Salvador Herraiz in 2014, returning again to Ryobukan dojo in California, years later their first visit.

“In Japan, Kata technique is not ever questioned, you learn and you practice.

Nothing more.

Westerners, however, want to do it their way.�

with Kiyoshi Yamazaki in his dojo. I haven't seen him for almost 6 years. It was in Tokyo. The first time I had the chance to speak with him at some length was also here in California, in his Japanese Center 15 years ago, in 1999, though I had met him during the two editions of the World Cup that were held in Spain (Madrid 1980 and Granada 1992), to both of which Master Yamazaki attended as an umpire.

Euclid Street, where he's got his dojo, is a long artery that crosses from north to south not only Anaheim but also the neighboring counties. The tatami dojo looks the same as on previous visits, although the reception area has been slightly changed.

Besides, this time Yamazaki sensei is accompanied by his daughter Mina, 5th Dan and a great American tournament champion who, according to what his father related me, 15 years ago had started to figure prominently among the elite and now she's become a reality.

Kiyoshi Yamazaki was born on August 16, 1940 and as a child he excelled in physical activity. In Athletics he was a great runner. He learnt his first martial arts techniques from his own father, a Kendo instructor who was very strict with him and his brother, as Yamazaki sensei recalls: "We practiced before going to school, and also at noon, during lunch break, as well as in the evening. In that time, errors in practice brought receiving shinai blows from the instructors. My Iai Do styles have been Omori Ryu and Kashima Shinto Ryu ".

It was in 1956 when young Kiyoshi started in Karate under the guide of Yasuhiro Konishi (1893-1983), one of the masters that most influenced the development of Karate and who from his high position because of his high rank in disciplines like Ju-Jitsu and Kendo, could help the fledgling art that had come from Okinawa to break into Japan's main island. Yamazaki sensei recognizes the importance of his master in the development of Karate.

"Yasuhiro Konishi laid the foundation for an educational program in Karate in Japan. Konishi was a great of Karate and swordsmanship practitioner. In Okinawa, Karate was not a sport; it was a Martial Art for self-defense. On the main island of Japan, Karate began to be established and structured. Okinawan masters met with Konishi Sensei to discuss about its development in Japan, since although they were not against the idea, there was in fact some concern by the two somewhat distinct ways that Karate was going to have."

In 1924, in fact, Konishi not only opened the doors of his dojo, but those of Keio University in Tokyo, to Gichin Funakoshi, who along with Hironori Ohtsuka visited him for support. Keio, as we have explained before in "Budo International", became the first university Karate club, where even today keep practicing some veteran karatekas that back in the 50s were direct disciples of Gichin. Yasuhiro Konishi, who since childhood had practiced Muso Ryu Ju Jitsu, Kendo, Takeuchi Ryu (an art similar to Karate) and Aikido, had created the year before his Ryobu Kai school, for the Excellence in the Martial Arts, developing his style, called Shindo Jinen Ryu ("technique of the empty hand in a natural and merciful way") at the suggestion of another of his illustrious friends, Morihei Ueshiba.

It's curious to know that a karateka like Kiyoshi Yamazaki failed on three occasions the 1st Dan test. It was as follows: "Were the years in which nothing was questioned or the instructor was asked for the reasons of anything. What he said was abided and that was it! I spent many years not knowing the reason of my failures, until 30 years later I lear ned that I had been overconfident."

Very interesting indeed, considering that, for example, Master Hironori Ohtsuka has always spoken of overconfidence as one of the evils of Budo, along with scorn, contempt, anger, fear, etc. Yamazaki recognizes in the ancient form of examination a bigger realism: "At that time you couldn't prepare for exams during the previous months since the date was known only a few days before. That forced you to always be prepared, which is more real."

I agree.

In 1962, Kiyoshi Yamazaki obtained his teaching license and traveled to Okinawa in order to perfect his Kobudo techniques, advised by his master. The great friendship of his

Top left: Kiyoshi Yamazaki in his work as a film consultant.

Top right: Yamazaki sensei, as a student of Yasuhiro Konishi.

Below: Yasuhiro Konishi with Choki Motobu (left photo) and Mabuni (pictured right).

Kobudo instructor with Master Nakazato Shuguro made that his main goal in the small island: "It was very interesting to me.

Then I was young and strong. I was able to meet with masters like Shuguro Nakazato, with whom I had the opportunity of practicing with weapons such as Sai, Bo, Tonfa, Nunchaku and others. Also, I met his pupil Tadashi Yamashita, whom I never saw again in many years, until one day, already in California, we both coincided in an event."

Indeed, Tadashi Yamashita also established himself in the land of opportunity, where additionally he would participate in films of some success, as his good role incarnating the dangerous ninja Black Star in the movie "American Ninja" starring Michael Dudikoff, or even coinciding with other major Karate masters like Fumio Demura and Tak Kubota, in the film Rising Sun, starring Sean Connery and Wesley Snipes.

"When we met, Yamashita practiced Nakazato's style, then he changed to a freer, more eclectic way of doing things.

There are many dojos in Naha; during my trip I also met Shoshin Nagamine, Kenei Uechi... The latter practiced a very strong form of Kumite at a short distance. I often remember the high humidity degree on the island... so much so that we used to train shirtless!"

His stay in Okinawa gave Yamazaki the opportunity of knowing also more hidden aspects of Karate.

"We also practice at nighttime, with scarce light, and that helped me understand about night fighting that some parts of kata include, and also about practice in different sites and land. Very interesting."

On this respect, I recommend rereading the article written years ago about the Karate at Shuri Castle,

where I talked about this type of night fighting techniques that the kata forms include, as well as the influence of types of space and even ground in some techniques. Karate is not intended to be practiced only on a flat, clean surface, but on dirt floors, obstacles, etc., what is also reflected in some traditional techniques.

It is something that is rarely discussed, so I'm glad that Yamazaki sensei mentions it now.

With the beginning of his studies in Economics at Senshu University, Yamazaki had to practice Karate with the SHOTOKAI group, led by Master Shigeru Egami. Yamazaki got under the baton of Motonobu Hironishi and trained with the great leader Taiji Kase.

It would also be a big change for him in the practice of Karate, considering the large differences between SHOTOKAI and the type of Karate that Yamazaki was accustomed to do, of which he had become one of the best Tokyo champions.

"The SHOTOKAI had big differences with the other Shotokan style. There was no competition, not even free sparring. The closest thing was, at high levels, the practicing of Ippon kumite (defense against an attack)."

In 1964, after college graduation, Yamazaki returned to the fold of his true master, Yasuhiro Konishi. We could summarize the technical form of Konishi and his Ryobu Kai like a compendium of teachings of Gichin Funakoshi, Mabuni and Choki Motobu.

In 1968, at the invitation of Dan Ivan, Yamazaki traveled to the United States to teach Karate, settling in California, where he began teaching at Citrus College.

"It was a great time! It suggested me by being sent to America. My companions behaved very amicably.

Inside the dojo, the attitude should be that of Sensei, but outside it can be that of a friend."

Yamazaki felt those moments were something good and in his new country started to teach Karate at the University of California Irving, in the Sheriff's Department ... and, of course, in the dojo that he soon opened in Anaheim.

"In those years, people thought of Karate as something meant to break boards and bricks. When I came to America I had to do that too. It was the way to get attention and attract people interested in practicing and then teach them Karate such as it is. Wooden boards and bricks don't attack people..."

In 1970, on the occasion of the first World Karate Championships to be held in Tokyo, Yamazaki sensei was appointed a member of the Committee to select the American Yasuhiro Konishi y Kiyoshi Yamazaki en los a単os 60.

representative competitors for the tournament. Yamazaki has always sought the difficult balance between traditional and sport Karate.

"I agree with sports Karate as long as the true spirit of Martial Art is preserved."

O.K., even though I personally consider it's something rather hard to get. To me it's almost like saying that there's no problem in jumping from the 5th floor, as long as you control your falling at the moment you reach the ground!!! Nevertheless, I really respect the work of Yamazaki, who's been striving for so many years in order to reach this objective, undoubtedly a

goal that a Japanese is closer to achieve.

"The Japanese way of being is different ..." - Yamazaki has long recognized - "In Japan, Kata technique is not ever questioned, you learn and you practice. Nothing more. Westerners, however, want to do it their way. Iai Do, for example, must be understood as a meditation in motion. It's not about sword fighting. Westerners need to know the meaning of the movements, so application techniques had to be developed."

Indeed, in Kyudo, for example, great masters have always maintained

that the less important thing was hitting the target, as it was not about that, but the process, gesture, breathing, concentration ... and the effects that it produces in he who throws the arrow, without worrying about where or who receives it.

Moreover, we've all heard about the famous phrase of Mabuni: "Karatedo is Zen in motion."

Another thing is that, perhaps for most, it's just a phrase, far from a re a l i n t e n t i o n o f t a k i n g t h e practice of Karate as such. Once again, we come to knowing many phrases that we love but we forget when it comes to act accordingly.

But ... let's continue with our protagonist, Kiyoshi Yamazaki.

11 years ago, in 2011, accompanied by with some friends, I drove through the Death Valley, between California and Nevada. Mentioning the fact, I remember now that Kiyoshi Yamazaki, with my admired friend Master Fumio Demura, had crossed ON FOOT that same valley forty years before. I always found their feat curious, so I ask Yamazaki sensei to tell me about it: "As you know, Fumio Demura and I were both sponsored by Dan Ivan. We carried out joint activities and participated in events organized by Ivan. It was great fun. We walked about the Death Valley for two days. Hiraoka, a Judo master, also came with us. I remember that at one point we just hopped in the support van that picked us up; we were completely cast down, finished...! Demura sensei had gone to the

bathroom. We all got in the car and Demura came out of the restroom rushing out after us, because we were leaving without him. We all laughed with that. But it was hard. Sometimes we were about to faint."

In those years, Yamazaki and Demura had a great relationship, acting together even in the well-known demonstrations at the Japanese Village and Deer Park, a Japanese cultural center in Orange County, California. The very next day after this talk with Yamazaki Sensei, I would visit Demura sensei in his dojo near here, in Santa Ana, to whom I reminded their crossing of the Death Valley, with Yamazaki.

The 80s brought Kiyoshi Yamazaki delicate moments that recognized as the worst of his life: "There have been three crucial moments that I consider the worst of my life. In the early 80's, in Seattle (Washington) I was a victim of a very serious accident that made me spent two months in hospital. I was on the verge of becoming paralyzed and I had to learn to walk again. I even lost my memory for weeks. It was terrible. A very bad time in my life.

Also, another time in England, during a hard workout with people from various countries, I suffered an asthma attack that really gave me a hard time. A third dreadful moment was when I suffered a meningitis in Palm Spring and my brain got damaged. These have been no doubt the three worst moments of my life."

But the 80's also brought Yamazaki sensei great opportunities; very well known in America for his work on behalf of Karate, he was immersed in the world of cinema, as his friend Demura, established in nearby Santa Ana, also in California. It was the time when Yamazaki taught and trained in hand to hand combat and sword fighting none other than Ar nold Schwarzenegger, who in 1982 rolled in the USA, Mexico and Spain the film "Conan the Barbarian", in which the master appears.

The Karate master would also appear in following years in other films made ??in Hollywood, as the sequel to "Conan the Destroyer", with Arnold himself leading the cast, and “Red Sonja”, “Dune”, “The Fall Guy”, “Beast Master”, or years later, in 1996, the famous “Dragon Heart” (starring Dennis Quaid).

Yamazaki also worked in the television sequel, on series like Conan: "The adventurer" starring Ralf Moller (co-star with Dolph Lundgren and Jean Claude Van Damme in "Universal Soldier"), which again gave him the opportunity to work together with another of the film advisers, the original Conan, Ar nold Schwarzenegger.

His foray into the world of cinema gave Yamazaki the opportunity to teach Karate to renowned characters such as Witt Chamberlain, Brad Dourif, Sandal Bergman, Richard Hatch, Sean Connery, the explosive blonde Brigitte Nielsen, the disturbing brunette Grace Jones and even Sting himself. Yamazaki confesses...

"Today I have already left behind the subject of cinema. I no longer participate in films. I'm focused on the development of Karate, of a personal Karate, for myself. I also teach Iai Do, an art in which I have many followers."

Indeed, Yamazaki sensei even went on to create an organization on the system, the Iai Do Tate Do Federation.

Yamazaki is now 74 years old... in a pretty good shape. Yamazaki Sensei is, he's always been, a kind and smart person in the deal, in the way he talks and acts and even dresses, youthful and modern.

Just over 30 years ago, in 1983, after the death of Yasuhiro Konishi, his son Takehiro, born in 1931, had initiated the second generation of Ryobu Kai, in which Yasuhiro Konishi II (Takehiro) and Salvador Herraiz, Ryobu Kai in Tokyo in 2008.

Yamazaki exerts a great influence, as the main leader abroad and also in Japan itself. For him ... "the first generation practiced more Karate while in the second generation it was added a bigger part of Kobudo (Bo, Kama, Tonfa...)."

To learn more about Takehiro Konishi (aka Yasuhiro II), about Ryobu Kai in general and about its founder, I'd suggest readers a reviewing to Budo International magazine, where in 2010, I deal in depth with the subject after my visits to his dojo in Tokyo.

Kiyoshi Yamazaki has been for many years Technical Director of the US A Nat io nal F ederatio n and Committee Member of the World Karate Federation (WKF). Last time I saw him in office was at the World

Championships in Tokyo in 2008, where we both chatted animatedly about Ryobukai after my visit a few day s befo re t o Mas t er Takehiro Konishi in his dojo in the Japanese capital, a visit of which Yamazaki himself was already aware. Since t hen Yamaz aki s ens ei's life has changed.

How is life outside the WKF Technical Committee?

"I had grown tired of politics in the WKF and I just wanted to take care of the future of Karate. No more politics, I just want to teach. There is too much politics; politics is everywhere, in each country, so also in the WKF ... I don't need politics. I teach Karate in its various forms, as an educational path with a

philosophy, a history... I care about technique, not politics."

Yamazaki, as with sports Karate in general, has always agreed with an Olympic Karate, as long as the important traditional values ??are respected. Yamazaki has always maintained that...

"If it's properly taught, the possibility of the Olympics is good and it would surely bring a bigger financing from each country, but care has to be taken to avoid that getting a medal becomes the only goal of the competitors, loosing so the right spirit ."

Today, Yamazaki sensei keeps that thought, although he feels that karate is not receiving sufficient support from the respective countries. On the other

hand, he is less involved, as he told us before, in the Karate politics and he limits himself to maintaining a balance between that aspect of Karate and traditional Martial Art, with all its features. Undoubtedly, his daughter's situation also influences him.

Indeed, 15 years ago, right here where we are today, Yamazaki sensei told me about his Karateka daughters.

He cited one of them, Mina, because being 14 years old then, stood out greatly in competition in the youth level. Years have passed and that girl has become a very prominent figure in the national competitive circuits in both Kumite and Kata. Mina Yamazaki is also the one who currently carries out the day to day of the dojo, as his father is somewhat retired from that first line, in Palm Springs, his place of residence.

Mina listens intently to her father during our conversation and when I ask Kiyoshi sensei specifically about her, she gets very interested in the answer that his father might give, and both, she and I sharpen our attention.

"My daughter is involved in competition, but despite of that, she

"If it's properly taught, the possibility of the Olympics is good and it would surely bring a bigger financing from each country, but care has to be taken to avoid that getting a medal becomes the only goal of the competitors, loosing so the right spirit ."

practices Budo and unifies both currents. I believe in an educational Karate, with a program. The WKF takes care of Karate as a sport while I am more concerned about the correct instruction, the teachers. It is very important that they teach Karate correctly, either in one or another of its ways, as a sport, as personal defense ... and that's where I make every effort."

I believe it's the right time to enter a tricky issue. If both of them want to safeguard the Ryobu Kai technique, I wonder how they can keep the balance between that and the competition katas used by Mina sensei, in which is common to exaggerate positions and other technical gestures in order to give the kata a more spectacular view (or at least a different one), and certainly more appraised by the judges. Kiyoshi sensei tells me: "In a tournament you don't want to lose, so effectively, kata are different. The competition katas are prettier, but in reality they are not like that. In Okinawa, kata are very traditional. Well, there are these two

ways of doing it, but I really want to keep the sense of kata."

I want to push the issue and insist on the Master's opinion regarding those changes that seek to give kata a more spectacular presentation, and that he undoubtedly sees in the competition katas of his daughter, but they seem to have accepted the sporty form. To Kiyoshi sensei ...

"Different katas have different variants. In WKF katas are done in one way and in Ryobu Kai in another way and, actually... competing is not necessary."

Seeing that Yamazaki sensei avoids speaking directly about his daughter and those "variations of kata" performed in competitions, now I want to hear his daughter's opinion on the subject.

How has it been and how is it to be the master's daughter?

"It has been difficult by the expectancy that was generated, by the pressure that I've had and I still have. I contribute to Ryobu Kai, to the association. My contribution is not too big, but it's there. Then, on the other hand, I'm in the WKF, training hard for the competition. To me, he is more my father than my sensei, although in a way it may be the same. I feel very lucky. Logically, he knows me very well, he is my father!, and he immediately knows any special situation in which I might be. At home, he's always been and is my father, in the dojo he is my sensei. By competing very often, he has been before me in his federal technical positions. I've seen him on the table and curiously enough, he's seen me do and has never been angry with me, although he later tells me what I have to correct."

Now the master, her father, interrupts us to clarify that his wife, Mina's mother ... "usually don't see her compete because she gets very nervous."

Obviously, Mina Yamazaki has lived Karate since birth. She recognizes ...

"I can't recall my beginning in Karate. I see photos, memories, people say things ... but for me there is no exact beginning. Karate is my life."

Mina Yamazaki is still very young, but when I ask her for the best moment of her life, he answers with a laconic...

"My best time hasn't yet come".

Hearing that, all I can wish is that, instead, her worst moment is already over, to which she recognizes: "My worst moment was a couple of years ago during a Ryobu Kai seminar with my father in Venezuela.

I accompanied him out of obligation,

though I would soon have my big break for the 2012 World Cup in Paris. I got very sick with malaria, with very high fever, and that prevented me from going to Paris.

I felt really bad about that because I felt I had lost my great chance and although I had helped others to fulfill their dream, I felt very depressed about not being able to fulfill mine."

The truth is that I missed Mina in the Championships in Paris, but at the time I ignored the reason for her absence. Mina Yamazaki for her part, unlike her father and teacher, has never felt drawn to the world of Cinema and TV. "I don't make films. I like the radio, in which the face is not shown and where you can work normally dressed and without wearing makeup."

Mina, you've worked a lot on the radio and you still do it. What kind of programs have you conducted?

"Funny mor ning programs, in which you play jokes to the listeners, etc..."

I recognize the formula, because in Spain there are similar programs.

Both father and daughter work side by side to develop the Ryobu Kai, an organization that has members in many countries, including Venezuela, Bahamas, Australia, India, UK, Germany, Sweden, France, Israel, Mexico, Canada , etc., and to which we wish the best of luck. Our best wishes in general also to the task that the Yamazaki have set themselves in regard with their Karate that, without losing its traditional Martial Art values remains in a delicate balance with Karate sports, whose spirit pushes you to be better than the rest, instead of caring only about improving at personal level. Good luck anyway and my deepest appreciation for how incredibly well I am always treated in their home, in their dojo in Ryobu Kai.

“TAOWS Academy. Wing Tsun Advanced”. Sifu Salvador Sánchez Wing Tsun is an excellent style of Chinese boxing that permits a lifetime training experience and an integral development of the individual.

Its ideas, techniques, philosophy etc , it all belongs to an ancient art and must be studied and understood in its whole. Sifu Salvador Sánchez focusses his second dvd on the wooden dummy and how it influences all of the Wing Tsun practice. Given that the wooden dummy form is taught at the final levels of the actual system of today, most practitioners that leave the system before time don't have the opportunity to know the ideas and concepts hidden within the form, and they cannot incorporate them in their practice.

For TAOWS academy it is very important that the practitioner understands what he is doing always and in every aspect, and for this, in this dvd we are going to follow the same outline that we follow in our classes, seminars and training sessions. Our outline follows six steps, the first one is to develop an idea, what we want to achieve. The second part are the forms, Siu Nim Tao, Chum Kiu, Biu Jee, the wooden dummy form, depending on each s level, the third part is footwork, mobility understood. The fourth pillar is Chi Sao, Chi Gerk, stickiness, the soul of the system. The fifth element is non stickiness and no contact, to know what to do in order to reach contact with the opponent in a safe way.

REF.: • TAOWS-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. net

Bushido

lthough Hagakure is mainly concerned with the vicissitudes of mundane life for samurai in a time of peace, references that shed light on the winding path of budo are dotted throughout the text, and still apply to practitioners in the 21st century. It is easy to forget that the samurai were just human beings as well, and not the supermen that popular culture insists on glamorizing them to be. As humans, they had flaws, and when it came to the martial arts, there were those who showed awe-inspiring abilities, and others who were, well, just plain bad at it. Persevering over a lifetime of arduous training was, Hagakure advises us, the only way to transcend the constraints of mediocrity.

Vignette 45 in the first book of Hagakure relays the sage wisdom of one of Japan's greatest swordsmen, Yagy_ Munenori (1571-1646). He was in his prime a century before Hagakure was written, but his teachings had an everlasting effect on the development of budo theory. In fact, his discourses on ki and the mind are still profoundly influential in Japanese martial arts today. Under Munenori's tutelage were illustrious apprentices, including the second and third Tokugawa shoguns, Hidetada (15791632) and Iemitsu (1604-1651), and many daimyo such as the Nabeshima lords of the Saga domain, from whence Hagakure came. He not only taught them the art of swordsmanship, but also how to apply the same principles to the art of governance.

“Training over a lifetime involves various phases.

Unskilled men at the lowest level will make little progress at the start of their training, and their ineptness is obvious to themselves and others. Men at this level are of no use.

Those at the middle level are still unusable, but are aware of their deficiencies, and are able to identify defects in others.

Men at the upper level have useful skills, are proud of their degree of proficiency, enjoy the praise, and empathize with those who lack ability. This level has worth.” (1-45) Noteworthy here is the notion of having empathy with those of inferior ability. How many senior martial artists, so-called sensei, can remember what it was like to be a wretched, discombobulated newbie? We have all been there, but success often stultifies our memory, and being bogged down in schooling beginners can be quite bothersome. An empathetic sensei is a true sensei, and one to whom humility becomes a trademark. Like the “boughs that bear most hang lowest,” humility and empathy are prerequisites for the next level of mastery.

Hagakure continues: “Men who have traversed to an even higher stage of expertise in swordsmanship will pretend that they are

A

unknowing, but those around them will sense that they have unmatched skill. This is probably the zenith of attainment for most men. Beyond this extends the ultimate realm that is impossible to describe in words. It becomes clear to the master that this realm is boundless, and his skill can never be perfect. With this realization, the master, being fully conscious of his imperfections, is neither conceited nor contemptuous, but continues traveling the path.” (1-45) It seems the better you get, the more cognizant of your imperfections you become. This is not taking humility to an even higher level. Rather, it is the unpretentious realization that, as a human being, you are inherently imperfect.

Indeed, an inconvenient truth to someone of a swaggering disposition, and something not readily intuited let alone acknowledged. But, therein lies the difference between a skilled master, and an enlightened one.

As documented in Hagakure, Munenori sums it up nicely with his declaration that, “I do not know how to defeat others. All I know is the path to defeat myself. Today one must be better than yesterday, and tomorrow better than today. The pursuit of perfection is a lifelong quest that has no end.” So, before plumbing the depths of despair apropos of the unattainableness of perfection, keep in mind that it is not the end result that matters, but the eternal process of striving for the prize.

Text & Photos: Alexander Bennett PhD

Experts

The importance of Shingitai After Yoritomo's death, the position of Shogun lost much of its power by the lack of a central figure capable of reproducing its integrity. The spirit of the samurai was the spirit of self-sacrifice, and his virtues those necessary to an effective warrior. The protection and conservation of all these values ??in a current era is extracted from these aspects.

In wartime, thinking is always directed towards death. However, for the culture that developed in those years in Japan, the major emphasis was put in the way to face death. The option for evisceration - the sepukku, a unique ritual and for the West a distressing form of suicide - has deep roots in Japanese culture.

The lower abdomen, the "hara", besides being the place where courage is concentrated, is considered the seat of the earthly consciousness, whether of mind or spirit. It is the point, in human beings, where spiritual and material energies are born and come together.

“The word ‘shingitai’ means: ‘shin’ - heart, feeling; ‘gi’ technique, and ‘tai’ - body.”

In the West it is common to hear people say the expression "reading the mind" of someone, with the sense of knowing or seeing somebody's feelings, but the Japanese use the phrase: "Hito no hara wo yomu", which literally means: read the Hara or abdomen of a person. The samurai not only would die willingly on the battlefield, but on the wisdom and honor in his own hand and sword, he died when he failed an important mission or when he committed a crime that would bring misfortune upon his clan or his name. Such attitude toward suicide is perhaps one of the great examples that can

illustrate the difference in classical thinking between Japan and the West.

However, in their spiritual beliefs, as well as in their warrior skills, the samurai knew that death was not the end of the spirit, not even of his earthly existence. Even the smallest of the ordinary details, the warrior lived his life as if every day were his last. Many times, in the heat of battle, knowing that defeat was imminent, the samurai retire to a quiet and somewhat distant place from the horrors of war, and ended with his own life. The enemy didn't pursue him, but with a sincere reverence, left him serve out his last act of loyalty.

The evolutionary process towards technology has been an upward spiral of new discoveries, progress and dramatic transformations. In the past, when wind, cold and heat destroyed the health of human beings, nudity was dressed and coats were created as a means of protection. Today, through natural evolution, man discovered new things and forgot that he should accompany the new discoveries

in his "inner I". Loyalty, courtesy and value represented high and noble ideals, but they focused on the battlefields and the samurai was known for his skill in combat.

The intense study of Bujutsu perfected the spirit, but only so that death could be faced without fear and the enemy was destroyed. At that time, the Chinese word "BU" was only associated with the war. However, according to the most ancient teachers, the accurate translation is "govern and protect the people", in order to build a stronger society.

The sword was the symbol of the samurai class - a wonderful and refined work of art. An excellent sword made ??by the most famous manufacturer of the time could represent the most precious good, even more than life itself. Before making each sheet, the master blacksmith or swordmaker cleaned his body, mind and spirit, and also the space around him, in an old Shinto ceremony of "Misogi" or purification. The steel was purified by fire and water, while it was being beaten until all dross disappeared. When the sword is

used in an adequate and efficient way, body movements should be done naturally, according to the artistic rules of line and movement, and the balanced use of space. Currently, with capitalism under the skin surface, men arm themselves with words and strategies that annihilate those who still have good thoughts. However, in a natural cycle, rise and fall have become regular in front of such attitudes.

For those who are in peace, such phenomena come and go calm; however, others must face their own storm. Evolution is necessary, but the former will always be present. Whether in concepts, words, language, thoughts or reasoning: in whatever, evolution is hardly a consequence of good learning.

One of the noblest human aspirations in the feudal era was to control and transcend the own aggressive tendencies, grafting them into a pattern of spiritual enrichment. While recognizing the effectiveness of firearms, many warriors and strategists reserved their use for the ranks of peasants and for Ji-Samurai,

soldiers of inferior category nonsamurai class. With pride and elegance still intact, they marched to the front wielding two swords. We can cite at this time three great leaders who traced the historical development of Japan: Oda Nobunaga, Toyotomi Hideyoshi and Tokugawa Ieyasu.

The idea was to unify Japan in a central power and get it over with anarchy. Started by Oda Nobunaga and continued by Toyotomi Hideyoshi, that goal was finally achieved through the iron fist of Tokugawa Ieyasu. The word "shingitai" means "shin" heart, feeling; "gi" - technique, and "tai" - body.

For the enterprising class, which believed in a new era that would bring order, peace and prosperity, this was the starting point, since these concepts were only seen from the Kamakura Bakufu. As a man of great human understanding and political strategy, the Tokugawa shogun instituted many reforms. But Japan was sick and weakened after so many wars.

At that time, the Bujutsu suffered subtle nevertheless

profound changes. Many of the great masters of the old martial "Ryu" had witnessed the development of firearms, as well as the new style of warfare and strategy emerged thereof. So they understood that firearms were not the end but the beginning of a new era and a new kind of war even more devastating.

Therefore, us sword and bujutsu practitioners, what can we expect from this new era? The concept of harmony could portray the desires that this new era has brought to our hearts. At that time, after understanding this, classical studies had to become studies of chivalry and protection. The same feelings of courage, peace and honor were implanted in a new form of warrior, who would bring peace and social harmony to Japan.

How would it be for us creating this type of warrior in the present day? For us, the art of the sword and the Koryu is always attached to the heart, to the technique and to the body.

Thus, "shingitai" will always exist, even if the world is full of

“The lower abdomen, the ‘hara’, besides being the place where courage is concentrated, is considered the seat of the earthly consciousness.” peace, because both love and hatred begin in the same place and each one has its unique form of action that is manifested in a body. For those still looking for hostile feelings, the "shingitai" may manifest itself in several ways, but it won't cease to exist.

For those who see in the sword an extension of one's character, it will be for its "hamon"

(appearance of the temple of the sword) that they will measure their own intensity, i.e., the force and the need for nonforgetfulness of oneself will lodge inside themselves.

The nomenclature of the techniques taught in the Japanese Martial Arts is at the same time an interesting and controversial topic.

The controversy is due to the apparent arbitrariness with which certain martial movements are named in many schools, which often generates confusion and doubt.

What the staunch defenders of the old ways sustain is that much of the tradition is lost by altering the original nomenclature.

Undoubtedly, it is a dynamic process, similar to what happens with the language of a people. It is common for older generations to feel strange in front of the number of neologisms that arise at every moment and the ignorance of youth about the "out" terms. That conflict will always exist. The problem arises when not only the form is altered, but also the content. In our time, we are fed up of seeing the traditional arts

dissipated by the indifference and omission of certain schools that adhere to modernity, altering the nomenclature and direction of movements by the need to evolve their methods.

According to our view, the same forms of attack and defense, whether armed or not, are characterized by the method of using and non-alteration of its continuity. It is a fact that its methodology and way of transmission, whenever possible, should be polished and remodeled, but the alteration and innovation of certain movements incur the mischaracterization of a style that somehow has arrived to the current days. All kinds of studies conducted in the Middle Ages by the most important Ryu correspond to the direct way of execution, without a previous preparation. With the impending experiences, the need for creating methods that could make more effective the understanding of movements, cooperated in no lesser measure to the evolution of the general vision of Bujutsu itself.

In the current era, we can deduce, using modern

nomenclature, that there exist "Koryu Seiteigata" (the name "koryu" had its use after the Meiji Era as the definition and presentation of ancient and conservative forms), which are nothing more than the oldest forms of Martial Arts, established in an unaltered sequence that must be executed in its own essence, seeking to revive the thinking of the time in its ferocity and effectiveness. On the other hand, there is the "Undo Seiteigata", or the previously established form of exercises that indicate a different practice. For example, "suburi", "sotaidosa" among others.

With the idea of not establishing the importance of the ancient conservation, it is common that some specific schools attribute, for example, to this or that technique, the term "Kuzure" (variation). That is, when the name of a given technique is unknown, the reference to "change" is credited to such technique. The term "Kuzure" is used in a particular technique that enables its execution, altering the essence which ensures its inertia.

Some masters explain that this

fact began with variations and different ways of thinking facing the same situation. The solutions coincided, but the original way of execution was altered. Some lineages of Japan often used metaphors of elements of nature (shizen) to describe their techniques, while others applied terms of religious origin, such as the Katori Shinto Ryu, of Shinto orientation. Some attribute such nomenclature to moments of "satori" of ancient masters, who have defined their own way the best way to refer to and understand certain movements.

Yet, truths are linked to historical factors and are expressed by opinion makers, but nothing guarantees that this has actually occurred. Inside the old school, is common the existence of materials or documents in which are constituted the name of each technique or sequence. It is obvious that with the arrival of Japanese immigrants who, according to reliable sources, didn't take with themselves all the due documentation, many descendants remained "orphans" of the pedigree charts that kept

the story of important Ryus. We also know this. What we emphasize is the care and preservation capabilities that must be latent in each segment.

Perhaps the Zen conception of reality can help us to better understand the importance of maintaining the original forms: All actions of man have their origin in self-consciousness. We tend to think that our subjective reality is barely a fraction of a much larger objective reality.

Conversely, the Chinese monk Rinzai, of the Zen sect, warns us that external reality is merely an aspect of subjective reality and we mustn't let ourselves be pressured or destabilized by the objective world, but free ourselves from it. We should not rely on the world of objects for our guidance or knowledge.

We have been seduced in the sense of assessing the advantages and disadvantages of each action, taking a path, then another, and as a result of that, we forget our own true self.

Speaking, we say absurd things and we end up by not

understanding ourselves.

Besieged by all sorts of problems, we tend to treat them superficially, without grasping their real meaning.

Hesitating between action and inaction until the next problem arises eventually we let ourselves go with the stream of the times, murmuring with the crowd: "After all, what can we do?"

By confusing appearances with reality and worrying about what we find on our way, we forget about preparing ourselves for our own destiny and in the process we lose our bearings, our humanity and our hearts.

In everyday life we are scourged by forces beyond our control. We are controlled by objects; the one who uses ends up becoming the used one.

The Rinzai sect of Zen says that we should focus so that we never lose the original and innocent mind with which we are born, no matter where we are or what may happen to us.

This original mind is the same as the characteristic "no-mind" or "empty mind" of Zen. If we

identify with it, we can overcome our self-consciousness and its links. To reach that state we need a discipline or path along which we can travel in search of the original mind. This path, such as indicated by a koan, should be directly applicable to our lives.

A verse written by a Chinese priest of the Tang Dynasty describes this state of mind. His prose version could be: "There is a man so poor that eats wood and wears clothes made of leaves. But his heart is clear as the moon, his mind is calm and nothing disturbs him. If someone asks him where he lives, he answers "in the green mountains, next to pure water."

The answer is a poetic device that can also mean "in all nature" or, by extension, "in the whole world." Although at first glance this poem may seem insignificant, it is an expression of a state of concentrated spirit that perceives the grandeur of nature and at the same time feels in harmony with it.

How splendid it would be if to the question "where do you live?" we could answer: "In the whole world."

Frans Stroeven

Integrated combat styles:

Eskrima is a complete defense system where weapons play a very important role.

Whereby the unarmed combat portion is known as Pangamot. For ground combat we use Dumog a fairly unknown grappling style from the Philippines. As you know I modernized both armed and unarmed Eskrima to make them r eady for the demands of modern 21th century selfdefense.

Pangamot is a realistic, complete and hard fighting style originally developed in the Philippines and modernized by me to make it effective to meet 21st century demands. Created for the street, created for self defense , created for you . With this slogan, I successfully promote this unique form of self-defense all over in the world. I give seminars and train this fascinating way of fighting and share my passion with anyone who is open to my way of thinking and wants to train hard.

Eskrima is no gymnastics Unfortunately some people turn Eskrima into Gymnastics. In fact I see lots of unrealistic drills, like throwing sticks in the air and catch them again and lots of these strange ineffective drills. These techniques do not work at all in real combat. Of course Eskrima is beautiful to look at and art can be great for demonstrations. I also know that not everyone is a fighter and some people are practicing Eskrima because they like the art of Eskrima. But remember Eskrima was developed in war and many people shed their blood to develop Eskrima to be the most effective way to defeat their enemies.

Pangamot for the street Pangamot for street self-defense more or less originated in the war.

When an armed combatant lost his weapons during a fight he had to, in order to continue the fight use his bare hands. His total body was used as a weapon. His fists he used in many ways, the palm of his hands, his fingers, his knuckles, front arms, elbows, biceps, shoulders, his head to throw head-butts, kicks, knees, chin, heel, hair pulling, even biting.

Basically everything, really everything was used as a weapon and all this in a very realistic, aggressive way that you do not often find in other fighting systems.

Dumog What many people do not know is that Pangamot has a grappling system; called Dumog. Dumog is not Jujutsu, nor is it Judo. Dumog has its own tactics and techniques.

Old dumog styles were limited and were certainly not intended to deal with people who were armed with knives or other weapons. You can imagine yourself making a nice shoulder throw (as you may have seen in Judo tournaments). You will even score Ippon (a full point). In a real street fight when the ground battle begins, you can get stabbed once you've landed on the ground.

In the Philippines a knife culture prevailed and it was very dangerous to fight on the ground.

Unfortunately today this culture of carrying weapons is common in Europe. Some people consider carrying a knife as tough. More and more people carry a knife and actually find that quite normal.

Modern Dumog Modern Dumog is different but uses the same principles as used in Pangamot. So only, if all else fails, we will fight on the ground but with a different mind-set as used in Judo or Jujitsu or grappling.

Everything we do standing we also use on the ground. Punches, kicks, elbows, trapping, immobilizing the hands, head butts, hair pulling, biting, spitting. Basically anything that is forbidden in martial arts.

Other tactical weapons can be used when you are lying on the ground. Use a weapon, like your pen, your keys, a telephone, sand or for instance a short stick. SCS philosophy is to remember the word anti, anti-boxing, antigrappling, anti-kicking. For example, while your opponent wants to throw punches, you kick and try to immobilize your opponent by using kicks and elbows and weapons. If your opponent wants to enter a ground fight, you grab a weapon or pull his hair, or start bumping or use elbows, head butts, and if it is necessary bite! Use everything to your disposal to win. In fact this is a realistic way to win. I know it is dirty but who wouldn t rather be dirty in a life-threatening situation.

You cannot allow yourself to not be dirty when necessary! This is Dumog placed in a most realistic raw street fight. When you think about it, if you apply this philosophy, the outcome of any fight can be quite different. Women can win a fight against their assailant, even when their assailant is much stronger or bigger than themselves.

All-round fighter Any man who follows this Philosophy can be deployed in any fight and can fight at any distance.

He or she will be an all-round fighter with or without weapons and is ready for realistic circumstances. Eskrima uses weapons in a way you do not find in other martial arts styles. Eskrima allows you to flow from using one weapon to using another, and, if necessary, combine weapons with unarmed combat. Think about it, in one hand you might be carrying a short stick and with other hand you can bump , actually all body parts, as described above, can be used.

Think of all the other weapons: keys, cap, pen, umbrella etc. combine that with your fists, standing on the ground, or fighting

from the ground. With the right training, you become a complete fighter who is able to do both armed and unarmed combat from any distance. Use the correct principles and you will be able to flow. Then you can be called a true Eskrimador! Even modest people can train Pangamot and gain more confidence in everyday life!

Stroeven Combat System (SCS) My idea concerning Eskrima, Pangamot and Dumog is that these parts of Eskrima must be much more fully integrated into one perfect defense style. So that is why I study the techniques and make the necessary adaptations and always will fall back on the basic principles of weapons training, what every technique aims at to accomplish and what the basic principles of defense and attack imply and what the desired outcome must be using the these techniques. Keep in mind what is to be accomplished and ask yourself these questions: Is this technique really developed to overcome your opponent? Or is it a form of art? Can the technique really be applied in raw combat or will it work for training purposes only?

When applied, the techniques must be most effective in combat, or help you in training, to make you a better fighter. The basic principles must always come back in training. So when you integrate unarmed combat and ground combat they must be an extension of weapons training. Pangamot is an extension of stick and knife. In order to master Pangamot, and Dumog you must train Eskrima.

You will discover that you learn the principles much easier. Moreover if you can apply the basic principles, you can also fit Pangamot easily in other systems!

To be most effective If you understand the concept of total fight within the self-defense principles of Eskrima, you will understand that Pangamot is a very realistic practice of selfdefense which is also very different from the way it was before! You can fight with any weapon, any weapon whatsoever, but no guns!!

Your body is your weapon and you ll be your own bodyguard.

For now I welcome you into my world, the world of Eskrima!

Frans Stroeven

Interview

Few actors-martial artists reach the fame with one movie, this happens only in some exceptional occasion; Jeff Speakman managed to do it with "Perfect Weapon". Some ensure that it was a response from Paramount Studios regarding the Warner Bros and Steven Seagal. The film "Perfect Weapon" didn't get the expected success or, at least, it didn't match the Aikido master's films, however Jeff Speakman got his purpose: making Kenpo known worldwide.

Text: Pedro Conde & Gladys Caballero.

Photos: David Gramage & davidgramage@gmail.com

F

or many Martial Arts practitioners, Jeff Speakman is a remarkable actor of the martial cinema of the 90's, i.e., a Hollywood star. Well, this is far from reality; when you get to know him and treat him in person, you soon realize that he is primarily a master, a great master of Martial Arts who emits that aura that only great senseis have; you can notice immediately that he's been practicing Karate for long years; being a 7th Dan in Goju Ryu, he carries an ineffaceable mark left by

“It seems that what really matters is to become the supreme leader of Kenpo and not the paths Kenpo might follow, nor its future.

This is the big problem of this art.�

Interview the Japanese discipline, displayed in that serenity, humbleness and loyalty to his master that only Japanese masters have. However, he also has the American mind, free of traditions and dogmas, and that makes him be objective with the limitations of his style, without falling into fanaticism or exaltations. In sum: he has been able to absorb the "essence" of Karate and Kenpo, unifying them into a single style that he is currently perfecting with the ground work of MMA. As a result, he has created his own style: Kenpo 5.0.

Devoted in recent years to spread his art throughout the world, an unexpected event forced him to stop his work: in April 2013, Jeff Speakman announced on his Facebook page that he had throat cancer. Specifically, he was diagnosed with an esophagus tumor in stage-4. "Because of the proximity to my vocal cords, surgery was not an option because of the possibility that I could lose my voice during the operation, so I decided to move forward immediately with chemotherapy and radiotherapy."

Fortunately, he has been able to overcome the terrible disease and he's retur ned to his task, the disclosure of kenpo 5.0., and so, he has visited Spain for the second time to conduct some seminars organized by Cristina Alvarez and David Busan.

Jeff Speakman granted us an interview of two hours that just flew by, because it was just a conversation between two Martial Arts fans, where he offered me the opportunity to make him the best interview he had ever been made, as he repeated up to three times. I must confess it was not difficult

doing it; conversely, having within my reach a communicator and teacher of his caliber, it turned out to be a very simple and rewarding task.

Jeff Speakman was born on November 8, 1957, in Illinois, Chicago. Before filming "Perfect Weapon", he weighed 180 lb.; his current weight is 202 lb. Besides obtaining a degree in Psychology, he studied Dramatic Arts for six years.

Like many others, he was attracted by the martial arts thanks to the series Kung Fu; specifically, what most caught his attention were the philosophical quotes between the master and the "Little Grasshopper"...

"I loved the Kung Fu series, especially those flashback sequences in which the young pupil learned philosophy from the old blind master. I think this encouraged me to learn Martial Arts."

He started practicing the Goju Ryu Karate style in 1978; by that time there was not much choice, Karate and Judo were the most widespread and predominant Martial Arts in gyms.

"It was in 1978, while I was in college, when I started to practice Martial Arts (Goju Ryu).

In 1983, when I was about to graduate, my instructor Lou Angel told me: 'If you really want to do martial arts, you should move to California and train with Ed Parker. It's really weird that a Karate 10th Dan, as strict and closed-minded with their styles as they generally are, tells you that you should go with another teacher to study something totally opposite, speaking in terms of philosophy and

“In April 2013, Jeff Speakman announced on his Facebook page that he had throat cancer.”

“I worried about being myself, obviously influenced by the teachings of Ed Parker, but above all, because he wanted me to be myself.”

Martial Cinema “I simply joined the strength of Japanese Karate with the fluidity of Kenpo.�

Interview technique. Normally, if you're moving to another place, your sensei recommends you another teacher of the same school... Years later, I understood why he said this. That struck me. But that's what being a true Master means. He wanted the best for me, even if it meant leaving his style. I am indebted to him.

This is the spirit that some who call themselves ‘Sensei’ lack."

Jeff Speakman moved to California, where he initially trained with Larry Tatum...

"I started to train with Larry Tatum, but when Ed Parker saw me and treated me, he told me: 'Don't stay with him, train with me'. When you're a student and the great master of the style tells you that, you feel like if you were in a cloud, you feel privileged! I trained with him from two to six hours; when I was with Larry Tatum all I cared for was speed, trying to make it as fast as possible, that is to say, I was working for my ego, trying to surprise everyone with my speed, however this was making me lose the "essence" of the art of Kenpo. Ed Parker guided me toward the

right way; the important thing was the effectiveness of the blows, and not how fast they were performed."

The literal translation of Goju Ryu is "Hard" (Go), "Soft" (Ju) and "Style" (Ryu): the Hard - Soft Style. The style characterizes by its short, high positions, the use of middle and short distances, in addition to blows and circular blocks, with much emphasis on breathing and the work of Ki. Being Jeff Speakman a high level black belt, how did he found that extreme change to a fluid style without rigidity as Kenpo? Did you adapt the Karate strength and Kime to the Kenpo techniques?

"Indeed they are opposite poles; they were and they are quite different.

Japanese styles are very strong, they emphasize strength. Instead, Kenpo was very fluid, more relaxed, where speed came first. However, I applied the strength I had practiced in Karate to that speed; that's what makes my Kenpo so different, because although I didn’t keep the strength of Japanese karate, its rigidity, I have kept part of that force. I simply joined the strength of Japanese Karate with the fluidity of Kenpo."

When we view a movie or a video of some of his exhibitions or workshops, we can appreciate a big difference between him and his Kenpo colleagues; technically the execution is the same, but at the moment of impact, during those tenths of seconds, the strength, Ki, is an unequivocal aspect of the Karate Goju

style. To what extent is Ki important in Kenpo 5.0?

"It's of the utmost importance; only experts and he who dominates Ki know about its relevance in Martial Arts. When you control it, you see everything from a different view, from a different perspective,

and that's what made ??me change me as a person, as a human being and as a martial artist, because breathing is unquestionably the way to connect with spirit. At the moment of impact, dynamic tension and the spirit are concentrated, is at that very moment when you release that energy. The movement is the

Interview When you view a video or DVD of Ed Parker, with some differences, you can appreciate a great similarity with the way of working of Jeff Speakman, however, it's inevitable to pose the question: Why is there so much difference between Ed Parker and the rest of his students? Why Parker's students put speed before strength and effectiveness? And at this point, the question arises: Did they really capture his message, the spirit of his Kenpo?

same that others Kenpo instructors do, but the difference is this: after hitting, you turn to relax again and follow the same dynamics of techniques that others do."

After the explanation, Jeff Speakman carries out a demonstration of how Kenpo movements are made. First he executes a very rapid technique sequence; rather than martial techniques, for its speed, it looks like a sleight of hand; he then performs again the sequence the way he works.

They are less quick but much stronger and more effective at the time of impact; during those tenths of seconds, he concentrates and uses the power of Ki, his breathing and concentration is different.

"They didn't get to grasp the significance the way I did, because Parker came from the world of Karate. The softest way to say it without hurting nobody's feelings is that they never had a full vision of the legacy of Ed Parker. And if I was able to fully grasp it and apply the power of his techniques, it was because of my Japanese roots. I think the other instructors were more concerned about being the next Ed Parker than learning his style, look good in the picture and that everyone would say they were the best. I worried about being myself, obviously influenced by the teachings of Ed Parker, but above all, because he wanted me to be myself.

Ed Parker wanted people to be themselves; he didn't want replicas or imitations of him.

In my case, when I work I'm focused on why I'm going to hit, not on how I'm going to do it, when you understand the why, it doesn't matter the how... " It would appear that the students of Ed Parker have not "grasped" his legacy. If this was so, where is Kenpo heading? What future awaits it?

"This is the question that nobody ever asks me, they ask me: Who do you think will be Ed Parker's successor? It seems that what really matters is to become the supreme leader of

Kenpo and not the paths Kenpo might follow, nor its future. This is the big problem of this art. I think you have to continue along the path traced by Ed Parker, so I created the Kenpo 5.0. In it, apart from the standing up fight, we contemplate the ground fighting techniques of MMA, because you never know where you'll have to fight; in the times we live in, it is increasingly common to find people who know about fighting arts, or in the street you can find yourself in this situation. That's why I integrated them into Kenpo 5.0. People who met Ed Parker claim that if he were alive he would have also done it, or he would have followed similar paths to make it more effective, since in Kenpo ground fighting is not contemplated. An example: in the car we have a great front glass windshield to look ahead (future) and a small mirror to look back... You always have to look at the past, even if it's just a little; ignorant minds refuse to change, deny change, while smart people never stop doing it... " Hard task that of combining a Martial Art such as Kenpo, with a combat sport like MMA. Don't you think that Kenpo 5.0 might fall into the trap of becoming a combat sport?

Couldn't Kempo lose its essence and therefore its philosophy?

"Undoubtedly, philosophy is very important in Kenpo.

MMA instead, very aggressive, lack any philosophy, so I explain to my students around the world, that with MMA they don't advance, don't grow. My students should know how to defend themselves and how to fight on the ground, but without losing the values ??of Kenpo, i.e., a practitioner of my style must be able to fight on the ground, but without the aggressiveness of a MMA fighter, while maintaining all the time the philosophy and spirit of a Martial Arts practitioner. Some of my students compete with MMA fighters in these types of encounters, the important thing is that they remain being Kenpo practitioners, and never MMA fighters.

When Lou Angel sent me to train with Ed Parker, unquestionably he didn't think of the Martial Arts, he thought of the person. He prioritized the person over Martial Arts; this is the difference between Martial Arts and martial sports. In martial arts you look after and care about the person; that is the philosophy of Martial Arts, something which is lacking in MMA. There is a difference between the philosophy of Martial Arts, which is a way of life, and fighting in Martial Arts, which is the competition. Currently it has joined with MMA but meaning has been lost: in Martial Arts you

Interview seek the way to help, whereas in MMA is how you can wound or hurt. As we start rolling a series that I have in mind, we will focus on how we can help, not in how we can hurt or hit; we'll try to mold the philosophy involving martial arts."

In Martial Arts, innovative masters have all been prey of criticism; when someone does something different from the

others, he is not always understood by his style fellows, and Jeff Speakman has been no exception...

"At the beginning I had a lot of problems with Kenpo masters because they didn't understand why I had integrated MMA into Kenpo. Currently, they have finally come to understand the relevance of knowing how to fight on the ground and now I no longer have problems

Martial Cinema or criticisms, although I admit it was hard at first. My goal now is that my students be equally effective both standing up and on the ground and for this reason they must train a 50% standing up and a 50% in the ground.�

Jeff Speakman suggests that while Ed Parker was alive, Kenpo didn't stop to evolve; it was a martial art that went with the times, tracing a trail that others followed. After his

death, the style must keep progressing, but to what extent has Parker been important in the Martial Arts?

"I think he's been the most influential person in the Martial Arts in America and in the West by a knock-on effect, because he didn't focused only in one style, the important thing was his philosophy, he had an open mind, he created the Long Beach Championship, the largest in USA, open to all styles, where anyone could compete within the rules; besides, masters and experts could perform exhibitions to publicize and disseminate their art.

He helped many masters son that they could teach their styles. I am sure that without Ed Parker, Martial Arts wouldn't be what they are today. There is an indisputable fact: Ed Parker helped Bruce Lee, thanks to him he got the role of Kato in the "Green Hornet" series and because of that role, he arrived where he arrived! Martial Arts were known worldwide because of Bruce Lee.�

Bruce Lee is the undisputed icon of martial arts, thanks to the cinema he made them known worldwide. But what does a master like Jeff Speakman think about it?

"He was number one, the first to show martial arts in the West, the first who demonstrated that despite his short size, a person could do whatever he or she wanted if they had some knowledge and martial skills. If Bruce Lee could do it, others could do it too, regardless of size or weight, even people with more weight could also do it. I think Bruce Lee absorbed much of the essence of Ed Parker at a martial level, of his philosophy, etc. People who trained with Ed Parker and Bruce Lee, years later became friends of mine and they all mentioned that being so small, he was just amazing... Evidently, facing a man who moves like Bruce Lee and weighs so little is dangerous, but facing someone who moves like him and weighs 25 more pounds is worse; and even worse if he moves the same way but his weight is of 50 more pounds, because when you move like him, the only thing that can change is the weight. If you can move like Bruce Lee did, it's impressive, but if you weigh more, me for example, I weigh twice as much, or someone even heavier, it would impress much more and the answer to all this is that this is the style of Ed Parker ".

Ed Parker not only helped Bruce Lee in his film career, he also helped his student and friend Jeff Speakman, in the movie "Perfect Weapon", with which made his Kenpo known worldwide.

"We watched a lot of films, and we concluded that all of them had a common denominator, no one knew how to act. So I decided to study acting as long as necessary to acquire a certain level. Ed Parker also thought it was the best way to get a good role. I had to do it to obtain experience, while waiting for my opportunity.

The chance was presented to me one day when the then head of production at Paramount, came to see me in my Dojo in Los Angeles.

After seeing the class he said: All right, let's do a test now to see your skills as an actor.

I did that test and it was then that I was offered the chance to star in Perfect Weapon".

Ed Parker was a key figure in its filming, he was with me all the time; before rolling we began practicing and preparing the choreography. Then, when the film shoot started, he was in all sequences telling me how I could do it better, how to improve my techniques, apart from that, he gave me moral support at all times.

Shooting a film is very hard and there is not only physical wear, but also psychic and he’d be always there, ready to encourage me and help me.

Normally it's necessary to repeat shots; after recording, everyone began to move and there was a terrible confusion. Then I sought Ed Parker and he was the one who advised me and direct me, because all that noise was stunning me; instead, he felt comfortable and very lively, aware of

“That's the big difference between martial artists and the general public; it is difficult to shoot a scene that will please both audiences.�

everything that happened, and that was a large part of my motivation. The shoot was very hard and long.

Sometimes we had to work at nights, I was exhausted and I couldn't keep from falling asleep; when this happened, Ed Parker covered me with a coat. When my presence was required, he woke me up gently and said: Come on, Jeff, they need you".

Unfortunately, by a bad twist of fate, Ed Parker died a few weeks before the premiere, so he couldn't see the impact that his Kenpo had in the public at large...

"I couldn't fulfill two goals that I had set: One, that Ed Parker was in the premiere, and second, to dedicate him the film in life. He

wanted to present Kenpo worldwide and he considered that movies were the best vehicle to do it, but he didn't achieve his dream ... although I did for him. He could not see the final editing of the film, although he saw some of scenes already edited... Out of respect for him, when the film ends, the first thing that appears on screen is my dedication and tribute to his memory. He was in the filming, we choreographed all the fight scenes and we agreed fully that this was the true Kenpo, the Kenpo that the public should know."

"Perfect Weapon" had a special charm that other films of Jeff Speakman haven't had; in fact, for critics and viewers, this film was one of the best Martial Arts productions of the 90's. Personally, I loved the movie, especially the scene in which a bunch of outlaws try to steal him the wallet and he gets rid of them with awesome simplicity and blinding speed... such choreographies haven't been seen in any other of his films.

"When I talk to practitioners of martial arts, they all pay attention to

that scene for its elegance and simplicity; when I talk to the general public, they stand out the gym scene where I beat several martial thugs.

That's the big difference between martial artists and the general public; it is difficult to shoot a scene that will please both audiences.

Initially, when we shot "Perfect Weapon", we didn't record the scene; when they delivered the final assembly, Mark Disalle rolled and recorded like he used to do it to Jean Claude Van Damme. In the Paramount Studios they told me he was the epitome of elegance of these crafts, so they wanted one more scene where the difference could be appreciated, and that's why that scene was recorded. I choreographed it and directed it, so it is different from all that appears in the film, that scene is the essence of Kenpo, i.e., simplicity and effectiveness. Mark Disalle rolls with a different type of filming shot, broader, however, this is shorter so to better appreciate the technique; in this scene I fight with all at once, rather than in the films of Jean Claude Van Damme, where one attacks first, then another, etc., each

waiting their turn... That's not the real, in a street encounter you need to fight all at the time, because nobody waits for his turn to attack.

Paramount wanted to shoot a real scene of what I was doing, getting completely away from cinematic choreography, but that in turn it showed the effectiveness of Kenpo, and that was the result..."

The director of "Perfect Weapon" was Mark Disalle who, interestingly, was also the director of "Kickboxer" of Jean Claude Van Damme. To what extent was this important to the success of the film?

"In "Perfect Weapon" there were two very important characters, one was Mark Disalle and the other was Peter David. Unquestionably, Mark Disalle knew how to roll Martial Arts movies, but Peter David was the one who put us in touch and made the film possible."

Martial Arts Cinema had its glory years in the 80's and 90's, in the marquees of movie theaters and in the video stores shelves you could find several films starring Chuck Norris,

Interview “I don't like that kind of life.

Cinema is simply a vehicle to achieve what is really important in my life: Kenpo. My goal is to achieve its diffusion through films; if doing it I can make money that allows me to live comfortably, then great.�

Steven Seagal, Jean Claude Van Damme, etc. Why this kind of movies is not currently made? Is it because the public is not interested?

"Today there are very few people in the industry cinema world who want or are interested in making Martial Arts films, only those who are starting in the film business are interested and so is very difficult to shoot something with quality; on the other hand there is nobody in Martial Arts great enough to drag the audience to cinemas. There are just some movies that have really succeeded as "Enter the Dragon" with Bruce Lee, "Kickboxer" with Jean Claude Van Damme, "Perfect Weapon" with me. Currently there are no great masters, great figures in Martial Arts that could make these films".

Jeff Speakman never ceases to dictate training courses and workshops around the world, his Kenpo 5.0 has more and more followers every day, in fact, after his seminars in Spain he'd continued his European tour, being increasingly requested by Kenpo practitioners worldwide. But is it the same at a cinematic or television level? Do you have any immediate plans in these areas?

"Oh, yeah, in fact I hope to know about it today, I hope to have my own reality TV series; it's called "Perfect weapons", no "perfect

weapon", in singular, but plural, and it will be like a study worldwide, showing my academies and the way the different groups train. Also it will be held a kind of tournament and the final combat will take place in Las Vegas. Producers are two persons who are carrying out two major programs around the world; one of them is the producer of the cooking show called Hell's Kitchen".

If the series is rolled and gets the expected success, Jeff Spearkman will retur n back to savor the sweetness of success Who knows if he will be again one of the great ones of action movies! Although he doesn't seem interested in the lifestyle of Hollywood...

"Not at all. I don't like that kind of life. Cinema is simply a vehicle to achieve what is really important in my life: Kenpo. My goal is to achieve its diffusion through films; if doing it I can make money that allows me to live comfortably, then great."

When you get to know him and treat him, you are certain that this statement is totally irrefutable, since Jeff Speakman is primarily a master, a great master of Martial Arts, radically different from any of the action movie stars. Unquestionably, his life, his passion is Kenpo and Ed Parker's legacy. In his life there is no room for anything other than his Martial Art.

In search of the AUTHENTIC SENSE OF COMBAT IN SOME KENPO STYLES Tatsuo Yamada Born in 1905, Tatsuo Yamada became a disciple of the noted Master Choki Motobu in 1923. Yamada had started in Karate a year earlier, with Master Funakoshi.

However, what interested him above all was effectiveness and he was disappointed with his previous style which he accused of lack of realism. Thus, he sought out the man who had knocked down a Western boxer in one blow. The following year, at age 18, attracted by the fighting way of Choki Motobu, and convinced of his ability, he moved to Osaka to become his student. He lived in the master's home.

Master Motobu soon realized the qualities of Yamada, whom he accepted as Uchi Deshi (inside disciple). Under the tutelage of Motobu, young Tatsuo was introduced into a world where technique and efficacy were one. In 1924, satisfied with the progress of his student, Motobu sent him to Okinawa, where the boy lived new combat experiences, facing opponents from other styles. In 1925, Motobu's book dedicated to combat was published, portraying a young Yamada in photographs on fighting techniques that probably were taken on his return from Okinawa.

In 1934, Motobu visited the Karate dojo of Yasuhiro Konishi (founder of the Shindo Jinen Ryu), who had invited Tsukeo Horiguchi to coach a young English boxing champion.

Despite his advanced age, Motobu persisted tirelessly in his research, and immediately proposed the boxer a friendly confrontation in free sparring. From the start of the fight, the Okinawan master neutralized all attacks of his opponent and answering to each one until the boxer renounced to keep fighting.

Tatsuo Yamada was present and the image of an old master easily dominating a young champion was recorded in his memory. He realized the actual level of Motobu and decided to multiply his own combat experiences. He then decided to devote himself entirely to his master, who proposed him to participate in a particular kind of competition, the juken-kogyo where karate practitioners faced boxers or judo men.

The Master war ned his student: "Look out! Numerous karateka have been knocked

down in such encounters."

Indeed, following Gichin Funakoshi, many other karateka had moved to central Japan. Some of them were defeated in combat in this show and created their own school of Karate. The story of this show, a real taboo for Karate, is poorly known.

Yamada, without a moment's hesitation, threw himself with passion into this new type of tests and accumulated an irreplaceable experience, over which he later built his own style.

Militarism invaded Japan’s environment, which went to war against China in 1937.

At that time, Tatsuo Yamada became bodyguard T. Nakajima, director of a company of aircraft construction, with whom he stayed quite a few years during which he was several times wounded with knife, sword and pistol. In 1941, Choki Motobu retur ned to

Okinawa where he died in 1944. After the war, in 1947, Tatsuo Yamada opened an osteopathy center and a small dojo next to it. Privately, he taught Karate to some University students.

Yamada's trajectory, parallel to that of Motobu's, also constitutes an important stage in the history of Kenpo or effective Karate in Japan.

When Yamada began teaching Karate, his classes were composed mainly of people who wanted to acquire an actual combat effectiveness; bodyguards, policemen and even some judokas eager to supplement their technical background.

It can be assumed that this clientele of judokas came to him in the aftermath of his participation in the juken-kogyo competitions.

Here is an appreciation of Yasuhiro Konishi regarding this subject: "Yamada was very aggressive. He

openly commented about his criticisms of the current Karate, saying it was a dance. It was somehow like a yakuza boss. I regarded him as an innovator of Karate, but other karate people didn't appreciate him. It's what Yamada himself confirmed: Many people come to me, judokas, bodyguards and politicians, with the exception of Karate masters."

Karate men who approached him were marginal, for example Masutatsu Oyama, the future founder of Kyokushin Karate.

In the early 1950s, he finished the development of his own style and gave it the name of Nihon Kempo Karate-Do. In this style, free sparring is a priority, carried out with full contact boxing gloves.

Regularly the master made ??his students fight against boxers and in 1959 his very son Hiroshi was who made the first official combat in Japan in which a karateka confronted a Muay Thai champion.

In 1962, Tatsuo Yamada organized the first tournament of Nihon Kenpo Karate-Do. The fighters wore their regular long pants and their karate belt, but they didn't wear the upper part of their training uniforms and they used boxing gloves. The event caused a significant impact.

Most karateka judged that it was a total deviation of the Martial Art and it was not really effective, as the myth of Karate: "One single deathly blow" was totally absent. For karate practitioners it was technically mediocre and morally decadent, except for those such as Masutatsu Oyama and Muneomi Sawayama of Nihon Kenpo, former rival of Tatsuo Yamada, who knew what it was like fighting with real blows.

Osamu Noguchi, who later led the Yamada's school, formed the Association of Kick Boxing in 1966.

He sought Japanese to fight Thai boxers. Most were karateka from the stream of Motobu, Kyokushinkai or Nihon Kenpo.

With television, Kick Boxing quickly became popular in Japan. Today, this trend continues in a modified form.

To be month...

continued

next

Posture 17 “Pose Abdominals” Vajrolyásana This pose is the balance for the prior “Pelvic Pose” Katikásana, not only in physical demand, but in mental and energetic activity as well.

In our last posture the concentration physically was on the back of the body, where the brain was called on to relay motor nerve energy to tighten and maintain during the posture allowing the frontal body to be released of tension. We can readily see in this posture that the opposite is in action and the entire frontal body is now receiving the motor nerve energies.

The balance on just the spine demands also that the interplay of right and left hemispheres of the brain be cross communicating the minute shifts in balance via the motor nerves.

Beyond the cross communication and energetic dynamics, we are

simultaneously increasing nerve capacity and transference abilities.

The greater the demand on the muscles, the greater demand on the nerve and blood systems as well, synergistically strengthening not only the physical, but also the flow or transmission capacities as well.

As we discussed in the last pose, when the body is contracted on one side there must be an equal and opposite side stretching action. This serves to remove the tension in those particular muscles and structures to allow for an increased energetic supply, but not from the brain in the case of motor function, but to the brain in sensory mode.

We have three main nerve functions; motor for actions and voluntary muscle control, sensory as a monitor of the world in which we are dependent and autonomic that automatically enables life function (Breath, digestion, excretion, ect.). By

enhancing these functions we become more highly attuned in sense and ability thus creating a more aware and attuned individual not just to self, but beyond. The interplays and decalcifications will also allow a greater transference between natural and personal energies as they meld into one expression.

Again we are working more with the earth than the atmosphere or light of the sun and in so doing work more in the negatively charged energetics. As our last posture absorbed the suns energy and pooled it into a spiraling force, as the frontal body became sensory in essence. This posture now serves to dissipate and redirect that new energetic creation for full utilization and benefit. With chakras now sealed in the frontal aspect the rear portals and sensory apparatus now activated and receiving the negative emanation from the earth.

These new awakenings will give the

Text: Evan Pantazi Yoga Instructor: Carolina Lino Ponta Delgada, Azores Photo by: Tiago Pacheco Maia Ponta Delgada, Azores

practitioner a far greater spacial sense as well as awareness.

This is very important not only for spiritual growth, but also in protection, empathetic and sense development.

Most people today live in a specific area of their being, be it the mind, the face, the chest all typically frontal.

This new awareness of the rear body transcends into a more full life experience with greater understanding and potentials. It is the rear body that is our unconscious past or causal developmental energy (the front is the conscious function or dysfunctional aspects).

“Pose Abdominals” Vajrolyásana As we begin to relax out of the prior arched position of the “Pelvic Pose” Katikásana, we first place our glutinous and rear legs down in contact with the earth to

support the body with slowly increasing weight so as to feel the action and contact taking place.

Allow the sensory nerves to first feel the contact, then the cold of the ground and then the weight of the body. These are three different energetic vibrations and separating the feel of each is a dynamic step in awareness awakening.

As your bodyweight settles onto the legs, bring your awareness to the back that is now relaxed and expanding as the contraction is released. As this relaxed expansion continues, be aware of the change from motor to sensory functionality and feel. This also releases and opens the rear chakras for receptive conscience and utilization as we sense the last experienced pose.

The hands move from the highly motor nerve effect of support now to a new sensory fingertip position next to the hips. Our attention now focuses on the balance of the fingertips as they lightly touch the earth as we bring the tailbone down to the earth to make the focused connection with the earth. The feeling of the spiraling energy in the lower abdominal area out to the tailbone where it is allowed to travel into the earth in exchange for energy absorbed by the sensory nerves on the rear legs, back and fingers.

As we then lift the legs and rock the upper body back, we bring the focus of our full body weight on the tip of the spine. This contraction and maintenance of the contracted frontal muscles seals the frontal chakras and allows the rear chakras to sense the energy and transference brought on by the posture. This serves to release our past and to allow greater

forward momentum in awareness and functionality.

Breathing and Intention: As we are in our prior posture, inhale deeply and slowly as the frontal chakras and energetic spiral strengthen. As we begin to fold at the waist, begin to exhale in conjunction with the action allowing the folded body to push up on the inter nal organs and diaphragm to expel the air. As the air is released along with the rear bodies tension, feel the relaxed leg muscles begin to sink deeper into the earth and expand.

Inhale again slowly and deeply as you bring your torso upright to a 90 degree angle with the legs and release the pressure on the hands. As you move your hands and allow your fingers to touch the ground next to the hips, begin a long slow exhaling action feeling the vibrations now travel down through the fingers as they expand into the ground.

Maintaining the 90 degree angle begin to slowly inhale as you lean back and lift the legs. As you inhale feel the energy enter into the body and into the ground via the tailbone. As you now exhale feel the energy from the earth enter the tailbone and begin a spiraling action anew. You can repeat this breath patter for as long as you can maintain the posture, and never forced.

The inhaling action will spiral in the abdomen first before it then sinks to the ground. On the exhale we feel the energy drawing back from the ground into the spiral of the lower abdomen and distribute throughout the whole body in subtle vibrations.

Next Posture 18 “Pose Tong” Pachimottánásana

Getting the Space Right Wherever your Introductory Lessons are taught, it should look like you've prepared in advance for the event. Chairs, handouts, equipment and a spotless environment should be ready to go. The intro area should have a display that speaks of your school's long history and successful graduation of people of all shapes and sizes. If it's a wall of photographs or news articles, the images should be smiling and happy ones (and not the grimacing warriors you and I might prefer).

Beginning the Lesson Establishing Eye Contact The first thing to do when teaching a child is to require them to maintain steady and focused eye contact. For some children it's easy, and with one or two reminders the lesson moves forward. But with others, the act of maintaining eye contact for any more than a few seconds is a real challenge. When that's the case, it's best to work slower and shape your intro in a way that encourages the child to practice eye contact and focus.If a child can't for any reasonable amount of time maintain eye contact or focus on any one task for more than a few seconds, you should probably steer them away from your regular classes and into private lessons first. When they can demonstrate more classworthy focus, then you could move them up to regular classes.

Getting to “Yes Sir” & “No Sir” Getting a child to say “Yes Sir” and “No Sir” makes an immediate and dramatic change in their behavior (which is what we want the parents to see), and sets up a desirable level of rapport between student and instructor. It's also your test as a teacher (between eye contact and this) to determine if you can put the child into a regular class and have them be focused enough to have a positive experience (and make it a positive experience for your teaching staff as well).

The Two Most Important Techniques of All Martial Arts: Attention & Bow With some measure of dramatic flair, an instructor can tell the student that they’re about to learn “the two most important techniques of the martial arts,” and then surprise them with the simple concepts of “attention” and “bow.” “Attention” is a chance to practice concentration and self-control, and the “bow” is the opportunity to exercise respect for self and others.

The Polite Greeting Now that the child knows how to keep eye contact, say “Yes Sir,” and come to attention and bow, the next step is to teach them the polite greeting.

The surprise for parents is that you've already (probably) dramatically altered their child's behavior, and not a single punch or kick has been thrown. The polite greeting is about teaching young people a valuable social skill –that will make them look smarter and feel more confident.

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

Experts

Self defense

THE UNLIMITED FIGHTING ART In this article I would like to provide my readers with a first look at the fascinating martial art of Panantukan Concept. Get in contact with a system that will surely turn some heads in the future.

Text: Peter Weckauf, Irmi Hanzal, Thomas Schimmerl Photos: Thomas Suchanek

P

anantukan has its roots in the Philippine martial arts.

Western style Boxing has always had a strong influence on Panantukan, which is why Panantukan is often called "Philippine Boxing" or "Dirty Boxing". The biggest difference between Panantukan and "normal" boxing is of course the fact that Panantukan has no strict rules, which allows the use of all body weapons, like punches to the opponent's weak spots, locks, takedowns and body manipulation.

Why Concept? Like for all our systems, we use the term "Concept"

to make it very clear that Panantukan is taught as an integral system.

The system Panantukan Concept "the unlimited fighting art" is my way of looking at unarmed self-defense. Panantukan Concept fascinates with its clear structures which fits out Western way of thinking. There are numerous levels for beginners, medium and advanced practitioners. Each level builds on the previous one which guarantees for optimal learning success. Various levels have different aims and target.

Principles as well as tactical and

strategic elements of a fight can be studied.

The unlimited fighting art Panantukan Concept does not exclusively focus on "dirty" boxing, it rather covers all areas of selfprotection. What most people find so fascinating about the system are its varied and unlimited training options.

Panantukan Concepts answers all questions.

Starting with comprehensive, limitless boxing techniques, we cover "destruction"

Self Defense

Self Defense concepts, body manipulation, offensive concepts, the use of all body weapons, defense against weapons, grappling, in-fight training, third party protection, defensive against more than one aggressors - in short, limitless defense.

Panantukan can be trained 100% independently, it is not a sub-system of any other style.

Nowadays, Panantukan Concept is a close combat system which is based upon principles and concepts. The highly structured training schedule covers all relevant aspects of unarmed defense as well as a large number of techniques, drills, punching combinations, kicks, throws, locks and sparring.

The concepts There is a reason why we use the term Panantukan Concept. It is because we orient ourselves on comprehensive fighting concepts and not on pure technique.

A concept is a design, a plan for action. In the case of selfprotection, the concepts stands for a rough plan for potential behavior in a fight. It must be possible to change the concept, if the situation changes, and substitute one approach with another one.

Weapon concepts in unarmed fights Among the most crucial criteria are weapon concepts which we permanently expand and develop. Controlling the opponent by controlling his hands and arms known as Checking Hand - shows that we permanently assume that we fight an armed opponent and build our defense plan - the concept - accordingly.

Many systems teach unarmed defense first and only later show their students how to use what they have learned against weapons. In Panantukan Concept, we teach holding and controlling the armed hand (i.e., typical for the fight against weapons) from the very beginning, so that it comes natural for defense against weapons in higher training levels.

Another concept which is typical for Panantukan Concept is the destruction of the opponent's limbs. Based on fighting techniques with weapons, the idea is to destroy or hurt the opponent's limbs in a way that he can no longer use them or that he even loses hold of his weapon. This concept is really

aimed at the armed hand of the opponent. In Panantukan Concept, we go one step further and use these techniques not only against the opponent's arms, but also against his legs (leg destruction) to rob him of his agility. Special training concepts to attack the opponent's head and neck are also part of Panantukan Concept.

Using these concepts produced new ideas for self-defense which, in turn, broaden the technical options immensely.

Instructors training Right now, we are in the middle of building and expanding our system and therefor we offer practice-based training for the Panantukan Concept Ins tructo rs . One o f o ur mo s t impo rtant is s ues is hig h quality training for our students. We offer s pecial co urs es in int ens iv e seminars where our system can be studied. The training program is based on an exciting plan on the h i gh es t profes s i onal lev el. Ou r

educational program includes the development of technical skills, tactics, mental components and the understanding of the principles and training methods of SAMI Unlimited Fighting Concept (Panantukan) Panantukan Concept.

For further information go to www.panantukan-concept.com Photos by Thomas Suchanek Written by Peter Weckauf, Irmi Hanzal, Thomas Schimmerl

Self Defense

“A legacy of Loyalty, Relentlessly seeking Truth, Empowering Lives, Serving Humanity” Hwa Rang Do® Theory and Philosophy (MISSION STATEMENT OF THE WORLD HWA RANG DO® ASSOCIATION) HWA RANG DO®: A legacy of Loyalty, Relentlessly seeking Truth, Empowering Lives, Serving Humanity

MARTIAL WAY: The Art of Hwa Rang Do® can be considered as a Martial Way, where the term “way” is referred to the “warrior's path”. That's because when you learn Hwa Rang Do® you have to learn fighting skills but also understand the strengths and weaknesses of one's self in order to live in accordance with the warrior's path.

The warrior's path is lined with the concepts of moral rectitude, selfgover nance, universal truth, conscience, self-awareness, honor and righteousness. These ideals and many more are essential to understanding “the way”. This is the path a warrior must travel to become a Hwa Rang Do® practitioner, and it's not for everyone. Many of us lose our way and become fixated on the immediate, trite, visible material world and lose sight of why we started the journey in the first place. In order to persist on this path, one must develop strength of mind, body and spirit, the strength of a warrior.

Strength does not mean the absence of weakness, nor

does courage mean the absence of fear. True strength comes from those in the most vulnerable and weak situations in life, and true courage comes to those in the direst of circumstances.

The value of all things comes from how much sacrifice was made to attain them. One must constantly choose to adhere to or veer from his chosen path, not based on whether a given action or path is easy but whether it is true and righteous.

SELF: from the Hwa Rang Do® point of view the self consists of essentially three elements that compose the entire being and all things manifests itself in these three components and one cannot exist without the other: 1) the mental aspect: what we think by means of our reasoning; 2) the physical aspect: what we feel by means of our 5 senses; 3) the emotional aspect: what we feel by means of our emotions.

For example, the process of eating lunch first starts with the physical craving of the body (2).

The decision of what to eat often has emotional attachments (3), as the phrase “what do you feel like eating?” indicates. The mental process (1) might involve deciding whether we can afford our chosen dish, whether it's healthy, etc.

Each of the mentioned parts is equally important, and each affects the other two. By understanding and being aware of these elements, we can better control our responses to exter nal forces and maximize our human potential, that is the ultimate goal of Hwa Rang Do®.

SPIRIT: By developing a clear, focused mind, a strong healthy body and a stable emotional center in

Hwa Rang Do

“By developing a clear, focused mind, a strong healthy body and a stable emotional center in our lives, we strengthen a fourth essential element of being: the spirit”

our lives, we strengthen a fourth essential element of being: the spirit.

From a martial point of view the spirit is able to perform much more than the self because it includes many more things than the self and is not limited to the single person.

SPHERES OF KNOWLEDGE: In Hwa Rang Do®, the worldview is consistent with our Um-Yang

(Chinese Yin-Yang) theory of the universe. We believe that all aspects of our lives are governed by an opposite polar dichotomy that coexists to form everything we know and feel, our self and spirit included of course. From a mental point of view it's clear that every person can have different ideas, philosophies, energies and roads but because of Um-Yang is always the background principle of everything we can say that all these aspects converge at

one “point of indifference” where they are equal and harmonious.

Let's have a look to the following interesting example of this idea.

The three main philosophies or worldviews that influenced the Korean culture in the ancient times were: Confucianism, Taoism and Buddhism. The Hwarang warriors had to study many of the concepts under these 3 different views. After

Hwa Rang Do acquiring a certain level of intellectual maturity and worldly experience, they began to see universal patterns that unify all forms of knowledge and experience, not only these three aspects. With this foundation they could start the journey toward a unified truth.

In general, Hwa Rang Do® says that we must study all forms of life's teachings because it's the only way to start our journey toward truth. In order to do so it's important to begin with the academic study (schools, universities, teachers and masters), then going on with practical and real applications of the acquired knowledge and, last but very important, work hard to find the “universal patterns” that unify everything. What we can find at the end of this journey, the truth, is the same no matter which was our starting point. The truth is the point of “indifference” and a Hwarang was (and is) a seeker of truth.

“In general, Hwa Rang Do® says that we must study all forms of life's teachings because it's the only way to start our journey toward truth”

n a world where there are endless policies, dos and don'ts, shoulda-woulda-couldas, people scared of legal liability, and so many hoops to jump through that quite often nothing gets done, at the end of the day the best policy is YOUR policy. As an individual and a parent, you have to do what you believe is right.

The school board is not going to create a policy that you're happy with. Nowadays most schools will send everyone involved in an incident to the principal's office. It doesn't matter if your child started the fight or if your child was the victim, everyone goes to the principal's office, everyone gets a referral, everyone gets suspended for a couple of days.

Trying to talk to another parent about their child's behavior is usually futile. I've worked with children for many, many years, and I've worked with parents for many, many years, both in law enforcement and in the private sector teaching martial arts. In my experience, when you try to tell a parent that their child has done something -- anything -- wrong, that parent often not only disputes and disagrees, but is up in arms about defending their child's behavior. Most parents look the other way and make excuses because they just don't believe their child is capable of that. So think twice about trying to reach out to another parent to talk to them about their child's behavior, because the likelihood that you are going to convince a parent that their child's behavior is unacceptable is very slim.

When it comes down to legal policies, in every state in America the average person is allowed to defend themselves under the law. You do not have to let somebody else make you their victim. Now having said that, every state has different laws. You can be paralyzed by over-thinking the law or being overly concerned about being in trouble with the law; but at the end of the day, if you are the good guy, the justice system is set up to define you as the good guy and deal with you accordingly.

A lot of people are worried about getting sued. "What if I do this? What if I do that? What if I get sued?" Could you get sued? Unfortunately, we live in a world where your child can get beat up really badly and you could get sued because some other parent's child broke his hand punching your child in the face. But there isn't much you can do about that, so you might as well not worry too much about it.

We don't want to over-think these things. We don't want to be a deer in the headlights. We want to take proactive steps to protect ourselves. Anything could happen. When someone in a class I'm teaching asks if they're going to be in a police report if they defend themselves, I tell them that no matter what you do, if the police are called, you're going to be in the report. You could be in the report as a victim who got beat up and seriously injured and sent to the hospital, or you could be in the report as the individual who defended herself and chased off the bad guy.

So either way you're going to be in the report. Either way you're going to be in the principal's office. Either way you'll probably get a referral. And anyone can sue anyone for anything. That's just the world we live in. So what's ultimately the best policy? The best policy is exactly what you, the parent, believe is the best for your child. You might choose to follow the advice and the strategic tips in this manual, and that means that you believe this is in the best interest of you and your child. And if you don't agree with something, you would not advise your child to do it. It's up to you to create a policy with and for your child.

So sit down and decide what you're willing to allow your child to do and what is the threshold when it comes to them protecting themselves, and clearly communicate that to your child.

A former street cop, sheriff, and maximum security prison guard. Chris Sutton is the founder of Cobra-Defense in Clearwater, FL. Cobra-defense is a law enforcement based self-defense system. Cobra-Defense is the official self-defense system of John Graden’s Martial Arts Teachers’ Association (MATA-www.MartialArtsTeachers.com). Instructor certification in Cobra-Defense is at www.SelfDefenseCertified.com.

I

Chris Sutton is availble for seminars and special training.

He can be reached at 727-791-4111 or Cobra@CobraDefense.com

"Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool.

Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy". - General Choi Hong Hi, ENCYCLOPEDIA OF TAEKWONDO, Volume II, page 88. Taekwon-Do is one of the largest and most professional martial arts in the world today, (founded on April 11, 1955, by General Choi Hong Hi, and continues to flourish even after the passing of its founder in June of 2002. Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso", as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The focus of this series is to investigate the Patterns (teul), which are performed in accordance with the founders precepts in "The Encyclopedia of TaekwonDo" (an astounding 15 volumes written by General Choi Hong Hi, including his "Vital Spots"). It is through this structure that Kyusho will be initially integrated back into Taekwon-Do. Kyusho International is proud to assist in this monumental and historic collaborative undertaking.

REF.: • KYUSHO20

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. net

The Brazilian Jiu Jitsu PPP-system as taught by Red Belt Flavio Behring (9th degree BJJ) After having learned from Rickson Gracie in sunny California since 1994 and obtaining the purple belt, I met a representative of the oldest generation in Paris, red belt holder Flavio Behring. My BJJ brother from Rickson Gracie Jiu Jitsu, Christian Derval, had been inviting me many times, until I took the decision to meet the grandmaster, who himself started learning from Helio Gracie in the early days of Gracie Jiu Jitsu in 1947. I arranged private lessons, and I came up with many questions.

Grandmaster Falvio Behring appears like a twin brother of Sean Connery, and his ways of teaching all the technical details of Brazilian Jiu Jitsu, e. g. how to grip, how to distribute your weight, or how to perform the proper transition from one position to the other, are simply awesome. What Flavio has in common with Rickson Gracie is his focus on the effectiveness of BJJ for selfdefense, rather than modifying it for sports competition.

“Self-defense is not fight you surprise” (Flavio Behring) It was like coming home, realizing all those little details that I always felt missing while sparring. Likewise, Grandmaster Flavio Behring’s way of teaching and explaining things, and basically of him being a role model

“According to Flavio Behring’s way, one has to understand the PPP system of Brazilian Jiu Jitsu.

This means that Posture, Precision, and Pressure have to be checked for every position and move”

of a martial arts teacher also made me feel right at home, and I have started working with him on Brazilian Jiu Jitsu. Since then I invite him twice a year into my home and academy in Bamberg, Germany, also spreading the art to different cities in Germany as well as into Italy, the Netherlands, and Denmark.

According to Flavio Behring’s way, one has to understand the PPP system of Brazilian Jiu Jitsu. This means that Posture, Precision, and Pressure have to be checked for every position and move. If one was lacking one of these Ps, that would not be according to the original BJJ which was designed for defending oneself on the streets and in life. The PPP systems allows for effortless fighting.

Regarding the three Ps, the case is as follows: Posture makes for improved balance, leverage, safety, and increased options. For instance, while in the guard position, do not loose your posture and put your head down, because doing so would give your opponent many options to choke or to throw you. Just imagine hanging your head in everyday life… – keep your head up, feel your confidence, and face your life being balanced and

determined to move forward, while at the same time respecting life and other people. Let your opponent fight against your balance which you create by body leverage, so that while he looses energy, you gain energy, while at the same time he is opening a door for you to dominate and subdue him.

This is supported by Precision, i.e. to be more precise in regards of your current position and transition, like where to grip and why, and also in regards of the exact timing for a technique, i.e. if and when to move or not to move. It for example encompasses questions like how to improve your submission techniques, like armlocks. For example, in Behring Jiu Jitsu we twist the wrist of our opponent before we go for Americana or Kimura.

The third principle is Pressure. If you ever face a black belt in BJJ, you will know what I am talking about: If you are on the bottom and the black belt is over you, it feels like being overrun by a tank. There is no space to escape, no space to hide. Constant pressure even from the bottom and while transitioning is the third pillar of Behring Jiu Jitsu. GM Flavio Behring was coaching the Brazilian black belt Macaco prior to an important fight,

and worked with him to improve his pressure during guard passing by, bringing his hip more forward. It was largely due to this that he won that fight.

To use GM Flavio Behring’s words, Jiu Jitsu is like opening a door for your opponent, inviting him to enter, to let him assume that he is dominating – and then suddenly to close the door to control him with Posture, Precision and Pressure. Or to quote another slogan of our Behring family: “Don’t fight, win!”

In 2013 I attended the annual Brazilian Jiu Jitsu meeting in São Paolo, Brazil, and I was introduced to all our black belts. After the meeting we had a BJJ training camp at a Brazilian farm, and then flew to Rio de Janeiro. There I was granted the third degree black belt certificate by my master, Red Belt Grandmaster Flavio Behring, Red Belt Grandmaster Joao Alberto Baretto, and Red Belt Grandmaster Alvaro Baretto, signed by all three Grandmasters of Brazilian Jiu Jitsu. What a great honor an appreciation for my efforts in Brazilian Jiu Jitsu.

Today, after more than ten years working with my master Flavio Behring, and twenty years in BJJ, we

together have introduced the Behring way of Brazilian Jiu Jitsu into four countries, we won world titles and national titles in BJJ, grappling and MMA competitions, but most importantly, we have built up a BJJ family and share our BJJ lifestyle with people who like training. If you wish to become an official instructor in Brazilian Jiu Jitsu, you can contact me directly under www.weng-chun.com.

Bringing Behring Brazilian Jiu JItsu to denmark with my student Brian Berggren (BrianBerggren.jpg) Logo Flavio Behring Germany My BJJ family in Brazil Behring family in Brazil, Grandmaster Flavio Behring, World Champion Marcio Corleta, Worldchampion Danilo Rodacki, Master Sylvio Behring, Rodacki, Andreas Hoffmann With my Behring brothers Mario Guimaraes 5thdegree black belt and Luis Lopes 3rd degree black belt

“After more than ten years working with my master Flavio Behring, and twenty years in BJJ, we together have introduced the Behring way of Brazilian Jiu Jitsu into four countries�

The ASB in the Japan Festival!

The lineage of Kaze no Ryu Bugei Ogawa ha and the Shizen traditions have been represented in 17th Japan Festival of São Paulo, Brazil.

The delegation from the South American Association of Bugei, led

by Shidoshi Thiago Moraes, right arm of Shidoshi Jordan Augusto in Brazil, also had the presence of Shidoshi André Bortoluzzi and stood out among the more than 50 presentations given at the Palco Principal.

The presentation charmed the audience, from the elderly, especially pleased to see the traditions maintained, to the youngest ones, who loved the firmness and efficiency of the techniques presented.

At the end of the event, several masters came to greet and congratulate Shidoshi Thiago and Shidoshi André and learn a little more about the Bugei, the ASB and the entire cultural heritage maintained by the School. Many of them said they had traveled to the city of São Paulo just to witness the presentation of the Institution.

Filipino Martial Arts have a well-deserved reputation of working effectively with the most assorted range of weapons. From the sticks to the knife, behind them, derives a practical conception of the combat that few, as the author of this book, Frans Stroeven, can explain so well.

Frans is Dutch, and being nomad and traveler, like the classical myth, he has managed over the years to gather the information from the original sources, to give that modern and pragmatic turn that has made his system become an indispensable reference among the serious students of Eskrima worldwide.

This book brings together all this information including chapters that gloss classics of Philippine Arts, like Grand Master Canete, as well as reflections on combined systems that the author himself knows so well, like Wing Chun. However, the central axis that rules the text is the quest for combat effectiveness. An effectiveness that has led this magnificent instructor to teach law enforcement groups like Brazilian or Philippino police agents.

This is a book for those interested in realistic combat systems and a great reference for all students of the arts of Southeast Asia in general. The text is peppered with interesting and practical tips on fighting that will surely draw the attention of scholars, but being written in a direct and simple way, even the uninitiated will benefit from it.

Alfredo Tucci

Text: Pedro Conde.

FPhotos: David Gramage. davidgramage@gmail.com

Due to the natural stiffness of the lower limbs (let us not forget that the strong muscles and tendons of our legs are responsible for supporting and moving the body weight for much of the day), developing accuracy with leg techniques is more difficult, so they required much more training than techniques with the upper extremities.

ACCURACY: KEYS AND TRAINING Accuracy is one of the fundamental attributes in Martial Arts and contact sports. It is so important that no matter how powerful, fast or flexible a martial artist can be his actions will be scarcely effective if he lacks precision because simply his blows or techniques won't reach where he wants or when he wants. Despite its relevance, precision is not usually train specifically because we tend to believe that accurate fighters are born, not made. This is not so. As any other martial attribute, accuracy may also be trained and improved.

By accuracy we mean the ability for a neuromuscular action to reach exactly the desired spacetime target; in martial terms, either hitting or grabbing a particular point in a given moment, or like the conciseness or rigorous accuracy with which a technical movement reaches the intended goal or objective (be it hitting, blocking, dodging, etc.). Accuracy is thus the result of the combination of two basic attributes: movement coordination as to spatial precision, and speed in regard of temporal precision. Both types are closely interrelated and the martial artist requires both to be really precise in his actions. Accuracy is, along with opportunity and fluency, one of the fundamental factors of timing, strategic attribute par excellence that distinguishes a great fighter from an average fighter.

Certainly, not all techniques require the same level of accuracy. A fist blow or a rotating kick, for example, require an almost surgical precision to be effective; an inaccuracy of a few inches or a few tenths of a second, is enough to turn a terrible blow into a harmless technique. The same applies to attacks carried out with fingers aiming at painful or vital points. Instead, other

Bilateralism is an element that usually is absent in the attribute of accuracy, hence the need to train double the left side (in the case of being right-handed) if you want to be effective in combat, because you never know from which position you'll be throwing your blows.

Guard position. Left jab. Right cross. Right low kick. Left low kick. Finishing off with roundhouse kick to go out. techniques don't require too much spatial precision to do harm. The best examples are some Thai Boxing techniques like roundhouse kick or elbow strikes, so powerful and demolishing that it hardly matters whether they are accurate or not; the result is always devastating.

In the case of leg techniques, due to the natural rigidity of the lower limbs (let us not forget that their strong muscles and tendons are responsible for supporting and moving the body weight for much of the day), are more difficult to pin. As for kicking techniques, to the demands of coordination and speed must be added flexibility and balance. In the vast majority of martial competitions, it's only permitted hitting from the waist up, which requires that current martial athletes be able to raise their kicks at considerable heights, with control and speed. A poor flexibility affects balance as well as the elevation and scope of the kick and therefore precision. The accuracy of the kicks comes to depend heavily on flexibility.

Hitting accuracy is possibly one of the most important martial attributes and also, unfortunately, one of the most overlooked in training. Lack of precision not only make us miss the chance, but also lead us to lose the energy and exposes us in vulnerable positions to the cons of our opponent. It has been estimated that in competitions, more than 70% of hits don't reach their targets, i.e., nearly three out of four blows are virtually useless, existing a common denominator in the Martial Arts and sports contact, which is: "It's not a matter of how many punches you throw, but of how many of them reach their goal."

Not coincidentally, competitors or practitioners who manage to reduce this error rate are those who win. Each imprecise blow is a missed chance, so accuracy often marks the difference between all and nothing. Therefore,

we have to train and develop three different types of precision, namely: spatial, temporal and technical.

Spatial accuracy (where?)

This is the most basic dimension of precision: the ability to hit accurately at a desired point in the space. This accuracy depends mainly on the technical coordination of movement and on flexibility.

Regarding coordination, the simplicity of the technique and experience with it will determine the accuracy. A technique is easier when it involves fewer muscles in games and interactions simpler and shorter. For anyone is in all likelihood easier to hit with a straight punch than with a jumping and spinning kick. Familiarity is achieved through repetition, so that our neuromuscular system can get to know progressively the sequence of movements and reduce inaccuracies. To refine precision and spatial exactness there's who recommends small training appliances: punching balls and derivatives. But although such devices require of the practitioner a high level of accuracy, its light weight doesn't permit to combine precision with power.

To develop precision with power we have heavy equipment such as bags or paos. In the case of the bag, by using strips of tape or chalk strokes you can set very specific targets to work out at full power. If you wish to keep a track your progress, simply count the number of

punches thrown and how many of these actually impact with precision at the chosen tape (how many, for example, out of 50 released).

By calculating the daily average, it's possible to know the percentage of hits and misses. By comparing the different averages over a period of time, we can track our progress in accuracy and determine whether our workout requires further attention or not. Another

exactly the mark. This can be omitted if the equipment shows, as is normal, the manufacturer's logo in the center of the boxing mitt. If attacks are made with realism: both partners moving around the mat or ring; throwing combinations of different blows; making feints, dodges and counter-attacks, we will train optimally, both the spatial and temporal precision.

Marked paos allow us to work out our precision at full power, but we can't move with the same agility as with the focus gloves, so the training pace slows down. With the marked focus we can work out accuracy at

temporal dimension, i.e., the ability to hit at the right time. Basically, this temporal precision requires perceptual speed (see the gaps left by the opponent) and execution speed.

The main problem is that if temporal accuracy depends on speed and spatial accuracy on coordination, speed and coordination are contradictory, because usually, the faster the execution the lower the coordination control and vice versa.

Proof of this is that if we hit at idling speed, we can reach with millimeter precision almost any target, but as we accelerate our movements,

option is marking the target with white chalk, so that, after throwing the technique, we can check the bag, as well as the fist or foot, to see if our blow hit with precision.

Once we consider we have a good level of static spatial precision or with limited movement, we should move on to more complex and realistic workouts: from now on, we will need a training partner. The method discussed in the bag can also be applied to training with portable devices held by a partner, such as paos or focus gloves. Just mark points on the surface of these devices with strips of tape, and carry out assaults always trying to reach

full speed, but obviously some hits (especially kicks) cannot be thrown with full power. This work can also be carried out with the padded gloves or mittens of the Taekwondo (called rackets), which also apply to train this concept.

imprecision problems start to arise. A good martial accuracy must be able to find the balance between these two factors, so that the speed of the temporal accuracy doesn't subtract us spatial precision.

This requires working out with "moving targets", for example, with light training equipment easy to get in motion with our blows, such as punching-balls, in which we have to keep hitting on their swings and bounces. This forces us to strike quickly while striving to throw our blows with precision. We can train in this way in rounds of one or two minutes while counting the hits in order to measure our progress.

Temporal accuracy (when?)

So far we've seen the static dimension of accuracy, i.e., hitting on fixed targets. But combats are usually very dynamic, since no opponent will remain still waiting for the blows. This dynamic factor obliges to introduce the accuracy

Technical accuracy (how?)

But hitting wherever and whenever we want is not enough, we must also be able to hit the way we like.

Technical accuracy is to know how to move to choose the right distance and the proper blows for each situation and moment. For example, being at a short distance, we can discover a gap in the opponent's guard and throw a punch at the right time that impacts

precisely in his stomach and yet it turns out to be ineffective and scarcely does him any harm. If we throw a straight punch, instead of a hook, our blow will reach the target scarcely at the beginning of its trajectory, lacking the power provided by acceleration.

The blow can be a hit in terms of place and time of impact, but very misguided or inaccurate in regard of distance or technique, so it will lose much of its effectiveness.

Technical accuracy can be achieved only on the basis of combat experience, which is the only thing that can forge our intuition or capacity of technical anticipation. So in order to train this feature as realistically as possible, we need a training partner. Whether using padded mitts that our fellow presents to us at different levels while we move as if it were a fight, or fighting with protection gear (helmet, mouth

Guard position. Left jab. Left cross. Hook. Uppercut. guard, chest protector, gloves, groin protector and shin guards) to achieve the biggest possible realism while maintaining the highest safety margins, no machine can replace the human rival, who will keep moving strategically and often in an unpredictable way.

In general, we should try to train accuracy in combinations of several of blows, not in isolated techniques. We must also practice with complex combinations, that is, hitting up and down with fists and feet, since all these technical changes make precision difficult. Resistance also becomes an important factor, because fatigue reduces accuracy.

Workouts depicted in this article are progressive, since accuracy, despite what some think, is the result of years of training. You can thus begin striking the air and pass to train with static targets in order to improve your technique and spatial coordination; then move to mobile targets to develop temporal accuracy, to which obviously will follow training with a partner with focus gloves or protection equipment. Progress in technical accuracy will be perceived in combat, which will indicate us the attention we should pay to this attribute.

Odin's Eye, the Plains of Vigard, and Your Last Fight.

As some of you may know, the Dog Brothers were introduced to the world with these words of Dr. Carl Jung: “The idea is not to imagine figures of light, but rather to make the darkness conscious.”

This is the idea that underlies our credo “The greater the dichotomy, the profounder the transformation. Higher consciousness through harder contact!” © DBI Thus the question is presented: just how are we to make the darkness conscious? After all, “darkness”, what Jung often called “the shadow”, is not subject to definition for by definition it is that which is not seen; it is precisely that which exists in the shadows cast by the interaction of light (God?) and a physical world , , , or the “Self” itself.

One way is a path first articulated by Dr. Jung-though the study of myths. Noted Jungian Professor Joseph Campbell explains: - The qualities of experience are not subject to definition, the unsayable is still capable of being expressed: artists can do this … An author can describe experience only as simile and metaphor. What he makes graphic and what he does, above all, to elicit empathy is to describe a human situation in which the ascribed emotions would naturally appear and conform to the lawfulness of human nature. Such stimulus situations, quite objectively delineable, tally with the released emotions. Artists and authors are constrained in their presentations to these relatively limited number of situations; for any others the listener or reader has, quite literally no "organ," no receptor mechanism for deciphering the message. We can justifiably assume that the foundation of our emotions is formed by universally human inborn behavior programs, primarily innate releasing mechanisms.

“Because of this, we should not be amazed when, in the literature of the world-- all the way from the Epic of Gilgamesh through the most recently published novels-- the same salient thematic elements are used and occur again and again: the hero who frees the maiden held captive; the friend who despite all dangers stands by his friend; social themes such as the strong oppressing the weak, the rich exploiting the poor; the abandoned and helpless child." These stories/myths/legends/religions have recurring themes which use recurring archetypes such as the hero, the wizard, the king, the trickster/jester, the princess, the queen, and so forth that lurk in the collective subconscious of man. Whether a story is a shadow story, a hero story, a wizard story, a king story, a jester/trickster story it has themes consistent with its type. Sometimes a story can contain a blend of these themes.

While on their surface these stories are often impossible and illogical, they resonate because they are maps to the development of Consciousness and different stories address different aspects of our psyche which are in search of integration and in search of consciousness. This applies both to children (see the work of the child psychologist Piaget for example) and adults.

Seen in this light, “Spider-Man and “The Hulk” are “shadow stories” and their tremendous resonance/”success” a powerful indication of their validity as such. They are tales of the powers and dangers of the dark side, of anger, aggression, sex/creation energies lurking underneath the mild mannered exteriors of the Peter Parker and Dr. Bruce Banners of this world.

I remember when my son was about seven years old and he was quite taken with Spider-Man. At first, my son wondered if Spider-Man was good. He wore a mask, he was in lots of fights, and the police often tried to capture him. We discussed how Spider-Man used his powers and his intelligence to protect good people whether he got the credit for it or not and how though he was a hero he also needed his every day secret identity for when the use of his powers would be inappropriate.

Then the Hulk came onto my son's radar screen. He asked me whether the Hulk was a hero like Spider-Man. I replied that the Hulk tried to do the right thing with his powers but that unlike Spider-Man, who was a science student, the Hulk was rather stupid. He paused to consider this.

We liked the Hulk, but I had just called him stupid. I explained that the Hulk's rage was both the key to his strength AND the cause of his stupidity-he was too mad to think clearly-- and that was why he needed his woman Betty, whom he trusted, to guide him to do what was right and wrong. Without her, he often got into hot water.

In the story we at which are going to look here, we see a blend of the archetypes of the Wizard and the Hero.

As we will see in a moment, every hero loses a tangible representation of his old world and his old self. In Odin's case he loses Sleipner, his golden armor, his eagle helmet, and his spear to enter the realm where new wisdom is possible. There he encounters another critical stage in the journey e.g. from Odin All-Father to Vegtam the Wanderer; he passes a major test (Vafthrudner)-not unlike a man receiving his Dog Brother name-- typically at the cost of tangible injuries-- not unlike what happens to a man on his path to Dog Brotherhood.

With this notion of maps to the development of consciousness in mind, let us turn to the Norse mythology and a story about Odin.

ODIN GOES TO MIMIR'S WELL: HIS SACRIFICE FOR WISDOM AND so Odin, no longer riding on Sleipner, his eightlegged steed; no longer wearing his golden armor and his eagle helmet, and without even his spear in his hand, traveled through Midgard, the World of Men, and made his way toward Jรถtunheim, the Realm of the Giants.

No longer was he called Odin All-Father, but Vegtam the Wanderer. He wore a cloak of dark blue and he carried a traveler's staff in his hands. And now, as he went towards Mimir's Well, which was near to Jรถtunheim, he came upon a Giant riding on a great Stag.

Odin seemed a man to men and a giant to giants. He went beside the Giant on the great Stag and the two talked together. "Who art thou, O brother?" Odin asked the giant.

"I am Vafthrudner, the wisest of the Giants," said the one who was riding on the Stag. Odin knew him then.

Vafthrudner was indeed the wisest of the Giants, and many who went to strive to gain wisdom from him. But those who went to him had to answer the riddles Vafthrudner asked, and if they failed to answer the Giant took their heads off.

"I am Vegtam the Wanderer," Odin said, "and I know who thou art, O Vafthrudner. I would strive to learn something from thee."

The Giant laughed, showing his teeth. "Ho, ho," he said, "I am ready for a game with thee. Dost thou know the stakes?

My head to thee if I cannot answer any question thou wilt ask. And if thou canst not answer any question that I may ask, then thy head goes to me. Ho, ho, ho. And now let us begin."

"I am ready," Odin said.

"Then tell me," said Vafthrudner, "tell me the name of the river that divides Asgard from Jรถtunheim?"

"Ifling is the name of that river," said Odin. "Ifling that is dead cold, yet never frozen."

"Thou hast answered rightly, O Wanderer," said the Giant.

"But thou hast still to answer other questions. What are the names of the horses that Day and Night drive across the sky?"

"Skinfaxe and Hrimfaxe," Odin answered. Vafthrudner was startled to hear one say the names that were known only to the Gods and to the wisest of the Giants. There was only one question now that he might ask before it came to the stranger's turn to ask him questions.

"Tell me, said Vafthrudner, "what is the name of the plain on which the last battle will be fought?"

"The Plain of Vigard," said Odin, "the plain that is a hundred miles long and a hundred miles across."

It was now Odin's turn to ask Vafthrudner questions.

"What will be the last words that Odin will whisper into the ear of Baldur, his dear son?" he asked.

Very startled was the Giant Vafthrudner at that question.

He sprang to the ground and looked at the stranger keenly.

"Only Odin knows what his last words to Baldur will be," he said, "and only Odin would have asked that question.

Thou art Odin, O Wanderer, and thy question I cannot answer."

"Then," said Odin, "if thou wouldst keep thy head, answer me this: what price will Mimir ask for a draught from the Well of Wisdom that he guards?"

"He will ask thy right eye as a price, O Odin," said Vafthrudner.

"Will he ask no less a price than that?" said Odin.

"He will ask no less a price. Many have come to him for a draught from the Well of Wisdom, but no one yet has given the price Mimir asks. I have answered thy question, O Odin.

Now give up thy claim to my head and let me go on my way."

"I give up my claim to thy head," said Odin. Then Vafthrudner, the wisest of the Giants, went on his way, riding on his great stag.

Twas a terrible price that Mimir would ask for a draught from the Well of Wisdom, and very troubled was Odin AllFather when it was revealed to him. His right eye! For all time to be without the sight of his right eye! Almost he would have turned back to Asgard, giving up his quest for wisdom.

He went on, turning neither to Asgard nor to Mimir's Well.

And when he went toward the South he saw Muspelheim, where stood Surtur with the Flaming Sword, a terrible figure, who would one day join the Giants in their war against the Gods. And when he turned North he heard the roaring of the cauldron Hvergelmer as it poured itself out of Niflheim, the place of darkness and dread. And Odin knew that the world must not be left between Surtur, who would destroy it with fire, and Niflheim, that would gather it back to Darkness and Nothingness. He, the eldest of the Gods, would have to win the wisdom that would help to save the world.

And so, with his face stern in front of his loss and pain, Odin All-Father turned and went toward Mimir's Well. It was under the great root of Ygdrassil-the root that grew out of Jรถtunheim. And there sat Mimir, the Guardian of the Well of Wisdom, with his deep eyes bent upon the deep water. And Mimir, who had drunk every day from the Well of Wisdom, knew who it was that stood before him.

"Hail, Odin, Eldest of the Gods," he said.

Then Odin made reverence to Mimir, the wisest of the world's beings. "I would drink from your well, Mimir," he said.

"There is a price to be paid. All who have come here to drink have shrunk from paying that price. Will you, Eldest of the Gods, pay it?"

"I will not shrink from the price that has to be paid, Mimir," said Odin All-Father.

"Then drink," said Mimir. He filled up a great horn with water from the well and gave it to Odin.

Odin took the horn in both his hands and drank and drank.

And as he drank all the future became clear to him. He saw all the sorrows and troubles that would fall upon Men and Gods. But he saw, too, why the sorrows and troubles had to fall, and he saw how they might be borne so that Gods and Men, by being noble in the days of sorrow and trouble, would leave in the world a force that one day, a day that was far off indeed, would destroy the evil that brought terror and sorrow and despair into the world.

The when he had drunk out of the great horn that Mimir had given him, he put his hand to his face and he plucked out his right eye. Terrible was the pain that Odin All-Father endured. But he made no groan nor moan. He bowed his head and put his cloak before his face, as Mimir took the eye and let it sink deep, deep into the water of the Well of Wisdom. And there the Eye of Odin stayed, shining up through the water, a sign to all who came to that place of the price that the Father of the Gods had paid for his wisdom.

I am not learned in these things, but for what it is worth, here is what I take from this myth: Wisdom has a price, physically and psychologically--in the weight of the knowledge of our mortality-- and in this we find our reward, for as the story says: “And as he drank all the future became clear to him. He saw all the sorrows and troubles that would fall upon Men and Gods. But he saw, too, why the sorrows and troubles had to fall, and he saw how they might be borne so that Gods and Men, by being noble in the days of sorrow and trouble, would leave in the world a force that one day, a day that was far off indeed, would destroy the evil that brought terror and sorrow and despair into the world.”

On the Dog Brothers path we too pay a physical price for the wisdom and the consciousness that we seek. We accept this because we know its value.

“Odin knew that the world must not be left between Surtur, who would destroy it with fire, and Niflheim, that would gather it back to Darkness and Nothingness. He, the eldest of the Gods, would have to win the wisdom that would help to save the world.”

And so, like Odin, we accept a price that others do not. This brings us to the question under consideration here today: At

what point is the price paid enough? At what point is the price too high? After all, Odin gave only one eye, not both!

The Dog Brothers' path is to “walk as a warrior for all our days”. If we are too dinged up and damaged to “bring it” then metaphorically we have given up our second eye-we will stand useless on the day of the Last Battle on the Plains of Vigard and we will weep from our empty eye sockets as the Valkeryie pass us over for having fallen short of being ready, willing, and able to defend our land, women, and children.

Sometimes, in the spirit of exuberant abandon that accompanies the willingness to “bet our head” as Odin did, as stick fighters we do not recognize the portal from this stage in our Life to the next. We confuse staying too long with staying young-- and in effect we wind up sightless, having given both eyes instead of one!

In plain words, we need to stop fighting while we still have something left-so that we always have “one more fight” left within us.

For me this means that though I fight no longer I train so I can pull the trigger when necessary and go to the place where I am forever young-- for however long that may be-but I have already given my metaphorical “one ey”e to the stick fighting gods in return for the insight of the experience, and no more “eyes” am I willing to give in my search for wisdom.

Intelligence is the amount of time it takes to forget a lesson. A lesson learned clears the way for the next one. A lesson forgotten will be presented once again by Life until we learn it once again. Thus, if I am intelligent, I remember the lessons from my time fighting. There is a trigger I can pull and go to the place where I am “forever young”-a place where, as the country music song says (working from memory here), “I ain't as young as I once was, but I'm as young once as I ever was.”

To fight is to accept that one might be damaged lastingly. I know I have been. The durability I have left is for providing for my family ... and my turn on the Plains of Vigard. And when it is my time, the words of Juan Matus (like Odin, Merlin, and Gandolf the Grey, another example of the Wizard archetype) come to mind: “And thus you will dance to your death here, on this hilltop, at the end of the day. And in your last dance you will tell of your struggle, of the battles you have won and of those you have lost; you will tell of your joys and bewilderments upon encountering personal power. Your dance will tell about the secrets and about the marvels you have stored. And your death will sit here and watch you. The dying sun will glow upon you without burning, as it has done today. The wind will be soft and mellow and your hilltop will tremble. As you reach the end of your dance you will look at the sun, for you will never see it again, in waking or in dreaming, and then your death will point to the south. To the vastness.”

The Adventure continues, Crafty Dog

ZEN ART THAT EQUILIBRATES THE SPIRIT I had the pleasure of attending and even serve as introductory to a course of Shidoshi Juliana Galende about the Sumi-e traditional Japanese painting. My presence in this course was explained, beyond my respect and friendship with the rapporteur, by a definitely little-known facet of my person: that of an oil painter. The course gave me the chance to corroborate several points. First and foremost, the excellence of the teacher (I hadn't ever seen anybody with a higher capacity of communication and empathy with the students!). And second, the surprising speed with which you can learn this technique when it's well explained and taught. If you ever have the opportunity of attending or the interest of organizing a course with her, make sure you do it! It's a guarantee of success, status and good results.

Alfredo Tucci

E

The Sumi-e or Suiboku is a traditional technique of Japanese ink wash painting.

Textual evidence suggests that the style already existed in China during Liu Song dynasty of the fifth century. It developed further during the

Tang Dynasty (618-907), to be definitely established as a polished style during the Song dynasty (960-1279).

Introduced to Japan in the mid-fourteenth century by the Zen Buddhism, it was soon assimilated by the Japanese by the contributions from monks like Toba-sojo, who drew

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Cultura Oriental "Choju Giga" in the Heyan period (795-1185), or Sesshu, during the Muromachi period (1333-1587), in which the Sumi-e grew in popularity reaching such a high level of perfection that came to be regarded as the first purely Japanese style of ink wash painting.

There is a terminology related to this art: sumi (ink), suzuri (ink stick), bokusho (art), kami (paper), and fude (brush).

The term Sumi-e, also known as "suiboku-ga", refers to the ink monochrome Japanese painting, The Sumi-e has its roots in Chinese calligraphy: the strokes learned in Chinese writing are the same used in painting.

What is more important, Sumi-e is not only a beautiful and unique form of art, but also a philosophy. While most of classical Western painting had as its goal the realistic description of the world and its objects, the Sumi-e was always the expression of perception of the artist. Painters trying to capture the essence of an object, person or landscape: Sumi-e gave more relevance to suggestion than to realism. Western painting uses color to create shadows, tones and a sense of space. Traditional Sumi-e, however, uses only black ink. In eastern painting, black ink is the highest simplification of color.

At the beginning of the tenth century, Japan began a great exchange with China, and sent students to the mainland so as to assimilate the best that Chinese culture had, with a special emphasis in calligraphy and religion. This exchange continued for several more centuries, until through internal changes, the Japanese adapted to their needs what they had learned from the Chinese culture. A legacy of this bond of friendship was the seed of what would become Zen-Buddhism, whose date of birth is twelfth century.

By its origin, the Sumi-e has as its main characteristic the speed with

which it is performed; the artistic inspiration is transmitted in the shortest possible time, where there's no time for reflection or thought of what is being done and the artist must follow his spontaneous inspiration. There is no possibility of any correction or repetition, every stroke must be exclusively performed; if there is any error, the painting is "dead" and therefore the whole work is lost.

It was that spirit what led many Samurai to practice Zen and Sumi-e. A stroke with the sword must be made ??spontaneously without possibility for corrections or reflections, the swordsman would otherwise put to death because of the speed at which the confrontation took place. Shin'ichi Hisamatsu, philosopher and a deep connoisseur of Zen art, highlights seven particularities that must exist in every Zen work, namely: asymmetry (fukinsei), simplicity (kanso), naturalness (shizen), depth (yugen), detachment (datsuzoku), stillness and inner serenity (seijaku). So, as we can see, not all works can be classified as Zen. Sumi-e uses an ink made of soot and glue (Sumi) and sheep or badger hair brushes, so that they retain much liquid. But is the paper, most often thin and absorbent, what provides the main feature of this type of painting. The reason for choosing such a fragile material to convey the artistic inspiration is that it must arise in the shortest

possible time. If the brush stays too long on the same spot, the paper will soak. The white color that remains in the paper as background (original color) is related to the Universe. Not seeing a definite background in the painting, its characteristic related to vacuum is preserved. The philosophy of Sumi-e painting is that of passing onto the paper the spirit of an object, with no pretense of creating a realistic work. Every stroke must be full of energy (Ki - vital energy existing in all things). Each stroke must show its vitality and life. The Sumi-e artist, like a master of samurai sword making, puts his spirit into the work and thus he creates life through his artistic expression.

The combination of painting, poetry and calligraphy was the preferred artistic composition in Japan during the first half of the fifteenth century, especially in Zen circles A schedule of these "Rolls with Poems and Paintings" -. Shigajiku - and the commitment to make a work of art, interconnected at all levels and senses, crystallized here in a path.

At the latest, from the time of master Chaochou Ch'en Ts'un g-shen (778-897), of an original personality, Sumi-e was also considered in Zen circles as something extraordinary. Likewise, both parts should be unique and independent by separate, so that they don't depend on each other to be a master piece.

THE SUMI-E I N PRACTICE In order to paint Sumi-e, the artist must be perfectly aware of the object to be painted, so that there's no reflection or doubt; during the creative

process there must be an almost constant observation of things around him, and in this way his practice will also provide a bigger awareness about life, because with such perception begins to exist a greater

sensitivity of things and people around us.

Painting is simply about the strength of his basic inspiration. The themes of nature are the main issue, but Sumi-e painters don't try to imitate, copy or

© Todas las obras aqui presentes son de Juliana Galende.

Para más información podéis encontrarla en el canal oficial Kaze no Ryu Ogawa Ha (Youtube) e Facebook (KazenoRyu.Sumie).

dominate nature. Instead, they appreciate every aspect of it and enjoy every natural process. They seek harmony with the universe through communion with all things. The artistic beauty often lies in what is natural and has personality. Looking at these paintings with open mind and heart, its inner meaning slowly becomes apparent.

In Sumi-e, the goal is to capture the essence, the ki (vital energy), the spirit or life of the subject of the painting, evoking poetry and nature. At first, the student may enter four classic themes: bamboo (take), chrysanthemum (kiku), orchid (ran) and plum blossom (ume).

The Sumi-e student must pass each one of the above items. Before risking the characteristic Chrysanthemum brushstrokes, for example, he must first master the variants of bamboo. In addition to addressing different techniques, the Sumi-e style relies on three colors, derived from the mix of sumi (ink) and water.

Sumi-e painting consists of few strokes, just enough to portray the

theme, giving it an elegance and simplicity. The economy of the style l e d t h e S u m i - e t o b e f re q u e n t l y mentioned as the haiku of painting, since its abbreviated form is similar to the micro-poem. The very nature of the materials and techniques of Sumi-e don't give chance to return to w o r k o n w h a t h a s a l re a d y b e e n worked or fix errors, so, imperfect paintings are destroyed. This results in a hidden effort behind the final painting.

Within the Zen Sumi-e painting, the artist must learn to gracefully use the brush lunge on the paper in a controlled manner. Excess or lack of strength can distort the paint. In Sumie, the goal is that of capturing the essence, the ki (vital energy), the spirit or life of the subject of the painting evoking poetry and nature. Painting Sumi-e requires a blend of spontaneity and control. There must be inner harmony that guides the hand, driving the brush towards an expression full of feelings.

Today, in Japan, many executives and people with senior positions practice Sumi-e, not only as a form of relaxation or looking for inner peace, but also as a way to improve efficiency in business, mainly in what refers to make quick decisions. Furthermore, as it has been consolidated as a selfknowledge process that reflects the state of mind of the practitioner, by not allowing later corrections, it invokes the beauty of the ephemeral and the briefness of things, spontaneity and the need for balance and self-control.

Sumi-e is traditionally a spiritual exercise; as in meditation, planning is predominant, although the technique should be thoroughly practiced to then forget it so that it becomes a tool of the creative spirit of the artist.

Anyone without a prior artistic experience can start studying Sumi-e, because didactics allow everyone to learn. Courses at various levels, from the most classic to the freest themes, are offered to those who wish to learn the way of Japanese painting.

The “Hand of the Infinite”

Text: Pablo Pereda Photos: © Budo International Publ. Co.

Okinawa Master Pablo Pereda passed away on August 24.

He left early and unexpectedly. Physician, researcher, scholar of the Okinawan Arts, he left behind a wonderful contribution to our field, that we once reflected in the journal and on one DVD, unique of its kind. His human category and warmth have been countersigned by many of us who knew him. He was a gentleman who helped many people both professionally and in everyday life. A very spiritual person, he investigated and testified initiatory paths. Creator of Karaterapia, a discipline recognized by the World Karate Federation, he was also a scholar of Castaneda's and repository of ancient knowledge of the Okinawa forms or Kata that his great grandfather met before anyone else as a doctor in the Islands.

In tribute to him, we reproduce this article. He leaves his beloved wife and three children he adored, trained and ready for life, although they will certainly miss him very much. My love and sympathy for them.

Don Pablo was nevertheless a spiritual man and I am sure that his transit has been aware. He left a lot of good and there we are many those who will miss him, but he did well what he had come to do and he left early. He had never set foot in a hospital as a patient until that day, but his aorta was torn... paradoxes of fate that he knew how to appreciate. I always respected him and I am honored to have had him as a friend; he was a pleasant, impeccable person, compassionate and generous with his time for those who suffer. He will be remembered and loved by many.

Alfredo Tucci

The biggest secret of Okinawa

lost manuscript among old katanas, fans, trunks, the remains of the memory of a Spanish military doctor who in the year 1860 was initiated by an enigmatic Master from Okinawa, Mr. Higa, into the secrets of To-De, an Art of the consciousness of Being.

This is what his great-grandchild, also a doctor, Dr. Pablo Pereda, received from the hands of his grandmother when she knew that the boy did Karate and had the same attraction to the Orient as his great-grandfather.

So begins a marvelous story which we want to tell you.

Imagine a “time capsule”, those that are sometimes stored in the basements of buildings in airtight boxes with the newspapers of the time, seeds, personal messages, etc. It’s around the year 1800 and the Masters of the Martial tradition have reached very high levels in their practice, but you live on an island with an uncertain future where invasions are continuous and the occupation of the Japanese empire is a fact. What would you save for the future of Karate if you could? That stranger, touched by the spirit, appears on the scene... Mr. Higa followed the dictates of his heart and the mandates of his spirit, and today we can thank him for it.

We are before a find that for Karate has the same dimensions that the Rose stone had for the knowledge of ancient Egypt. That “time capsule”, which is the manuscript, quick notes taken, anatomical drawings by a doctor, are mixed with energy lines that make up a very distinct map; channels, which we know today as acupuncture meridians, appear in the drawings with quick notes written on the bottom of the page about how the movements of the forms, the Kata, must be done.

During the course of my life I have seen how the forms of some schools have been transformed various times, by the caprice of organizations, for questions of fashion, aesthetics, and even for the very lack of ability of the instructors who explain them. What would these ancient forms be like? The manuscript is a piece of time detained, a drop of amber that encases a mosquito from the Pleistocene, a compass that encloses the mystery of a whole way of understanding the Martial work as an Art of consciousness, not only as a self-defense form or an Art of health.

The old Masters were shamans who practiced movements and trained in a way that strengthened their bodies, emotions, and minds in order to prepare them to go where no one else had ever been. That marvelous knowledge is a unique opportunity to re-discover

A

“To-De, also known as “The Art of the empty hand”, “Miraculous Hand”, or “Hand of the Infinite”, was a complex discipline that involved many levels.”

Okinawa the roots of these practices where the magic acquires its true dimension, “the Magnum”, the great, and what is greater than the consciousness of Being.

The “coincidences” of this far-fetched metaphysical inheritance are a treasure for all the practitioners of Budo.

Conscious of this, Dr. Pereda wanted to recover, with the help of his Masters, the details not explicated in the manuscript, bringing us in this video some of the Kata of

TO-DE: “The dream of freedom” Through the centuries, communication between China and Okinawa was constant, but not only were there economic or cultural exchanges, knowledge and magic also traveled from one country to the other from the hands of a group of mysterious men who were called “hidden masters”.

The hidden Masters of China and Okinawa dominated a physical and spiritual discipline, Chuan Fa, to which they dedicated their lives. In the XIV century, the Chuan Fa of Okinawa fused with the indigenous practices of the island giving rise to the birth of ToDe, an integral Art that enjoyed almost 200 years of splendor.

To-De, also known as “The Art of the empty hand”, “Miraculous Hand”, or “Hand of the Infinite”, was a

that school that Sr. Higa defined as To-De, “the hand of the infinite”, or the Tao. The forms belonging to that mysterious school share an origin and practices with some traditional schools that we know today by other means, like San Chin, but that are only part of a much greater whole, a way of looking at Martial Arts that we have always intuited as a door toward an Infinity.

Alfredo Tucci

complex discipline that involved many levels. Poetry, first of all, a therapeutic dimension, given that the practice of its movements linked together, or Kata, served to improve the health and physical strength of its followers.

Furthermore, To-De carried a powerful philosophical and magical content and its practitioners were capable of altering ordinary perception and access worlds beyond this world, invisible dimensions where they went in search of the unknown.

Those men and women were said to be able to pass through the limits of time and space, thanks to their Art, and become witnesses to the unfathomable mystery of life. From their trip through the inaccessible, they retur ned with vibrant experiences, and also with new movements, glimmers of light, that

they repeated in their daily lives for the evolution of their consciousness.

In Okinawa, the circle of followers of To-De was very restricted and select.

However, its influence was felt throughout the archipelago. The Masters of To-De were the most restrained and amazing martial masters. Despite living their Art in the intimacy of their family clans and their little schools, the fame of their physical and psychic exploits spread to China and Japan, and the people of Okinawa converted them to immortals.

Still in our times, the oldest people on the island keep the memory of them alive. They say that on certain nights with a full moon, the immortals of To-De return to do their Katas on the sand of the beach. In this way, they nourish the land they love, so that the spirit of Okinawa stays alive

Great Masters

DOCTOR D. RAIMUNDO FELIX PEREDA Y BENITEZ D. Raimundo Felix Pereda y Benitez was born in the middle of the XIX century in an upper-middle class family. His father was a lawyer practicing in Madrid. A very precocious doctor, he enlisted into the army, specifically into the cavalry regiment. As a soldier, he fought in the “Carlistas” wars, being decorated in 1876 and 1879 for his performance and injuries received in battle. Named director of the Military and Civilian Hospital of Logrono, he was a nationally recognized ophthalmologist. He married the niece of Sagasta, who was president of the country.

An untiring adventurer and traveller, he fought in the Philippines and Cuba, visiting the island of Okinawa on various occasions.

An extensive manuscript of 150 pages and covered in leather, which leaves proof of its long journey, speaks of a mysterious Art called To-De and of a no less enigmatic Mr. Higa. The manuscript is concluded in 1908 when it seems he had concluded his last visit. Later, and going into retirement, he voluntarily went to Cuba from where he returned to Spain to die in 1910. His son, Juan Cruz Pereda, a gymnastics teacher, tried to unravel parts of the manuscript, especially those referring to physical exercise.

so that Okinawa can continue dreaming...

What is To-De? Twenty-five years have passed since I received the To-De manuscript from the hands of my grandmother. It is a work of 150 pages, written and illustrated by hand, which compiles the customs of the inhabitants of Okinawa. It would seem that my great-grandfather traveled to the island with a friend who, due to his long stay in the Philippines, had traveled a lot to the island and so he knew the dialect they spoke there.

To-De is an Art of elevated knowledge, its practitioners were complete Martial Artists. Not only did they train for combat or self-defense, but to live in fulfillment. They believed in nature, in its unleashed forces, in

““The 50 movements of To-De”, easily accessible to all kinds of people and with unquestionable therapeutic capabilities.”

the soul of rivers and trees. In sum, they believed in a magic, vibrant, constantly changing Universe. They defined with amazing clarity the energetic structure of creation. In their elaborated cosmic vision, they moved time up, and they didn’t do it with the help of science, but with the single tool of their bodies worked to the limit of resistance, of their trained minds kept on alert, and by silence, in their alternative way of understanding reality. To-De taught them how to live, and it also showed them a different way to die. They followed the path that their Art laid out for them to its ultimate consequences, becoming immortal, because the immortal is the spirit of man that seeks the best of oneself. Only a few initiated, who maintained their anonymity for life, dedicated their lives to showing it. For them to admit their condition would

Okinawa “To-De is an Art of elevated knowledge, its practitioners were complete Martial Artists.” have supposed a death sentence at a time when Japan had the power in Okinawa.

The practitioners of To-De didn’t wait to jump into the next life to reach illumination, their objective was to reach it in this life, and those who got it became beings of legend, in fact, as mentioned above, some even consider them immortal today.

The Kata as tool The Katas in To-De are characterized by their length, appreciably longer than in traditional Karate-Do, and the changes of rhythm that create vertiginous speeds of execution. The fist techniques, although they exist, are noticeably reduced, although not as much as in To-De Loto Blanco, which is in reality Chuan Fa in its pure state.

All the program of Katas extracted from the drawings of the manuscript are based on “Bai He” or “White Crane”, a true anthropological treasure that constitutes the authentic seed and origin of the Sanchin. What we know today is no more than a fragment of the Kata.

I have used the Katas in the recovery process of ill people, with handicapped and immuno-depressive people, obtaining spectacular results; for instance, in Sydney in the year 2000, a standing paraplegic doing Sanchin. All that work lead to my being an official candidate for the Nobel Prize in Solidarity.

The energy that this system generates makes it not only positive for curing, but also as a very efficient weapon for self-defense. The Butokukai Organization has catalogued the system as a “Supreme Art” given that its techniques are direct and lethal, with specific Katas that show how one should strike the vital points, nerves, blood vessels, and even how to kill in seconds; although it wasn’t the main objective of those men who dreamed of the Infinite.

The manuscript opens the door to teachings of great anthropological worth and it has made it possible, after many years of work, to be useful to all of society given that its teachings are the patrimony of all humanity.

For that reason, I have adapted the teachings, through medical sophrology, to the man in the street who has no martial arts skills at all, and that is something for which I am proud.

These days, I am the heir of this knowledge and, staying loyal to tradition, our school neither has nor confers any grades, and in this way we avoid the problems that egos bring. True progress is something that each one of us carries inside, and if there is someone who one can’t trick, it is their own conscience.

In the text, the true objective of the practitioner is laid out in detail: to achieve conscious death in order to manage oneself in other worlds when they abandon

Great Masters

Okinawa

The Kata recovered by Dr. Pereda from his great-grandfather’s manuscript have beautiful forms and movements. See the example of a sequence. this one. An impressive work on energetic manipulation is also described.

I received it in 1978 when I was studying Chuan Fa and Tomari-te with Masashi Motegui; from that moment on, with his help and that of Masters Masafumi, Takuyi, Nakashima, Akashi, Shigo Higa, Stefano Surace, leader of Butokukai, and Dr. Vernon, I have been able to reconstruct, from the drawings and indications in the manuscript, a full program of unknown Katas that make up the ancient To-De.

TO-DE Comprised of 35 Katas, the learner begins with “The 50 movements of To-De”, easily accessible to all kinds of people and with unquestionable therapeutic capabilities. Afterward,

one studies the “Bai He” form in which is included the “Chuan Fa Ekenkyo Daruma Bai He”, a true treasure with Sanchin forms of great speed, which makes one think that its origin goes much further back than the Crane Schools. Of course, the emblematic “Tsuqui No Kata” couldn’t be left out.

The Bai He (white crane) form, properly stated, basic in the origin of Sanchin, is made up of “Bai He Zhan Chi” (The white crane extends its wings), composed of the “four treasures” that correspond to each one of the Katas that they comprise.

“Ming He Quan” (The fist of the screeching crane) made up another “four treasures”, or Katas. In all the forms, balance predominates, with marrow – tendon breathing. The energy is generated by the vertebral friction and rotation.

The bunkai is based on techniques of dislocation, injuries to vessels and nerves, breaks from muscular and trachea insertions with the fingers, all of this with alarming simplicity.

At the same time, one works with the 1st form of “Kama Shurigama” (kamas united by a chain), a very old weapon that when lit up was used to frighten horses while their neck and legs were cut.

The 5 Turuashi katas, 5 Sanchin, Ho, Huan Gar, 2 Kushanku, Yabu No Kata, 2 Goryu No Kata, and 3 Nakashima form the most ancient part of the style, which combines the soft form with parts that are of tremendous speed.

To finish this brief exposition, I wanted to remember something that someone said to me one fine day: “While the To-De dream remains alive, the miracle will be waiting.”

Great Masters

tradition from which even today part of its fascination undoubtedly arises. How is it achieved? The experts point to various options:

Initiation tradition and Carlos Castaneda During his stay in London, Doctor Pereda met the deceased writer and anthropologist Carlos Castaneda. He showed great interest in the work of the young doctor and proposed that he work in California, undoubtedly with the desire to incorporate the forms of the tradition of Okinawa transferred by Mr. Higa into his work on “Tensegridad” (the “magic passes” in the line of sorcerer Don Juan). Dr. Pereda appreciated this interest but understood that the tradition should be transmitted in the purest way possible in the sphere in which these martial forms were. Carlos Castaneda’s passion and use he made of the traditional Chinese Arts to improve his deteriorating health is known.

In the line of the sorcerer Don Juan, he himself counted on a Master from the Martial tradition, the sorcerer Lujan, who was really called Lu Chian, but with the customary joviality of the group, they “baptized” him Lujan.

Martial Arts as ways of initiation into magic have a long

--Discontinue the perception of reality through repetitions and exercises that allow for the absorption of extraordinary amounts of energy into the system, “initiating” sleeping potential in the energetic structure of the human being.

--Awaken commonly unused areas of the body that are only activated in the face of extreme or special circumstances, as for example, areas in the brain that we habitually do not use.

--Break the habitual reference points, norms, and customs, pushing the individual to confront “reality” without the common masks with which we face it, breaking all the defense mechanisms in order to approach human stupidity in a direct and naked way. The experts hold that without that impediment, human beings have enough energy to achieve incomparable jumps of consciousness.

--Once stripped down, the central “I” takes control of the Being and directs it in the direction that its true nature demands.

--To maintain a level of dynamic balance, when the levels of internal tension are so strong, requires balancing exercises; here is where Martial Arts would be an indispensable source of calm courage through exercises that bring the here and now.

The Manuscript and its Author A true treasure, a sample from the original that Doctor Raimundo put together between the years 1810 and 1860 from the teachings of Master Higa in the Ryu Kyu Okinawa. Observe the stamp on official

OKinawa

A true treasure, a sample from the original that Doctor Raimundo put together between the years 1810 and 1860 from the teachings of Master Higa in the Ryu Kyu Okinawa.

paper of the military deputy health command in the province of Burgos, Spain on which that page was written. In the text, we can find frequent allusions to the “iron shirt”, to health aspects from which the doctor took good notes, to exotic techniques like that of the elevation of the testicles, etc…

To the left, Doctor D. Raimundo Felix Pereda in a daguerreotype from the epoch. Below and to the right, a copy of the curious press announcement in which the son of the military doctor presented To-De as an Art of health. “Also for military personnel and for those who have to fight.”

Dr. Pereda, Martial Arts and Medicine He was born in Logrono, Spain, on the 5th of October, 1956. He took up the studies of medicine and surgery.

Later he studied the medical specialities of biology, sports medicine, and rehabilitation. He subsequently enrolled at the University Autonoma of Barcelona,

where he studied Orthopedic Medicine and Sports Traumatology. He is also medical sophrologist, having occupied the position of international coordinator of this speciality.

He is initiated into the world of Budo in 1967, practicing Judo. Hardly two years later, a cousin of his father who resided in London and a student of Mr. Ogami, initiated him into the fundamentals of KarateDo. His real discovery of the Art took place under the apprenticeship of the Master of Chuan Fa and Tomari-Te, Masashi Motegui, with whom he stayed almost ten years. Thanks to him, he was admitted into the school of the legendary Masafumi Suzuki, who practiced Goju Ryu and JuJutsu. In 1978, he received the manuscript dealing with To-De from his great-grandfather and from that moment, helped by Motegui, he has been working in that line until today.

In 1982, he went to France and studied under the guidance of Masters from Okinawa who resided for much of the year between Paris and Burdeos: Takuyi, Akashi, Nakashima, and Sheigo Higa. His apprenticeship lasted another eight years, all in the line of Tomari-Te, in order to help him understand To-De better.

One of his best patrons is the charismatic Master Dr. Vernon Bell, intimately related with the already deceased Master Mochizuki, Kanazawa, and many great Masters of the tradition. Also, the leader of Butokukai, Master Surace, considers him like a brother.

After 20 years of study and before presenting the 1st exhibition of ParaOlympic Karate, a first in both Karate

and the Olympic Games, he received the grade of 6th degree black-belt in Karate from the hands of Masafumi Suzuki. His Masters of Tomari and Chuan Fa followed the classic line and for that they don’t have any grades nor do they grant them.

After the para-Olympic exhibition, he received honors from nearly all of the great Budo Masters, specifically, the legendary Rioichi Sasakawa, his work presented to the Emperor of Japan.

Titles As a Master of To-De and Tomari, he doesn’t have any grades because they don’t exist and no one has ever had any titles. He has, however, the recognition of the highest authorities in Budo on the international level, highlighting the title of Meijin, being the only Western Master to have it and the only one still living. It so happens that this title is handed out by at least three different organizations. Karate Meijin and Ju Dan: European Ju Jutsu Union, Seibukan Sasakawa, Butokukai Institute. Federation of Okinawa.

Council of Master. Ju-Dan Ju Jutsu, American Ju Jutsu Union, Martial Arts Federation of Rumana, Butokukai, etc…

Dr. Pereda is a writer, having obtained the Nishiyama Prize for Poetry, as well as the Crisantemo Prize for narrative. Awarded prizes for his works on Oriental anthropology, he is in possession of the Gold Book from the Inter national Olympic Committee. He has exhibited his works of Japanese painting.

Dr. Pereda has achieved the recognition of Karate through “Karaterapy” by the very World Health Organization and has been a candidate for the Nobel Prize of Solidarity. His works with Karate for the handicapped, primarily with children with leukaemia and AIDS, are some of the most notable activities of Dr. Pereda.

The term “Self Defense” has a negative connotation that from the start can yield failure for the user. The problem is that this label already portrays in the mindset that the individual is a victim of a violent act or aggression and that the practitioner should perform a defensive action. This premise of acting after the fact is why most people succumb to the aggressors’ actions and never fully recover from the initial attack or fear inducing situation. The Woman must not become defensive; she must be aware of her situation and not dismiss or ignore possible threat. She must become proactive and gain the initiative and momentum while forcing confusion in the attackers’ mindset to have a possibility of advantage. Kyusho Self Protection is a vital training process that deals in the realities of an attack. It is simple yet powerful training process that enables the smaller, weaker, slower or older less aggressive individual a chance against the larger, stronger, more aggressive and potentially crazy attacker. By using the weaker anatomical targets of the body in conjunction with your own natural body actions and tendencies you can easily protect yourself or others, even under the stress and physical limitations when your adrenaline kicks in. And by working in a stepped and progressive manner with your own gross motor skills (instead of someone else’s techniques), your chances victory are eminent. And by working in a stepped and progressive manner with your own gross motor skills (instead of someone else’s techniques), your chances victory are eminent.

REF.: • KYUSHO-21

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