"Time may have difficult labors, but it never aborts." Lamennais
L
ife is a continuous reconversion. We convert into something that is unceasingly restructuring itself into something else and, paradoxically, we remain being the same old ones. Our cells change completely in seven years and in seven days our blood has been completely renovated, but if we are born stubborn, for example, stubborn we'll remain; nuances aside, and adjustments and adaptations excepted as much as you wish. There is a deep root in our natures that is not equidistant, nor balanced: it's a tendency to choose that opens some doors and closes others; everything has a price, the perfect doesn't exist or it has been there forever. Sticking to a moral rule, to a canon, however good it may be on paper, is a spurious measure or at least suicidal, always castrating and definitely traumatic. Therefore, shouldn't we try the change, the transformation? I didn't say that. If life is something, that is a process of change, and such change should be a lighthouse, a compass, a North. The problem arises when the change doesn't appear from inside out, or when the model doesn't respond to our nature, but to that of someone else. This and no other is the essential problem of teaching, the problem of Mastery. The Western world simplified the issue by means of depersonalizing the apprenticeship. Techniques are studied, you must stick to the curriculum; the core is not in the person but in the subjects and disciplines. One can be a perfect bastard and still be a great aeronautical engineer. It is normal having so many bad people out there... If life is something, that is a process of change, and such change should be a lighthouse, a compass, a North. The problem arises when the change doesn't appear from inside out, or when the model doesn't respond to our nature, but to that of someone else. This and no other is the essential problem of teaching, the problem of Mastery. The Western world simplified the issue right through the depersonalization of learning. Techniques are studied, pupils must stick to the curriculum; the core is not in the person but in the subjects and disciplines. One can be a perfect bastard and still be a great aeronautical engineer. It is normal having so many bad people out there... Teaching us to be persons is difficult because we all start from a different place; each one is a snowflake that has crystallized in a unique way. Once undone, we are all H2O, but as long as we maintain our solid form, we are unquestionably different. In general, the East holds in this point a more than commendable discretion, and demonstrates a secular
"We should use the past as a springboard, not as a sofa." MacMillan
wisdom. Learning is something private, the Master is more an example which should be read by everyone. Maybe that is why teaching, even technique, it's so silent in the East. Verbalization, especially in the more personal issues, has been virtually banished, not by laziness, but out of conviction that it brings more evil than good. But, friends, globalization is sensitive matter, and mixtures do not always bear the best fruits... sometimes they even bear the worst. In the medley of our times, on many occasions, blends come out like in the joke of Einstein and Marilyn. Einstein: "Imagine if it turns out to be the opposite: With my ??beauty and your intelligence." They are nevertheless a path of no return, which should redouble our attention on this point. Any attempt to settle the issue with the old "any past time was better" is doomed to failure, because Heraclitus made it clear for us, and because now the river... could be flowing down polluted, in the worst case. I have seen how many teachers, so often imbued with the best of intentions, fall prey to that particular rigmarole of these times of the world upside down. Still others, and not a few, I've seen this confusion being the best subterfuge for the consecution of abuse and tyranny, leading to the personification of personal and sectarian pathologies. Martial Arts Masters singing the song of the male monkey, who injure their students in their demonstrations of omnipotence, or, imbued with the always false aura of moral superiority, humiliate students in public treating them as if they were haranguing their troops before a life-anddeath battle, simply because they got up in the morning on the wrong foot, or because that purulent pimple they had been diligently growing in their pristine superiority burst at the wrong time. In view of this paradigm we must necessarily to always go back to the classics. The "know thyself" is the only vaccination that works a bit for those diseases. Let each one cope with his own pathologies, and once subjected to this principle, he becomes much more sympathetic to those of others, because after you see the speck in your own eye, you become more tolerant and kind with that of the stranger. Otherwise, psychic and social ostracism is the only possible consequence. Compassion thus generated emerges from our deficiencies, not from our moral superiority, and therefore is effective and long-distance. The other is artificial and often will show its game, because you can hold a flag for a long time, but a tree (... what is natural), holds itself. Reconverting oneself is not an option, it is a command of nature, let's not hang ourselves medals for it. Medals or awards will come or not, as result of what we do and how we do it. Nothing right is possible in these processes
Alfredo Tucci is General Manager to BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com
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without counting on our personal natures, because an apple tree will always bear apples... The convergence of tradition and modernity is not a new phenomenon. In one way or another, every evolution is based in a betrayal to certain preeminent and once blindly accepted models. Harmonizing both worlds is not only relevant, but essential so that something new sees the light, history keeps walking, and what is truly universal may remain. We are all relatives of our ancestors, and however much we mess up in life ignoring their voices, this is also our transgressing obligation; often time will prove they were right, because at the same time, and paradoxically, almost everything is invented, or at least all, when we get older, we resemble our elders. Over the years we all become conservative... we want to conserve our hair, our strength, our desire to conserve... The work of each generation, of each time, is reconvert, whether the nostalgic likes it or not; and parting from what we are and where we are, no matter how much this upsets the libertarian, the utopian dreamer. However not all amalgams are valid, and mixtures, in chemistry as in life, should be done wisely, but new and more efficient alloys are always possible and indeed necessary, because the path of time is forward, and change, reconversion, are in no way optional. Things are not forever, or at least not forever the same, in any case they are tiring if there's no joy... as Woody Allen says: "Eternity becomes long, especially at the end."
Or Change a man against his will, He is of the same opinion still Let me first off say right from the beginning. I am a proud passport carrying Canadian Christian and maybe not a good one, but I am a Christian. Everyone world wide has heard by now of the horrific shooting in Ottawa, Canada on October 22nd 2014 when an Islamic Extremist walked up behind a Canadian soldier Nathan Cirillo who was carrying a rifle that was unloaded and he shot him in the back. Killed him dead. Then walked into our House of Parliament buildings and met his match a 60 year old former Canadian RCMP Officer and Seageant of Arms Kevin Vickers who introduced him to the 72 virgins he is suppose to get real quick. Some may be saying what does this have to do with Budo. My friends it has everything to do with Budo. Budo translates to Military Way. Military fight with honor and respect on both sides and for each other. Not sneaking up behind someone and unloading in his back this is the act of a coward not a warrior no matter what army you fight in. Let me say this, that there are a lot of very good Muslims and martial artists as well out there who are honest, hard working, good people. Isn't it time that these Muslims stood up and denounced these Islamic Extremists and these senseless acts? This is the way to attain some real respect for your religion. Respect is earned folks now is your opportunity to earn it. This is the way to get respect not by killing a person who you could not even face. Cowards is all I can say cowards do this. I cannot imagine a real samurai or even a real military person of any error shooting an unarmed person in the back. Where is the honor in that? I am reminded of my Sensei's teaching when he said “Change a man against his will, he is of the same opinion still�. You cannot convert people to your religion or any religion by forcing them. They must want to. So why am I so upset about this you might be asking? Well this has hit home with me as this soldier comes from my home town and lived maybe 5 minutes from where my dojo was and also he was a member of the Argyle Sunderland Highlanders Regiment of which my father was a reservist in during WW#2. Many of my students as well have been members of this prestigious Unit. I hope that you will pass this on to all your contacts and ask their Muslim friends and members to stand up and let the world know how good Muslims, think.
Five reasons to choose Eskrima:
This month we start off a thrilling series in which the best world instructors the will respond to a direct question: Give us 5 reasons to choose a Martial Art! This month we have two world figures in their respective styles: Guro Dave Gould, a great name of Eskrima, and Evan Pantazi, the most relevant Kyusho figure in our days.
Kyusho
Eskrima is one of the most versatile and adaptable fighting arts available to those in search of Combat efficiency today. In addition to empty hand skills it develops one to become proficient with countless weapons of opportunity in the event that one needs to equalize any threat faced suddenly.
Five reasons to choose Eskrima:
In my opinion the five reasons why one should choose to learn Eskrima are: 1)- Develop real time skills which can be utilized against an empty hand threat or the threat of facing an armed attacker equally. 2)- The ability to utilize ones knowledge with anything that can be lifted from the ground and placed in the human hand in ones time of need. 3)- Other Martial Arts seem to cater to the young and becomes increasingly more difficult for the elderly to perform as numerous limitations become evident as the aging process makes us old and feeble. Advanced age enhances ones ability in Eskrima, it does not diminish it. 4)- Weapons are great equalizers against numerous opponents. 5)- As more Nations declare firearms illegal, Eskrima allows one to defend life and limb with anything that becomes accessible; be it a knife, fork, pencil, screw driver, hammer, brick, or a machete, among countless other common items easily found in ones immediate environment. Honestly, everything which has the potential to become a weapon can not be made illegal, as the weapon is not what is extended from the hand but rather the mind which negotiates and maneauvors that instrument of destruction, what ever that instrument may be. I represent the Lameco Eskrima System as taught by my Instructor, Punong Guro Edgar G. Sulite. He taught with the intent of building fighters as opposed to merely teaching students. He felt that Lameco Eskrima was a Combat Art and that his role as an Instructor was to develop his students to become proficient fighters leaving them aware and best prepared to face any challenge and address any threat. Once proficiency had been achieved his objective was then to refine our capability to become more efficient, not so much by daily increase but rather by daily decrease. To take what worked well and make it better by refining the most basic attributes resulting in more efficiency by doing less, not by doing more. Lameco Eskrima is not specifically a weapons based art but rather a fighting art that uses any object which can be placed in the human hand as a weapon to the point of having nothing and then translating that knowledge bone to bone. Our mind is the weapon, not the object which we wield in our hand.
Five reasons to choose Kyusho:
Kyusho
At first most did not Believe it was real, then they saw, felt and accepted it as such, now only the barrier of beginning the study is the issue. But we must all learn it to pass it on to the future generations; this is our charge in the arts.
Five reasons to choose Kyusho: Five reasons to learn Kyusho 1. Kyusho is the core of most martial styles, just not passed down through the ages. Two generations since true Budo was taught has stripped its essence away. The old original styles always attacked the weaker anatomical structures of the body in the most efficient manner. The question to the reader is why would you only target the stronger anatomical structures or not even care about the difference? 2. Most Martial Artists today spend decades of their life in practice and researching the physiology of a punch, kick, grab or manipulation of the human body, but not the physiology of the body functionality itself. They give little thought or efforts to the vital areas, inter-relationships or anatomical structures that most efficiently accomplish these skills or can in reverse engineering, incapacitate the same functionality of an opponent. These structures or components are one in the same and inseparable, yet most seek just the cause and not the effect or how to cause specific effect. 3. Martial Arts should not be technique based, as when you study set technique for set attack scenarios, you are at extreme risk in real altercation when the opponent does not attack as you practiced or with the same method. You must train spontaneously to target the opponents' weaknesses. This is Kyusho. 4. If you knew a target that was easily accessible, disrupted the internal body so much that it would affect the hearing, sight, thought, physical control and blood pressure as it caused severe dizziness, forgetfulness, numbed all sensory input and of course could KO the recipient‌. would that be of interest to you? Kyusho is contact training in both giving and receiving pain and physical dysfunction. You must be able to not only give it, but also take it so that you are aware, ready and can cope with this to survive a real confrontation. 5. And the smaller, weaker or aging individual has no choice but to study Kyusho, as all other styles that require this greater speed, power and agility to accomplish cannot help them. So again the question arises; why would the perpetual student, master or expert not seek deeper understanding of the nervous, muscle, autonomic and motor systems of the body? Why would they only seek to learn half of the whole and not vital core of the arts?
Kyusho
Hwa Rang Do
Hwa Rang Do®: School of Leadership Part 1 (MISSION STATEMENT OF THE WORLD HWA RANG DO® ASSOCIATION) HWA RANG DO®: A legacy of Loyalty, Relentlessly seeking Truth, Empowering Lives, Serving Humanity Essentially, our ultimate goal is to better the World! For us we strive to accomplish this by maximizing our human potential to enhance the ideal of humanity through the rigorous training of our mind, body and spirit with the ancient martial and healing art of Hwa Rang Do®, “The Way of the Flowering Knights”. Hence, we have transformed our governing body, the World Hwa Rang Do® Association (WHRDA) into a humanitarian organization as we strive to empower the world one person at a time. We are a school of leadership/knighthood rather than of just sports or self-defense as only a foot soldier can affect change one person a time; a general can direct the course of a nation. In a rare private moment with Grandmaster Taejoon Lee, 8th dan, the son of the Founder, Dr. Joo Bang Lee and WHRDA President, I had the privilege to discuss with him on the subject of Leadership.
WHAT IS LEADERSHIP?: “Of course, that is not easy to answer with multitudes of point-of-views. However, for me, I have come to realize that one essential foundational principle of leadership must exist in order to truly be a leader - blamelessness. This in essence is the intrinsic definition of self-accountability where all things start and stop with you. In our recent annual ten-day Black Sash Conference where all Hwarangdo (Knights) leaders across the globe gathered to share and exchange knowledge, create greater bonds, and to reconnect with the Hwarang spirit, the subject of “the Original Sin” was discussed. Not for religious purposes, but to illustrate that knowledge itself is not bad or evil; but that both Adam and Eve was exposed to knowledge without experience, without having earned the knowledge, without wisdom, which diminished the value and appreciation for knowledge, creating all the turmoil, trials and tribulation of humankind that we endure still today. From the discussion one of our Hwarangs continued to expound on how can we be a better Christian as a Hwarangdoist? His conclusion was truly enlightening.
Hwa Rang Do “For us we strive to accomplish this by maximizing our human potential to enhance the ideal of humanity through the rigorous training of our mind, body and spirit” He made the point that as a Hwarang, he disagrees with the traditional understanding of “the Original Sin.” Commonly, it is perceived that the disobedience to God is the sin. However, he feels that “the Original Sin” is not disobedience but rather lack or absence of self-accountability. He continues by saying when Adam and Eve bit into the forbidden fruit, God asked Adam, “Why did you disobey?” And Adam's answer is because Eve, whom you created from my rib told me so, blaming indirectly to God and directly to Eve. Then when God asked Eve, she answers by saying that the snake told her so. In each case, they did not accept responsibility but rather blamed others. Hence, he concludes that “the Original Sin” was unaccountability. Then, I added further, obviously God has no one to answer to as all things begin and end with Him. Therefore, there is no one to blame but Himself whether his creation was and will be good or bad. So when God says in the Bible to be Godlike, we assume he means perfection. However, could he possibly have meant to be like Him you must come to understand what it means to be Him, that there is no one to blame, no others at fault but our own. Therefore we must care for ourselves and all of God's creations as though it were our own. Thus, God instilled upon us compassion and empathy to connect all living creatures so that we all feel it's suffrage. There is a traditional Korean saying which says, 'when you bite any one finger among the ten, do they not all hurt;' as to say if you have ten children and when one does wrong, does not the parent hurt equally amongst the ten? Whether this is
Hwa Rang Do ultimately true or not we shall never know until we meet God. However, as a warrior/philosopher, a Hwarang, a leader this is a more functional perception.�
WHAT OTHER ATTRIBUTES MUST A LEADER POSSESS?: A leader must possess all the things that make a great person; he/she should be virtuous, benevolent, and most importantly possess abundance of compassion and empathy. However, I think what further distinguishes a leader is that he/she has a strong connection with history. One feels his/her value and purpose, believing that he/she can offer something better to the world. He/she can affect change in other people. He/she is selfempowered and believes
in oneself and that what it is true. He/she clearly knows one's objectives and has strong convictions, real enthusiasm, pure energy, determination, tenacity and perseverance to reach such goals, whatever the cost, understanding the extent to which they must sacrifice in order to gain. After possessing the determination and the plan to reach his/her goals a leader must possess a sense of accountability as discussed earlier. If one made a mistake, he/she must be willing to accept the consequences of their actions. Think about a group of soldiers led by a general involved in a battle. Although, the soldiers in the frontline usually have many doubts whether they will live or die, the general must instill confidence and belief that they will be victorious. Even when faced with uncertainty, he/she must be charismatic and lead with the strength of conviction.�
WHAT CHARISMA IS?: “Charisma is essential for a leader and it is not something you cultivate easily if you don't have it. It is the ability to lead, motivate and inspire people to believe when none existed. It is the ability to not only suffice the intellect, but more importantly to touch the heart of the people and inspire them to believe in themselves to accomplish that which they felt was previously impossible. Obviously, the leader also has doubts. He/she can't be 100% certain of what the outcome of one's actions are going to be: positive or negative, but failure is not an option and success is a matter of when, not w h a t . T h e re f o re , a l e a d e r m u s t f i r s t a c c e p t t h e ultimate consequences of failure and accept the worse case scenario before proceeding forward, being self-accountable!
“A leader must possess all the things that make a great person; he/she should be virtuous, benevolent, and most importantly possess abundance of compassion and empathy.”
The MEGA Event - a legendary evening offering great atmosphere, good food and high class Kung Fu entertainment. All this of course in honor of Grand Master Martin Sewer's birthday! It has been many years since the times when the MEGA Event didn't even have a name and Grand Master Martin Sewer's birthday celebrations were but a small evening gathering at a restaurant. It was mostly members of the innermost circle who came to celebrate Martin Sewer's birthday. The young master could count the attending students with two hands, but he already then knew the size his school and this annual celebration would eventually assume. How? From his Master, Kung Fu legend and movie star Chiu Chi Ling, who already then was internationally claimed to be the best fighter altogether and to be named successor of the original Shaolin Line. Chiu Chi Ling showed his student Martin (today himself nominated
to be successor to Chiu Chi Ling) what a proper Kung Fu celebration of a true master was supposed to look like. He also mentioned how with growing student numbers, the Kung Fu celebrations would grow. Of course spreading the knowledge of original Hung Gar Kung Fu was as it is now still the highest goal of Chiu Chi Ling as well as of Martin Sewer. In the course of the years with the growing success of his school Martin Sewer learned how his Master would also turn out to be right about Kung Fu parties. Not only did the number of guests and students at the events increase, but also the organization and structure grew with every passing year and with every year reached a new level of professionality. With time passing, the need for a new location arose - a location that could satisfy the increasing expectations of the organization committee. And soon one decided to host the event at the Crowne Plaza Hotel in Zurich. Aside from celebrating Grand Master Maritn Sewer's birthday, additional things to be presented, celebrated or honored were added to the program. The MEGA Event was born - an evening in evening dress and smokings. Students now continue to wonder about the program of the next MEGA Event. Something that would always be cause for much anticipation was the program of the follwing MEGA Event. Not surprising if one looks at the programs of the previous years. A few highlights of the evening program include:
- The birthday ceremony, where Grand Master Martin Sewer is shown respect and is given Red Envelopes (Lai Si*).
“At the latest for the school's 20th Sewer and his organization committee began inviting national and international guests, including Sifus (Masters), who would also anniversary, Grand Master Martin participate in the event”
- The school presentation, where students and guests are shown where the school stands, what was achieved in the past year and what the current goals are. - The Blackbelt Show, where the school's blackbelts give their best and showcase advanced Hung Gar Kung Fu. - Various awards and honors, for instance Bai Si** ceremonies, which instructors and Masters (Sifus) have gone through At the latest for the school's 20th Sewer and his organization committee began inviting national and international guests, including Sifus (Masters), who would also anniversary, Grand Master Martin participate in the event. “One thing is especially important about success...” said Martin Sewer - “namely that one shares it with others.” Even though the world of traditional Kung Fu follows strict rules and structures, and is organized in “families”, it has always been and still is important to exchange with other schools in order to keep on learning. Even a Kung Fu novice can observe this at real Kung Fu parties. Every external student or Master is taken up into the evening program and gets the opportunity to repre-
“If you are a martial arts enthusiast and a friend of highquality Kung Fu, we hope that you will be able to make it to this year's MEGA Event. Regardless of where you are from, it will be worthwhile!� sent their family and demonstrate their own Kung Fu. Looking at the program, one can imagine how the MEGA Event organizational committee starts planning months in advance, since the next event will take place on the 22nd of November. Blackbelts and instructors are already practicing intensively for their upcoming Blackbelt show. Awaiting the guests at the reception are snacks and drinks, as well as a small delegation of organizers to greet the guests. As is usually the case with events of this size, a ticket system was created and has in the meantime been run in. Thanks to this system, each guest will already have their ticket in their pocket when they arrive. Following some laid back mingling, the guests may show their tickets and enter the large event hall. Of course, for those deciding at the last moment to come, there is a box office (supply limited). In case you're hearing about the MEGA Event today for the first time, do not worry. You may still write an email to alex@shaolin.ch to reserve a ticket. Behind the entrance into the huge event hall the guests are received by a professional photographer. Everyone who wishes can be photographed and have their special picture kept by the photographer. Shortly thereafter, one is escorted to the dinner table, where most of the rest of the evening will be spent. Once the guests have been seated, a moderator enters the stage and announces the arrival of Grand Master Martin Sewer. Performing a traditional Lion Dance and greeted by applause, he enters the event hall with his wife and is taken by Lions to his table. Now everyone is here and the moderator can begin with the abovementioned evening program! Grand Master Martin Sewer has through this long training under his Master not only brought a piece of martial art history into the west, but on his path also created this wonderful event where Kung Fu Fans from all over the world can meet. If you are a martial arts enthusiast and a friend of high-quality Kung Fu, we hope that you will be able to make it to this year's MEGA Event. Regardless of where you are from, it will be worthwhile!
WingTsun “THE THIRD FORM (Biu Tze Tao) is a really important part within the system because it represents a different movement.�
Biu Tze Tao Form Reflections The so-called "Third Form" of the W ing Tsun Kuen style is one of the training structures where instructors that exceed the level of Black Belt First Dan focus all their efforts and full attention in its study. In WingTsun Europe by TAOWS Academy we divide the instruction of our students in TWO well differentiated blocks:
1. - Instruction up to the level of First Technical Grade. Practitioners focus on the study, training and consecution of a firm structure of fundamental knowledge for practicing and understanding Wing Tsun Kuen style. Shifts, technical mastery of the foundations and inherent values in the practice of the technical structures determined by Siu Nin Tao forms (Form of Small Ideas) and Chum Kiu Tao (Form to search and sink bridges). 2. - Instruction starting from the First Technical Degree (First Dan) in which we place our pupils in the study, training and development of what we call ADVANCED Level and Sections. At this level, in the understanding that the student has achieved everything he needs to confront this advanced training phase, we focus on the practice of the Advanced Forms: • Biu Tze Tao (Flying fingers Form) • Muk Yak Chong (Wooden Dummy Form) • Luk Dim Boon Kwan (6 p 1/2 stick Form) • Bart Cham Dao (Eight Cut Blades Form) This TWO-PART scheme is a very clear charted route to try to complete and learn our system in an orderly manner and in a reasonable time (it will always depend on the student's investment of time).
Of course it is an opinion, but I'm sure that, for the understanding and study of any artistic or scientific aspect, it's very important to have a clear outline, neat and easy to follow by the students. Our mission as teachers should be that of providing them with each and every one of the system tools within the shortest possible time. It makes little sense to have someone learning a combat system for twenty years (or more in some cases). It seems much more logical learning the system in a short time and then spending many years practicing it. Currently it is not always the case, and this wrong approach is responsible for many of the style problems. I'm sure I can do it with each and every one of the students who train constantly and diligently over a period ranging from five to ten years. From there it would start another quite different phase: the Practical. In a conversation with Grand Master Steve Tappin, founder and director of Escrima Concepts (association of which I have the enormous privilege of being a member), he told me that at the time of the greatest development in Europe of wars where swords were used, it was usual to learn quickly the basics of weapon fighting for logical reasons: war took up most of the time and periods "between wars" were
WingTsun rather scarce. Hence there wasn't that much time left for long apprenticeship periods. The practical level is based upon the fact that the student (or master) has completed all phases of the system from the first to the sixth form. He is able to have not only superficial information of the forms, but also to know those ideas or nuances that are under the "skin of the forms." At this point, the practitioner must PRACTICE with his system, that is, to use the system to grow as a fighter, trying to make or develop a style that is based on the "no form". Or put another way, being able to break the FORM so that the enemy can't determine any fixed scheme. Again I have to resort to the person that for me is one of the great ideologues of Wing Tsun: Bruce Lee (although not a master of style since he just practiced it for a short time in Hong Kong under the tutelage of Grandmaster Yip Man). Master Lee defined his practice as the way to NO FORM. This poetic concept, hard to grasp for the Cartesian view of Europeans, is a great definition of the Wing Tsun Kuen search and other Chinese styles which not always have been properly explained, so surely they have been misunderstood by many. There have been attempts to mix or implement ideas, but it's right there where the problem lies. The NO FORM can only be reached by a path: the FORM! We understand the FORM in Wing Tsun as the structures of the SIX Forms that make up the system, and enable the practitioner of Wing Tsun acquire a base, mobility, structures etc., complemented by concepts and details that are to be found in the forms of the style. In today's article I want to refer to a form that I find fascinating for many reasons. THE THIRD FORM (Biu Tze Tao) is a really important part within the system because it represents a different movement. Analyzed from the point of view of the external appearance or aesthetics of the system, we will agree that is a totally different way of moving. It's like is we broke the mold created by the forms 1 and 2 (SNT and CKT). Even the way of hitting and moving are different if we compare BTZT and the first two forms: in the third form, finger, knifehand and
“Biu Tze Tao is the response to an emergency caused by a fortuitous act that prevents the practitioner from maintaining his structure.�
WingTsun elbow strikes against fists and palms blows commonly used in the other forms of the style. Everything has a good explanation... Up to this point, Wing Tsun is really a great system. Biu Tze Tao is a "logical deformation" of the basic structure itself caused by two reasons: 1. Powerful attacks from the opponent that surprise us and cannot be defended in a simple way. 2.-A breaking down of the distance by a sudden and unexpected invasion of the enemy that breaks our barrier of arms and legs so that we can't go on maintaining our initial structure. In both cases, Biu Tze Tao is the response to an emergency caused by a fortuitous act that prevents the practitioner from maintaining his
structure. Anyway, the philosophy of the style will force to use it again in a timely manner and retur n in the shortest possible time to take over this characteristic structure that perfectly defines the Siu Nin Tao. The why for this latter reasoning is based on the idiosyncrasy of the Wing Tsun style that places the highest emphasis to efficiency and simplicity. In other words: simpler is always better. Although, once reached the practical level, there should be changes in the modus operandi of the practitioner. This point is not taken into account very often and usually teachers, for various reasons, force their students to stay in the initial structure, in the FORM, throughout their lives.
A few days ago I heard an illustrious practitioner saying a phrase I thought it was very successful and it brings up my reference to the famous quotation from Bruce Lee. This prestigious master said something like "if you can recognize your position and point out yourself as Wing Chun.... then is not Wing Chun." Of course we could establish a talk about why searching the NO FORM from the FORM, but it seems obvious that it is hard to fight against something that doesn't have a fixed form and is constantly changing. Pure Taoist philosophy… Pure Wing Tsun… Reflect... I find it quite successful. To understand this difference we must study in depth the how and why of the techniques of the third form. It's important.
“Master Lee defined his practice as the way to NO FORM. This poetic concept, hard to grasp for the Cartesian view of Europeans, is a great definition of the Wing Tsun Kuen search and other Chinese styles which not always have been properly explained, so surely they have been misunderstood by many.”
ENCYCLOPEDIA OF OKINAWAN WEAPONS by Taira Shinken (translated by Eihachi Ota) Taira Shinken is considered by many to be the Gichin Funakoshi of Okinwawan Kobudo, as it was he who preserved the forms that he learned from his teacher Yabiku Moden. The 184 pages feature the Master himself performing many of these traditional forms including bo, sai tongfa and nunchaku through 415 photos and 59 line drawings. Only a Master can demonstrate and perform the katas of these uniquely Okinawan weapons in the exact and precise way he was taught them. These forms have been preserved for generations to come. Not only is Encyclopedia of Okinawan Weapons filled with photos of forms, it also goes into the complete history of Okinawan kobudo and many biographies and personal backgrounds of some of the Masters. The text was translated from the original Japanese work by Eihachi Ota with the aid of Michael Rowens. Ota Sensei is a well known Kobudo Master and a student of the late Nagamine Shoshin who was a student of Taira Shinken’s. 184 pages $29.94 paperback Contact us at: masters@porchlight.ca or see our website warrenerentertainment.com
Use of Force and a Defensive Mindset by Avi Nardia & Benjamin Krajmalnik
As a civilian firearms i n s t r u c t o r, I often encounter an absolute misconception with respect to the application of force in the defense of one's self or others. While statutes between states vary, many people have internalized that because the law, as stated, allows them to use deadly force in the event of, for example, a home intrusion, they are totally justified in doing so.
Use of Force and a Defensive Mindset
I
n most cases, these individuals have not thought out the repercussions of being involved in a shooting. Even if the said shooting is deemed to be justified, and therefore there are no legal ramifications, there are many psychological and social effects which will unfold which will be life changing. I will not delve into these within the scope of this article, but rather explain when use of force can be used. I am not a lawyer, so if you carry a firearm for self defense, I recommend you consult a lawyer in your jurisdiction to get legal advice. I am strictly speaking from a tactical defensive perspective. One of the biggest misconceptions is that if one feels threatened (since statutes usually use this terminology in their use of force criteria), one must engage. This is an absolute misconception. To illustrate this, I will explain the differences in types of engagements. There are essentially three types - military, law enforcement, and civilian. Under the first type of engagement (military). a threat is identified, and our
objective is crystal clear - engage and neutralize the threat. We do not have discretion as to whether the engagement is to take place or not, when given the order we have no option of retreating (unless as a result of the engagement that is the tactically sound option), and we are to use all means at our disposal in order to neutralize the threat. Our objective here is to take the object out of the fight - either by severely injuring him (which will take additional troops out of the battle as they attend to him) or by killing him. Our second type of engagement is a law enforcement engagement. Unlike the military, the mandate of law enforcement, when a threat is perceived, is not to neutralize it by killing it, but rather to apprehend and bring to justice. As in the first type of encounter, law enforcement does not have a choice - it is their job to apprehend the threat. The approaches may vary, leaving discretion as to where and how to effect this. While normally it is not advisable to break contact with the
threat, in some cases a tactically sound decision might be to break contact while maintaining surveillance, and apprehend under conditions which are more favorable to the law enforcement unit or where a lower level of threat will be present to the public. IF in the course of the apprehension the subject is killed will be a matter to be investigated as to the acceptable levels of use of force by the department. The type of engagement which we are concer ned with is a civilian engagement, and I will go more into detail. Regardless of the legalese of any statue governing use of force in the defense of one's self (and this is more critical in Castle Doctrine states where individuals may feel that the law is “on their side�), we must be able to articulate a defense for our use of force. To do this, there are three components which must be addressed - the triangle of Ability, Opportunity, and Intent. If we can prove that the assailant or perpetrator had the ability, the opportunity, and the intent to inflict severe bodily harm
or death, then one's deployment of deadly force will be justified. These three factors do not relate only to the assailant, but also to the person deploying force in self defense. Unlike the military and law enforcement engagements, as a civilian we have one objective - survival. Anytime you use force in self defense, you are going to have a level of legal liability, so the best course of action is always to flee. We do not carry a firearm for ego, and we do not engage to make a point. I do not care how skilled one thinks he may be anytime an engagement takes place the outcome is unknown, and you may be on the losing side of the confrontation. Your best course of action is always to flee - and this is regardless of whether the use of force would have been with a firearm or empty handed. I will present a hypothetical scenario. You wake up in the middle of the night to the sound of something shattering in your kitchen. There are various courses of action you could take. Option 1: You take your handgun and go down to the area where you heard the noise to engage the perceived threat. As you arrive to the kitchen, you see an unknown silhouette, and “fearing for your
Use of Force and a Defensive Mindset life”, you fire a shot into the threat and take it down. Did the suspect have the Ability to inflict bodily harm? It would depend. Let's take a scenario where you encountered a large male. After he was already on the ground, you see he is significantly stronger than you, and next to his body you see a crowbar which he used to break into your house. In this case, he would have the ability, since he had both the physical potential as well as the means to do so. Did he have the Opportunity? At this point, absolutely not until you closed the distance to engage him, he was outside a reactionary gap which would give him the opportunity. Did he have the Intent? Well, from the data we have at this point, his only intent was to steal something from you - no overt threats were made. Unless the subject were to act in a threatening manner upon seeing you, if you were to shoot it might very well be deemed unjustified and you could be criminally liable. But now, let's make it even more interesting. After you take the shot and approach the subject you see that you just shot your son's friend, who unbeknownst to you, came back from a party slightly inebriated and stumbled while trying to get some water. Now, we go into the social and psychological effects in the aftermath of the shooting. You just took the life of an innocent person, and more so of someone close to you. Do you think you will be able to live with yourself in this aftermath? What about the ramifications in your social circles? Life will indeed be very complicated for you post-conflict. Option 2: You take your handgun and carefully go down in an attempt to escape. In the process of doing so, the suspect sees you and threatens you. The suspect is totally drunk and unable to walk straight. He has one of your kitchen knives. You are 5 feet from the
door, and he is 30 feet from you. Do you engage him? First of all, by taking the course of action of fleeing, you have already shown that you had no intent at using any level of force. Now we analyze the subject based on our three criteria. Did he have the Ability? Well, that would be questionable. He did have a weapon which he brandished, and may be able to close in on the distance fast enough, but until he begins to do so it is marginal at best. Does he have the Intent? Absolutely - he has made an overt threat and is brandishing a weapon. Does he have the Opportunity? In this case, it is very much like his ability - if he starts closing the gap faster than you can escape, then yes. Otherwise, no. Use of deadly force in this case would depend on the posture that the suspect took when he saw you were fleeing. Any attempt to approach you would indicate that burglary was not his sole intent. Option 3: The layout of your house is such that you cannot safely escape avoiding detection. You dial 911 and call the police. You inform them of your exact location inside the house, of the threat that is inside your house, and also inform them that you are armed. You keep the line open, and shout to whoever is downstairs that you are armed and any attempt to come upstairs will be construed as a deadly threat resulting in the use of deadly force. You take a tactically sound position upstairs such that if the threat comes up to engage you, you will have the advantage. By following these steps you have given yourself the maximum of coverage you could potentially have. You have called law enforcement for them to take care of the assailant, you have issued a warning, which is now recorded, as to your willingness to use deadly force only in the event he comes up, and you have taken a tactically advantageous position. The suspect starts coming up the stairs, in total darkness. You see an object in his hand. He has been warned about not coming upstairs. You are already in a defensive mindset. He is closing that gap, and he has been warned, so therefore he has the ability and opportunity, and since he has the object in his hand, intent to do harm. Do you take the shot? Rule #1 - you do not fire until you have identified your target. The “suspect” coming up was your son, coming from college for the weekend, unannounced. The object in his hand is his Ipod, through which he is listening to music and was unable to hear your warnings. Perception and reality, especially while under stress, are very different. But having a plan ahead of time, following it, and following basic safety an tactical rules will minimize the chance of you having to use deadly force. It is always preferable to have the threat come to you, and not the other way around. You do not know what the threat is comprised of - by taking a tactically sound posture you minimize the chance of being on the losing side of the engagement. You will not be taken by surprise. But even if you have taken all of the correct steps as in our Option 3, never fire until you have identified your target. A few months ago, a famous South African runner shot his girlfriend. She was in the bathroom, he claimed he woke up to sounds in the bathroom and thought someone had broken into his house. He fired his gun through the closed door killing her. I would hate to be his lawyer. I cannot know if it was murder or not - that is up to the courts to decide - but he is absolutely guilty of homicide, having fired without identifying his target.
Germano Monosi prides himself on having acquired a solid experience in the field of protection and in the martial arts circles. Thus, he has set foot in the martial art world a little bit more than four years ago (judo) and as boxing trainer, art he has still been practising since 1988. Professionally, he has been working in security for private and public sector for 25 years. Within the scope of his profession, he has had the opportunity to develop real competences pertaining to security and he is a nationally recognized instructor for the management of violence.
The master behind the system Germano combines an impeccable and unrivaled technique with the mental resilience of a fighter. Germano is endowed with great teaching skills that he devotes entirely to helping his students achieve self fulfillment and it goes way beyond the simple acquisition of a martial art 'know-how'. Actually, his acute perception allows him to detect immediately the flaws in the way his members practise. He is then in a position to, progressively, bring them to correct themselves and improve beyond their own expectations. In the course of the 90's, Germano had the pleasure of meeting Christian Maistriaux, who initiated him to Filipino martial art and at the same time improving his boxing foot stance and punch technique. The practice of this art is uncompromising and purely instinctive. He notably took part four times in the Belgian Escrimadors' challenge in the late 90's. These competitions were broken down into four types of combats with KO : kick &punch, with the use of foam rubber covered baton, with a knife and finally a fight using a baton made of rattan with limited protective equipments. Since back then, Germano applied all his energy to promoting the filipino martial art in Europe and even, re-inject enthusiasm into the whole organization of this art which, for human-related reasons, was somewhat in decline. To that end, Germano Monosi was allowed, in 2009, by Oliver Bersabal to relaunch the Arnis Koredas Obra Mano in Europe. Oliver B. He became the first Decolores Master in 2011 after having presented in CEBU(The philippines) to Oliver Bersabal a structured and progressive program facilitating the teaching without being detrimental to its efficiency. Concurrently with his activities, he collaborated, in the early 2000 years, with GM Raoul Giannuzzi , the international representative of the SGM CaburnayLapunti -Arnis -de- Abanico- cebu style. With a wealth of experience , his encounters along the way , the martial and human interractions , Germano Monosi has expressed the desire to share his lifelong experience going way beyond the technical aspect of the art itself. In order to achieve his objectives, Germano has developed a system based on the practice of the filipino martial art : The'
MAS' acronym standing for Monosi Arnis System, but meaning 'more' in spanish almost inviting you to surpass yourself and do'more'.
The system The MAS is a contemporary combat system originating from a combination of currents from different filipino extractions but Its practice still remained traditional. In the bosom of the system, we work with the short baton (53cm) and the long one (70cm) either one baton or with a second one, a knife, the pocket stick. We also train the mano-mano (one-on-one combat with bare hands). The system, presented by Germano Monosi, turns out to be redoubtably efficient. For its pedagogy, based right from the start on the reality of combatand not on the reproduction of conventional codified movements (making it 'fancy')- , relies on the simplicity and repetition of simple, direct and percussive movements. This method was developed in order for our students to progress rapidly and acquire real martial art competences whether they be technical, mental or emotional. As far as the MAS is concerned, there are three combat distances to consider during a confrontation, the long one (largo), medium one (medio) and the short distance (corto). These three distances correspond respectively to the reach distance of a kick, the reach of a punch and the clinch. Few martial disciplines, filipino or other, integrate the distance concept into their training. The learning process of the MAS starts with an intelligent and coherent wielding of the baton, used of course as a weapon but more especially as a pedagogical method facilitating the practice. Indeed, the baton makes it easy to assess the distances, practising accurate strikes and assuming appopriate body posture in accordance with the situation (offence or defence). Through that process, the student will manage to feel at ease in all comabt scenarios with the use of weapons or not. The MAS techniques are polyvalent. That's why the principles applicable to the exercise with the baton would just work as efficiently for a hand to hand combat.
The pedagogy In the MAS, there isn't any defined and fixed conventional form. The learning process base relies on the acquisition of reflexes, suppleness, fluidity, rapidity, precision and intuition. The system advocates the following teaching methods : • the study of the basic 12 striking angles with defence (one or several counters). • Exercices for body moves, footwork for fast moving about,along with combos of angle punches and defensive postures .
• Wielding the short baton while applying the striking angles technique through high-precision exercises executed at medium distance (medio). • Performing exercises at 'largo' and 'corto' distances. • Placing the students into various real-life situations mostly revolving around a maximum body protection according to the student's level of skills. • The baton-aided weapon disarming technique with angle strikes and defense (introduction to the concept of joint locks)
• Working on defense and counterstrikes with or without weapon against single short/long baton, double baton or knife. • Free sparring of hand-to-hand combat, self defence, attacks and counter-attack. • Groundwork • Handling of the pocket stick ( impact weapon hardly longer than the hand width) • Self-defense moves against opponent armed with a knife • relaxation through deep breathing and sharing/analysis of the
participants' felt experience about the whole session. Germano Monosi has created a system specialized in close combat, all parts of the body are used to strike (fist, open-hand, fingers, knee ,elbow, head, feet,‌.) at extreme velocity and with a lot of fluidity in the movements. The MAS is a realistic defense system relying on principles taught in a progressive manner through an cleverly selected and well designed education program. Besides, the student will be trained to attack the opponent's weak points therefore allowing anyone, regardless of his build or strength, to be extremely efficient. By assimilating this system, the student, with a specific martial art background or not, will evolve towards a better self-control, a stronger selfdiscipline and better abilities to concentrate when facing aggression during which the stress factor will, automatically and intelligently, be taken into account. The ultimate purpose of the counter strike is to neutralize the violent opponent within the legal framework of legitimate selfdefense. This purpose-built and sensible approach makes the MAS system an excellent self-defense method. However, to achieve that objective, the student will absolutely have to work on his own 'flaws'. That's why
Germano Monosi has integrated into the teaching process, the true psychological aspect of combat that the student must grasp and master. Indeed, during an assault, in spite of the preparation and anticipation you might have acquired technically if not intellectually, it is undeniable that the situation can rapidly degenerate. The individuals being under attack will end up ,very often, being overwhelmed by emotions (fear, anger, ‌) mwhich will lead them to respond inappropriately. This sudden loss of control may be as dangerous for the assaulted person as it would be for the aggressor or the third-person who would want to intervene.
A genuine, honest and humble self knowledge is required It is no use training to keep control of a confrontation against an accomodating partner who would follow a predetermined fighting pattern which would absolutely fail to reflect reality !!! - if you're a real martial art enthusiast- In any case, if you seek the path of a warrior and you claim to be practising that art in the most noble way. Thus, the pedagogical progression of the MAS is not simply centered on the acquisition of knowledge in the field of self-defense but tangible
competences in the anticipation and constant adpatation of your response during a confrontation. According to Germano Monosi, the only way is the permanent calling into question of the practitioner and the acknowledgement of his mistakes. This can only be achieved if he stops lying to himself (about his real level of competence !) and especially, if he stops letting himself be lulled into the illusion, quite unfortunate, of security given by more conventional techniques which depart further and further away from the primal cause of their very existence‌ Survival. It should be noted that many practitioners heave been spending years drawing fictitious forms in the air with their baton, or reproducing series of techniques as a recreational activity and not for the real purpose of martial arts. However, very few of them turn out to be competent enough to apply these techniques in a real-life confrontational situation. The assessment of all this is incontrovertible, they have been wasting their time ! Moreover, the MAS asserts that an effective method of self-defense must allow each individual to come up with the necessary technique to counter one of the possible multiple attacks and do it in a instictive, instantaneous and efficient manner ! Thinking in terms of a program containing
technical instructions to learn is a utopia and it will never encompass all the scenarios a practitioner may face. The only path is to condition him to develop on his own a multitude of techniques through the acquisition of an effective emotional management and perfect body control (balance, psychomotor skills, footwork,…) The only way is to practise in constant motion, permanently anticipate the assailant's actions by a good peripheral vision and assimilate the combat principles from the simplest to the most elaborate, on by one, in a progressive manner, with patience and work. Philosophically speaking, this compelling journey will lead you to inner peace of which only you is the craftsman. In the end, the MAS only serves the purpose of guiding you on this path. So Germano Monosi, for all these years he's been teaching the management of violence through martial arts, has come to notice that his students never described this martial art as being effective or the ultimate
technique, instead, they would go on about their evolution in terms of personal well-being, calmness, better stress management, « joie de vivre » ……. That's Germano's biggest achievement as a martial art instructor.
One last word from the Master « don't let yourself be daunted by the outward form of the MAS practice, very effective and uncompromising… It only is the result of a more and more elevated level of consciousness attained by the practitioner and allowing him to master his own violence. Do experience combat without hurting yourself through a structured and credible progressive pedagogy. Come join us and learn to know us... to know yourself !!! » Initiators, monitors and instructors courses are regularly organised. For further information go to www.monosi-arnis-system.com
“Do experience combat without hurting yourself through a structured and credible progressive pedagogy.”
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
EMELIANENKO FEDOR: THE LEGEND OF MMA The hazardous and stunning realm of MMA was dominated with an iron fist by the fearsome sovereign Emelianenko Fedor, his authority was unquestioned and his throne unmovable, a story that lasted ten years subjecting his opponents, one after another, who were unable to dethrone him. After his retirement, Emelianenko has granted very few interviews and he's always tried to stay away from the spotlight, but Fedor has spoken to r eaders of "Budo International", and when Fedor speaks... the world listens! Text: Ricardo Diez Sanchis. Photos courtesy: Dream Stage Enterteinment (www.pridefc.com) and Archives Budo International
Budo International: Currently, how is your life outside the competition world? Fedor Emelianenko: I am now Counselor to the Ministry of Sports of Russia. I am responsible for the communication of all Martial Arts Federations with official institutions, resolving conflicts. I am also president of the Union of Russian MMA. We are striving to develop MMA in our country, by uniting the three major championships of Russia. By this I mean that each year we have better fighters, very high level fighters. Each tournament brings together young promises willing to fight for their region, and for the country in the international arena. B.I.: What would you say to those who are considering the idea of practicing Sambo?
E.F.: Sambo is a beautiful and exciting good sport. It consists of a variety of submissions, chokes and takedowns. The name Sambo means self-defense without weapons, so it already has the ideology of a sport. B.I.: Except in Russia, the rest of the world regards BJJ as the best way to improve ground fighting; however, Russian fighters are feared and respected worldwide for their great technical arsenal they have acquired thanks to Sambo. Is Sambo a good supplement for MMA? E.F.: Everybody selects his own sport, it's our choice. In my case, Sambo - our national sport - is the one suitable for me. I think the art of Sambo is not worse than BJJ. B.I.: What benefits does Sambo bring for children?
E.F.: In Russia Sambo is one of the major sports. There is an aura of invincibility surrounding it. It is an incentive for children to go to the gym and promote healthy living. Sambo also develops agility, endurance and thinking skills. B.I.: In your opinion, who is currently the best MMA exponent? E.F.: Now there are many great fighters. I am satisfied with the success of our athletes abroad. B.I.: What advice would you give to young people who are now starting to compete in MMA? E.F.: The main thing to be remembered is that MMA is a sport and always, in any situation, we must remain being human; respect our teammates, opponents and coaches. It’s very important to working on
yourself. If we don't train hard, we won't be able to bring about good results and achieve victories. B.I.: Some people say that the Ultimate Fighting Championships may reach Russia, is it just a rumor or you think it's possible? E.F.: Well, I have no information about UFC wanting to bring its tournament to Russia in the near future. B.I.: The eternal question: Will we see you fighting in MMA or Sambo? E.F.: I finished my sports career in 2012 and I will not return. I am now fully engaged in the development of Martial Arts and transmitting my knowledge to young athletes. WMMAA is carrying out training seminars throughout the country. We are currently preparing a film about the art of MMA. B.I.: What was the real reason for which you ceased to compete in MMA tournaments?
“I finished my sports career in 2012 and I will not return. I am now fully engaged in the development of Martial Arts and transmitting my knowledge to young athletes.” E.F.: I'd had a good sports career, but I felt it was time to put an end to
it. I still have the strength to fight, but I decided to give up competing. B.I.: What is the type of workout you like best? E.F.: Now I keep training, but not in the way I used to. I like to go running regularly to the park, go to the gym, sometimes do some sparring... B.I.: Essential Question: When will we have the chance to see you in Spain, giving a seminar? E.F.: I'd love to go to Spain and do seminars and share my knowledge with the Spanish athletes. Moreover, we know that Spanish fighters are doing very well in Russia. The "España Imperial" team is constantly participating of our major events. So I'll go as soon as we find the right time and at the earliest opportunity. I can't close without thanking Mr. Chinto Mordillo, representative of M-1 and WMMAA in Spain, without whose help, this interview would have been impossible.
Ijutsu: The Medicine of the Shizen people Ijutsu (ĺŒťčĄ“) is translated from the Japanese by Medicine or, in a more literally and correct way, by Healing Art. The Ijutsu that is studied in the tradition of the Kaze no Ryu school, is a broad body of knowledge and therapeutic techniques used for centuries by the Shizen and the inheritors of this tradition.
or this reason, its antiquity - especially when compared to the great technological advances and modern research regarding the health sciences and medicine - these techniques should be considered not as a set of alter native therapies, but as complementary to the most modern and advanced treatments. During the twentieth century, they were evaluated and reorganized both in its precepts and its techniques by medical professionals in the Ogawa Shizen Kai, to separate the mystical and fanciful from what it was prospective and healthy. Today, learners and practitioners are even further required to count from the start on the established basis of the critical and scientific analysis to avoid ineffective, or what is worse, counterproductive techniques, without leaving aside the traditional method. Although some of these techniques come from the vast Eastern traditional medical knowledge, such as Acupuncture or the so-called Do-in (Acupressure), others, such as massage therapy techniques, Anma, also known as "Yugoe", through the root "Sayugoe" -
F
a term in the original dialect - are the genuine form of the Shizen identity. Yet in any case, every technique was adapted to the original therapeutic principles of the Shizen, for a proper harmonization in its application. In addition to this knowledge, ancestral knowledge on herbs, teas and foods are of fundamental importance. A forest people as the Shizen, had a pharmacopoeia and a remarkable knowledge of herbs, known as Kusajutsu. As a supplement to manual techniques, among other applications, the use of herbs, cooked or in infusion, applied in plasters or balms, oils and ointments, as well as a diet suited for the condition to be treated, increased greatly the complexity and dimension to the therapist's intervention. In their ancestral vision of the disease, the Shizen distinguished every ailment in a unique way and regarded the human being in his whole conception: body, mind and spirit. A disease supposed a poisoning that affected all levels. Hand manipulation techniques aimed detoxify and irrigate bones, muscles, tendons, skin, circulatory system, etc., in order to balance the organism. In the past, its application supposed well-being for the patient to deal with the illness that afflicted him and though its techniques were insufficient for a variety of ailments, body balance allowed the patient to be in a better mental and physiological disposition to cope with disease. As we previously mentioned, the most genuine treatment techniques and therapy are known as Anma (ćŒ‰ć‘Š) and although this name usually refers to the almost family care and massage methods of ancient Japan, in our case we refer to the original source of the Shizen therapeutic knowledge. Let's make now an introduction to such practices.
Brief historical notes In ancient Anma treaties, the method consisting of diagnosis and treatment is described. That was the first comprehensive approach to medicine. About a thousand years ago, Chinese medicine was introduced in Japan. At that time, Anma method was well known by the medical profession and it was considered easy to treat the human body. During the Edo period (about three hundred years ago), Japanese doctors were required to study Anma, in order to clearly understand and be familiar with the structure of the human body and its functioning. The preparation of these doctors in this type of manual therapy, allowed them to make diagnoses, prescribe Chinese Medicine herbs and locate the socalled "tsubo" or acupuncture points, seeking to make treatments easier.
Unfortunately, this ancient manipulation method was intended only to treat simple problems such as hardened shoulders and back tension. It was a suitable profession for the blind... and being as they were in a disadvantage to receive formal training in the diagnosis and treatment, Anma gradually was associated with pleasure and comfort. Anma is one of the oldest and most traditional Asian methods of treatment. It is not known exactly how long ago it began to be practiced, probably some 5,000 years, and it was first described as a treatment, 2,500 years ago. In Japanese, Anma means massage person or therapist. The Japanese character for the word "AN" means penetrating pressure, small movements. It's considered Yin and is used for sedation. The "MA" character means massage and vibrations with more vigorous movements; it's considered Yang and used to tone. Anma is a technique that involves making muscle massage, using fingers, hands and arms, to improve blood and lymphatic circulation, providing improvement in the skin, the stress and in muscle contracture. According to specialists, massaging our own body is the easiest way to get rid of muscle and joint pain, relieve
emotional tension, stimulate circulation and improve our energy flow.
The Ki Energy in Anma Several theories regarding the use of the universal and body kinetic energy are but "KI". Ki was discovered in India and China. Then it arrived in Japan. Its origin and point of view are cited in the "Su Wen", the "Classic of Internal Medicine of the Yellow Emperor", the oldest medical treatise which has come down to us. As we can see, Ki can be understood at two levels: On the one hand, it represents the One, the original chaos conceived as Blow, without organization or leadership, where the double articulation of Yin and Yang will originate, the polar and complementary principles that will provide it the first demonstration momentum. On the other hand, Yin and Yang produce the three blows or fundamental energies: the pure, the impure and the mixture of both which, once amalgamated, will constitute Heaven, Earth and Man. As J. Schatz warns "To the ancients, the wrapping of heaven and earth, heaven and earth, the interval heaven / earth and all beings that have an ephemeral abode there, are only an
accumulation of blows, with no interior, no limits, precarious and related". For Taoism, such correspondence between natural phenomena is responsible for the overall vision of man and, consequently, the medicine it would engender: Traditional Chinese Medicine. The body, in the Taoist sense, reflects inside the same topology taken from the outside: mountains, valleys, rivers, lakes, plains, and estuaries that conform not only the environmental accidents resulting from the manifestations of Ki, either in its Yin or Yang aspects, but also, to the same extent, in the human body, which will emerge configured with a similar topology. They are named in accordance with the parity, by what they represent in regard with their location and influence either on the surface, or inside the body structures. Therefore, in order to know the man parting from these cosmological conceptions, we must be aware of their nature and the surrounding nature, the environment that sustains and shelters us, because the microcosm (man) is a tiny representation of the whole Universe (macrocosm), governed by the same laws and suffering the influence of the same phenomena. Another pioneer Chinese thought is to articulate the way in which matter and energy are impregnated. Unlike the West, where such notions are relatively modern, Orientals rightly distinguished themselves by the relationship between the two sets of
phenomena, understanding from long the bio-energetic synthesis. It is impossible to conceive Yin without Yang and vice versa, each one having within it the germ of the other, expressed graphically in the small opposite circle each one holds: the white circle representing the young Yang within the old Yin and the dark circle representing the young Yin inside the old Yang. From here results the law that prescribes that all Yin will become Yang and all Yang will turn into Yin. Thus, mutation is not a transformation occurred only from the outside, but also an implicit internal development, dictated by the course of nature itself, which reinforces the notion of the opposite and complementary. From the standpoint of energy patter ns, you must address this fundamental opposition and complementarity: Yang means the Essential Blows, while Yin means Blood. Each body structure (bone, organ, tissue, cell, etc.) has a given proportion of Yin and Yang. The multiple meanings that these Essences and this Blood acquire and express in the context of Traditional Chinese Medicine are quite different from the Western analogous notions.
1.1 Supine (Joutai 常態) 1.2 Prone (Utsubuse 俯 せ) 1.3 Lateral decubitus 2.0 Tate Ichimonji 立 一 文字 2.1 Hanza 半 座 - on the knees with the body straight up 2.2 Seiza 正 座 - sitting on the knees 2.3 Tachi 立 ち - standing 2.4 Shinza 伸 座 - sitting with legs stretched 2.5 Agurawokaku 胡 座 を か く sitting cross-legged 2.5.1 Ashi 脚 2.5.2 Ryouashi 両 脚 Similarly, the therapist, CHIYU NO SHISEI (治癒 の 姿勢) can also take different postures and positions: 1. Hanza 半 座 kneeling 2. Seiza 正 座 3. Tachi 立 ち 4 Shinza 伸 座 legs stretched 4.1 Ashi 脚 4.2 Ryouashi 両 脚 5. Agurawokaku 胡 座 を か く (sitting cross-legged)
Anma in Practice
Healthy states, KENPI (健 否), are classified old way and therefore we will see mountain (Yama, 山), rock (Iwa, 岩) and tree (Ki, 木).
The Anma considerations take into account the Byoonin (病人), the sick, the patient, and the Shisei (姿勢 ), the postures, which he can assume during the massage:
Depending on the type of manipulation or the emphasis on the pressure applied, we will find the six elements, ONYOUMUGYOU (陰陽 六 行):
1.0 一 文字 Ichimonji LAYING DOWN (Yokotaeru 横 た え る)
1. Fire (Hi, 火) 2. Water (Sui, 水) 3. Air (Kuuki, 空 気) 4. Earth (Chi, 地)
5. Wood (Moku, 木) 6. Metal (Kin, 金) Regarding the areas of performance (Bumon, 部門 ), we can work on the bones (Hone, 骨), muscles (Suji, 筋), tendons (Ken, 腱) and skin (Hada,, 肌) for different purposes, such as release (HodoKu, 解 く), vibrate (Furu, 振 る ), circular (Mawaru ,回 る), drain (Hosu, 干 す) by using various techniques: Traction (Keninryouhou 牽引 療法) Rotation (Senkaiundo 旋 回 運動) Stretching (Nobasu 伸 ば す) Fitting (Hamekomi 嵌 め 込 み) Flection (Mageru 曲 げ る) Also, by working particularly the muscles (suji 筋), you can see: Te not Gikou (Hand techniques - 手 の 技巧): • Oyayubi (Thumb - 親 指) • Ryou Oyayubi (Both thumbs - 両 親 指) • Kaigara (Hand in shell - 貝殻) • Te no Hira (Palm - 手 の 平) • Tenoku (Back of the hand - 手 の 甲) • Shukotsu (Hand bones - 手骨) • Goshi (Five fingers - 五指) • Tesaki (Fingers - 手先) Ude no Gikou (Arm technique 腕 の 技巧): Udema (Polishing - Rubbing With the arm - 腕 摩) As it follows ancient principles, Anma has Classical Elementary postural classifications (NORIGEN - 法 原) based on the nature and objects of everyday life: 1. Fish (SAKANA - 魚) 2. Shrimp (EBI - 鰕) 3. Lobster (KAEBI - 大 鰕) 4. Grasshopper (INAGO - 蝗) 5. Scorpio (SASORI - 蠍) 6. Dog (INU - 犬) 7. Cat (NEKO - 猫) 8. Snake (HEBI - 蛇) 9. Bow (YUMI - 弓) 10. River (Kawa - 川)
11. Waterfall (TAKI - 瀧) 12. Tree (KI - 木) 13. String (HIMO - 紐) 14. Boat (FUNE - 舟) 15. Wave (NAMI - 波) As seen above, in practice Anma uses techniques of pressure, percussion, friction, vibration, pinching and imposition of fingers and hands on specific points and areas of the body, besides joint movements and handling of musculoskeletal structures in order to act in the flowing of "energy" through techniques meant to invigorate, sedate, regulate, purify and warm up, and promote organic homeostasis, and especially psychic energy. By using his thumbs, palms and even the elbow, the therapist presses certain points along the meridians of the body in a rhythmical and modulated way. With such pressures he gradually unlocks the patient's vital energy. Besides, he also uses manipulation techniques, stretching of muscles and tendons, joint rotations, pressure on sore or tense muscles to improve blood and lymph circulation. As a result, muscles and nervous system are relaxed resulting in a more efficient pace of breathing and a better energy balance.
SCS meets Vicente Inting Carin style One day on a basketball court in the Philippines, a master of Doce Paris Eskrima gave a brilliant demonstration of Eskrima. I remember it was scalding hot and humid. This master was performing 'arcos' in a graceful manner. I was certainly impressed with his performance , and the rest of the audience was watching breathlessly and gave a big applause when he was finished.
Eskrima obody in the audience was aware of the fact that there was an old man silently watching t o o and als o enjo y ed t he impres s iv e performance of the arcos. This old man, with piercing ey es , lit tle in appearance and scarred by life, stepped forward from the crowd . The old man told this man to attack him in any manner he would find suitable. Immediately the man attacked, very, very fast. The old man blocked the attack and countered with just one very aggressive stab at the eyes and simultaneously dropped his stick to the ground and walked away. What I saw was a realistic and effective style, performed by this old man. The actions of the old man really contrasted the great performance of the Eskrima master, it signified in many ways the effectiveness of Eskrima. I instinctively understood what this meant: I just encountered Vincente Inting Carin, the master and legendary fighter of Cebu.
N
Influenced and inspired Sometimes during your lifetime you meet people, who impress, influence and inspire you more than anyone else. For me this was Vincente Inting Carin. This remarkable personality radiated a certain force and energy you seldom encounter. Unfortunately in 2004 Vincente Inting Carin passed away. From my own experience, I'll tell you about Vicente Inting Carin, the legendary fighter from Cebu who had a great influence on my way of thinking about Eskrima. Inting Carin is also known for the documentary 'Way of the warrior'. I met Inting Carin in 1998 in Cebu. Now I have met a lot of so-called and self-proclaimed masters. Nowadays it seems to me that there are more masters than students. This guy however was something completely else. An authentic fighter, who had been in actual combat and fought in the guerrilla army against the Japanese invaders during the second world war. He was only eighteen at that time. During the occupation of the Japanese he fought the enemy with his machetes and bolos. Aged 16, he learned Eskrima from his uncle Ponsing Ybanez , who was also a great stick fighter. Inting Carin also proved himself in combat without protective armour. Carin studied with the grandmaster Filemon "Momoy" Canete. he modified espada y daga, knife-fighting and his battlefield experience, he incorporated into his style , which is called VICAR. He is a true Philippine grandmaster.
Training with Inting I trained several times with Inting Carin and I was very impressed with his realistic look on Eskrima and his knife fighting. Inting Carin highly appreciated my style and often gave me compliments on my aggressive and direct style of fighting. He liked it because it was effective. That is also a
“I trained several times with Inting Carin and I was very impressed with his realistic look on Eskrima and his knife fighting.�
Eskrima trademark of Inting Carin. My respect for Inting Carin is great , I often call my knife fighting techniques Inting Style. His knife disarming techniques with balance disturbances are most significant and not seen or found in other styles. Inting Carin and I agreed that many Eskrima styles cannot be used in actual combat . I know he had disliked Eskrima styles that only play with the stick and seem more like acrobatics than real Eskrima . Prior to his death , He sent me a letter wherein he urged me to keep on training hard and keep on developing my style . Like I said he also was of great influence. Inting Carin passed away when he was 82 years of age.
Inting Carin Doce pares Inting Carin created his own style . VICAR Style (VICAR , VICENTE INTING CARIN) , but he also was a member of Doce Pares. Inting was challenged a great many times by Eskrimadors and fought in the name of Doce Pares. These fights were fights without protective materials or, sometimes even fights of life and death. He excelled in knife fighting. Inting Carin told me many stories about his fights. One of his most famous battles is re-enacted in the documentary Eskrimadors.
Simplicity The style of Inting Carin was his personal style . Created from his experience in real battle. I can still remember an anecdote when I asked Inting Carin about his best knife disarmament . He looked at me and laughed and said, " Frans remember this, keep it as simple as possible in a knife fight , one error can cost you your life". Then I put a knife to his belly and in a very simple way , He disarmed my knife with a technique, called "the snake" . This "snake " also points to his hallmark , simplistic and realistic.
The legacy of Inting Carin lives on In July this year , I had a very pleasant meeting with the sons of Inting Carin ; Alfredo and Vicente Carin junior in Philippines . Their task is to continue the legacy of their father . The style also VICAR style stands for no unnecessary movements but every action is meant to finish off their opponent as quickly as possible . The nice thing is, that his
Eskrima youngest son Carin junior not only looks a lot like his father, but also his way of fighting reminds me of his father, realistic, hard blows and with forward aggressive footwork . The meeting was very interesting and we talked a lot about the past and also my special bond with Inting Carin were discussed. What few people know is that I have put the whole style of Inting Carin on film in 2004, We filmed it all in two days and I must say it was a really interesting time and the DVD is fantastic. On the DVD Inting Carin himself explains a great many techniques and shows how to perform them.
Further development The sons of Carin have developed VICAR style and made it accessible to all who wants to train. Trained by their father, not only technically and tactically but also in his spirit. Eskrima is passed on to them. My vision of Eskrima is that it should be hard , realistic and fast. Remember what I already told Vicar Style developed by Inting Carin evolved from his experience in actual combat. Not from the tournament fighting or competition, but from real fights to the death. There are few masters who can claim that.
The Future of vicar style Led by Alfredo and Vicente Carin junior, the future of the VICAR style looks to be very good. And they are not just fantastic Eskrimadors but also a great teachers. I'm sure their father would be very proud of his sons and he assured that his legacy will be passed on to the new generation. In summer 2015 I am organizing a training trip to the Philippines for anyone who wants to come with me and would like to train under these Filipino masters. Alfredo and Vicente Carin will train my students and I am confident that my students will be impressed by these Eskrimadors. For now I welcome you into my world, the world of Eskrima! You can visit my website www.scseskrima.com or www.knifefightsystem.com for more information contact me info@scseskrima.com
“Led by Alfredo and Vicente Carin junior, the future of the VICAR style looks to be very good�
Kung Fu
Grandes Maestros
Sifu Cangelosi has been one of the Masters who has broken more schemes throughout his career. The first, for which he was heavily criticized (hard to believe today!), is that he dared to practice and master more than one style of Kung Fu. In fact, for him Kung Fu has always been only one, a complete Art with a very rich range of variations and traditions. Not satisfied with that alone, he committed ??his second sin: becoming a Muay Thai expert! Horrible treason! A non-Chinese art! And his third and no less mortal sin was not having slanted eyes, that is, being a Western. All this appears documented in his several books and in what probably is the most extensive collection of instructional videos on Kung Fu (and not only that!) ever made by a single individual to date. That's why we bring this Grand Master to our cover page and celebrate the many years of joint work, making available to our readers and customers a special offer on the products that bear his seal, both books and videos, of which you can benefit to complete your collection ... or to start it! Cangelosi will never disappoint you! Today some of these considerations may seem simply ridiculous to us, but believe me, just a few decades ago things were quite different. Sifu Cangelosi was and is a pioneer in a new broad and holistic approach to Martial Arts, to combat, to energy, internal or external; to him, they're all phases of one same essence that not only can be combined in the apprenticeship, but also, as many of his students have demonstrated throughout the years, makes better and more complete martial artists. All those who know him speak highly of him because he has a wellearned reputation through hard work and earnestness beyond dispute, something that has undoubtedly been a great incentive that has helped Kung Fu, subjected to such denigration in the 70s, to find a new image and a new space in the West in our days. Alfredo Tucci
Great Masters
An emotion that has united the West to the East It's an emotion what triggers a great energy that can lift the world on one finger. I started in martial arts in the late sixties, with Ju Jitsu. I lived in a village near Genoa, where martial arts were not yet known; I had only heard of judo and karate to some holiday makers who came from the city. When Master Nicolino Rosa arrived in our little town, "Casella", bringing the Japanese wrestling, I and a handful of other children were the first to enroll; it was where my passion for Martial Arts was born, which were to become the reason of my life. After my family moved from the village to the city of Genoa, my horizons to the Eastern disciplines opened. It was in 1971 that I met my first kung fu master, the great Sifu Fu Han Tong, a Chinese master from souther n China that had migrated from the Celestial Empire in the mid-sixties, and after several trips that took him from China to Australia, California and France, he finally had arrived in Italy. Fu Han Tong was a special Chinese person, he spoke a bit of English and knew many Chinese dialects, but the extraordinary thing is that he had a huge culture and skill in Chinese martial arts and an
unusual knowledge, because he had grown up with different masters and had learnt different styles of both north and south, from internal and external school. At first, I was not aware of his greatness, for me was a man with almond-shaped eyes that made kung fu and therefore a kind of super hero. I don't intend to turn this article into a disclosure of my own story like in a book, so I will just explain my first experiences of study and practice in the art of kung fu. I was 11 years old and Master Han Tong worked in a carpenter's shop located in the Historic Center of the city, and he also traded with porcelain statuettes through a Chinese shop in Genoa and another one in Turin. I remember that almost every day I stopped by him and in his spare time he initiated me in kung fu. After a few basics (greetings, positions and some small technical combinations) he began to tell me about styles... It was a fascinating world, because of the enormous differences that I could see between one method and another. When I started to become aware of what I was doing, I realized that I had already begun to study three different styles in this order: Wing Chun, Tang Lang and Tai Chi. It was still very young, but the surprising thing was that the third
Kung Fu
Great Masters
Kung Fu
Great Masters
“My teacher told me that it wouldn't be an easy path, but with constant and intense practice, results would come along with real awareness of the true Way.� internal style had, for me, a particular fascination, I was captivated by its slow movements and the capacity of concentration reached during practice. Contrary to what it might be thought and despite my young age, Tai Chi had an extraordinary power over me; Fu Han Tong was trying to make me understand that these slow movements were necessary for the energy to flow, to keep the body relaxed and therefore to be faster and more agile. During the study of the large form, he made me appreciate its applications to make it clear that it was pure Martial Art; at the same time, he stressed out its ??healthy aspects bringing me to the knowledge of Taoist philosophy and discipline. It was for these reasons that I never abandoned the practice of Tai Chi. Meanwhile, in the practice of Wing Chun and Tang Lang, I saw an exercise that stimulated my body and required athletic training with complex dynamics. The charm of the paw of the mantis, its speed in alternating the arms and the strength of its techniques were amazing; but also its body dynamics and foot-work showed an incredible elegance. Workouts were often very hard in conditioning the limbs that
were to become strong and robust as those of the praying mantis. What it was really curious to me was the fact that within the same style, there were different schools with different technical interpretations despite being the same animal. The style had been developed in a region of northern China and spread over time in different regions to finally reach the South. At the same time, while practicing Wing Chun, the interesting thing was its postural aspect, its action principles, the fluidity and continuity of his techniques that made it fascinating and effective. At that time, this style was not yet popular, it was thanks to actor Bruce Lee that Wing Chun began to become known and create an interest in martial arts practitioners. And it was just with this information and sensations, that the beginning of my kung fu opened for me vast horizons that made ??me fall in love with martial arts in their totality of practice and culture. It was my master "Tong" himself who taught me not to seclude myself in only one style, not to fossilize in a single language, but to enjoy all the celestial of Heaven. Just like a famous quote said by Bruce Lee in one of his films during the scene of his teaching a student.
Great Masters
My teacher told me that it wouldn't be an easy path, but with constant and intense practice, results would come along with real awareness of the true Way. I was too young to understand, but I had made up my mind and I had already taken my determination, so I trained every day with an average of 6 to 8 hours a day and my progress increased weekly; this impressed my master also and, at the same time, stimulated him to teach me, so he increased the training programs by introducing new styles, some only as small experiences, but others with great depth and specialization. I kept on practicing these styles with him for years
for as long as he stayed in Italy, when arrived the moment of his return to his homeland. I was 17 and I promised myself that as soon as I came of age, I'd arrange to go to China and continue our relationship. In the meantime, I began teaching kung fu and in a three year time, once laid the roots of my young school, my dream came true; I found myself in the South China again in front of my master, Fu Han Tong. Re-established our contact, from that day began a relationship that lasted for many years through a continuous travelling, with constant improvement and new experiences in Eastern disciplines
Kung Fu
Great Masters
Kung Fu
“In the practice of Wing Chun and Tang Lang, I saw an exercise that stimulated my body and required athletic training with complex dynamics.� which I directly lived in my master's homeland. It was thanks to this constant frequency that I got to know some friends of Fu Han Tong who were experts in various fields of martial cultures; thanks to them my kung fu could grow, expand in various lineages of different families and specialize in some styles I had studied in the past. It must be said that not everything was simple and easy, because many of these people were not used to deal with Westerners; not so much the masters, but especially the students, the members of the school, they were not sympathetic and courteous to me; I could feel a certain jealousy and envy that often created an atmosphere of rivalry and competition. The risk for me was high but it was worth it. A new experience, somehow tough, began for me: that of combat. You had to conquer the esteem and respect. Master Fu Han Tong himself got sometimes embarrassed in front of his friends, unable to explain to them why it was possible that a white guy knew more than Chinese students. What I want to try to make you understand, is that behind any
acquired knowledge there are enormous sacrifices that have charted a road and illuminate, if I may say so, a lot of people. Today I can recognize the Styles, the Ways and the Arts, but I realize that in essence there is no difference, is the man who, with his commitment and perseverance can cross seas and mountains in the infinite knowledge. In the words of a great master of Japanese sword: "The man who reaches the knowledge of a path, knows all the paths". Myamoto Musashi. I hope to find the time to continue this story and describe what I've gathered in the past 45 years of practice, and I hope to be able to translate in the best possible way the stylistic differences, my sensations and my experiences. I wish I could remove the ignorance of some martial arts practitioners who keep scorning and vilifying people only because they practice other methods different from theirs or simply belong to a different school; let us not forget what we're doing, Martial Arts teach everyone respect and gratitude. See you soon.
Sifu Paolo Cangelosi www.sifupaolocangelosi.com email: cangelosipaolo@libero.it School: Salita delle Fieschine 17r Genoa- Italy tel. +39 010 8391575
Kung Fu
Great Masters
Fu-Shih Kenpo. In search of the AUTHENTIC COMBAT SENSE IN SOME OF KENPO STYLES Muneomi Sawayama (1906-1977) Because of his weak physical complexion as a child, when Muneomi Sawayama entered high school in 1919, decided to improve his health and strengthen his body through exercise. To that purpose he acquired several books on bodybuilding and started working out on his own. It should be remembered that at that time, bodybuilding wasn't still widespread in Japan. He also started practicing Judo. His strenuous endeavors led him to achieve great progress in a short time. In 1925, he joined Kansai University, where he continued with Judo reaching the rank of 5th Dan. His passion for another activity, street fighting, took him to hang around slums and infamous quarters in Osaka looking for trouble, and if he didn't find what he wanted, he would readily create the proper situation to start a fight. It is told that he used to comment with his friends that "he couldn't sleep well if he hadn't busted a few heads before." That liking for quarrel, at least in their youth, was a common feature among Tatsuo Yamada (founder of Nihon Kenpo Karate-Do), Choki Motobu and Muneomi Sawayama. Continuing his studies in Judo, and being as he was a rowdy type person (a street fighter), he wondered why Judo didn't use punches and kicks, which are the most effective and indispensable techniques for a street fight. From his experience he started questioning the sense of his Martial Art. In response to his question, his Judo master gave him the task of researching and studying the percussion techniques in classical Ju-Jutsu, since they had been eliminated during the process of setting up the art of Judo.
Texto: Sergio Hernandez Beltrรกn
Kenpo
So Muneomi Sawayama began studying atemi techniques in Ju Jutsu. B u t m o s t o f t h e p e rc u s s i o n t e c h n i q u e s o f J u J u t s u w e re designed to carry a sword and while it was true that they were performed empty handed, they w e re nevertheless assimilated to the use of the saber. For example, one of the samurai techniques consisted in hitting with the end of the sword hilt (Tsuka) that was carried on the left hip. This blow was performed by grabbing the end of the sheath (saya) and, supporting t h e t h u mb o n t h e gu ard, i t was extracted forward in order to hit the stomach or the solar plexus of the opponent. In classical Ju Jutsu, this technique was trained under the form of a stroke
made with the left fist. Thus, percussion techniques in Ju Jutsu are secondary and limited. At least such was Sawayama Muneomi's conclusion. It was then that he heard of a Karate master who had settled in Osaka, Kenwa Mabuni, founder of Shito-Ryu style, under whose direction he began studying Karate. Unbeknownst to his Master, it seems that Muneomi Sawayama continued to fighting on the street. In disreputable neighborhoods, he met Tatsuo Yamada, flittering around the place possibly for the same reasons. Yamada told him he was a student of Choki Motobu, of whom he had heard from his fight against a boxer. Later he asked Kenwa Mabuni about Choki Motobu's Karate, and the master replied:
"It is true that Motobu is strong, but that's not real Karate, because he has achieved his strength as a result of participating in street fights. A true karateka must integrate moral in his strength. This is exercised through kata. Motobu's Karate deviates from the fair Way." But the phrase "he has achieved his strength as a result of participating in street fights," caught his attention. Through Tatsuo Yamada he met Master Motobu whose strength in combat and technical ideas marked him strongly. In those years, he also met Master Yasuhiro Konishi (founder of the Shindo Jinen Ryu style), who trained with Mabuni and Motobu. In Kansai University, Muneomi Sawayama formed a Karate club. Rather than following faithfully the teachings of
Mabuni, he researched in order to develop a type of Karate more real. In fact, Kenwa Mabuni's teaching, like that of Gichin Funakoshi, was based on the exercise of kata. Unlike Funakoshi though, Mabuni was not reticent to sparring practice; he even investigated to develop combat exercises. In order to be able to exercise safely in combat, he tried different makeshift protections. In regard with the combat research, Sawayama Muneomi's trajectory was faster and more radical than that of his master. At the University, he developed a training method perfecting conventional and free sparring exercises. Relying on free sparring exercises, he continued to develop new exercises. At that time, in Tokyo, students of Gichin Funakoshi like Hironori Otsuka, T. Shimoda and Yasuhiro Konishi were prudently investigating models of conventional combat exercises starting from the kata.
Kenpo It must be mentioned that Muneomi Sawayama had a great advantage over them. It was the time when Tokyo students of Gichin Funakoshi, were beginning to practice free sparring with the sundome system (stopping the blow before touching), that others would adopt several years later. You could say it was the precursor of the current dominant system. Muneomi Sawayama quickly abandoned this combat practice, since the control system stopping the blow was not enough for him. Mabuni did not agree with the path followed by Sawayama, who, in 1932, separated from his master, to form his own school, which he called "Dai Nippon Kenpo", the origin of the current Nihon Kenpo. The same year he joined the army as a volunteer officer. He continued developing and systematizing his method. Same patter n could be previously found; when students began the practice of combat, Funakoshi broke up with them. It was then, through the conception of combat, when Karate problems started. At first, with the sundome system, Muneomi Sawayama practiced combat unprotected, but in real fights, accidents were inevitable and when injuries occurred, they were often very serious. In addition, he observed that with this form of combat, defense techniques proved to be poor because people were used to blows that actually didn't reach the target. Thus, it seemed necessary to develop protection equipments, so taking the Kendo protective equipment gear as a model he designed the
protections to be used during the combat exercise. According to Muneomi Sawayama, comparatively to the saber, the method of Karate is in delay, corresponding to the management of the sword of the Middle Ages - where it was mainly exercised through kata - and in parallel, they trained with a real saber or a wooden sword controlling the blows. With protective armors, from the late eighteenth century, the art of Japanese sword made ??tremendous progress in accumulating the experiences that provides free fighting practice. In Karate, on the main island of Japan, none of the masters, except Choki Motobu, were able to teach combat. The type of Karate that Muneomi Sawayama found, had no experience, or method, or combat system, therefore he judged that the Karate method was underdeveloped. From 1934, he began directing combat exercises with protections. In t he co mbat o f his s cho o l, blo w techniques throws and keys were made. Such approach was normal given his training in Judo. In 1936, Muneo mi S away ama made ??a public exhibit io n. In 1937 he organized the first meeting between t he Univ ers it ies o f K ans ai and Kansai-gakuin. It turned out to be a big s ucces s that wo n public appreciation and a good start. The Sino-Japanese War broke out. The militaristic atmosphere was reinforcing day by day. Meanwhile, Muneomi Sawayama continued to develop his training method and the
system of applying his discipline, until 1940 when he was mobilized as an infantry officer and destined for China. While in China, he became interested in Chinese martial arts and there he met Kenichi Sawai, who studied Yi Quan under the direction of Wang Xianzhai. Today there are two tendencies in Nihon Kenpo: Eastern and Western. The Western group technique reflects more that of Muneomi Sawayama with gentle, circular movements, absent in Eastern technique. Everything seems to indicate that he learned these elements during the meeting with K. Sawai and later he introduced them into his teaching. In 1946 he returned to Japan and reestablished his school. Japan was sunk in misery. The major concern of the population was "eating every day" ... Under these conditions, few people was interested in the art of combat. When he organized a demonstration they criticized him saying "it's a wrangle of beggars." Muneomi Sawayama lived in terrible material conditions. Finally, in 1953 he organized a demonstration by Nihon Kenpo in center of Tokyo with his 70 students, which caused a sensation in the world of martial arts. Then several universities joined. In 54, Kansai University, where Muneomi Sawayama had studied, adopted Nihon Kenpo as an official discipline and he was appointed professor. Today, Nihon Kenpo is an important martial stream in Japan, with dojos in schools and in public and private Universities.
There are perceptible differences between "Nihon Kenpo Karatedo", founded by Tatsuo Yamada, and "Nihon Kenpo", founded by Muneomi Sawayama. In Nihon Kenpo Karatedo, combat practice is carried out with boxing gloves, while Nihon Kenpo uses protection equipment and percussion, projection and immobilization techniques are allowed. Despite their differences, both disciplines are close because of their content and especially because of their basic idea: the development of combat.
Amaro Bento, born in Angola in 1970, moved to Portugal in 1975. Later, in 1985, he immigrated to Switzerland where he worked until 2009, when he returned to Portugal. This cosmopolitanism marked forever this man's vision of Martial Arts molding his character and the way of understanding and interacting with the different forms of defense arts, attack, protection of others and teaching adults and children.
A
maro Bento soon started its practice of Martial Arts. Being only12 years old began a journey that took him from Shotokan Karate to the art of Pencak Silat in which he obtained the 3rd Dan grade, but not before experimenting and refining his experience as a practitioner of Judo, Traditional Ju-Jitsu, Kung Fu, Kick Boxing, Olympic Boxing, various forms of Krav Maga and different weapon handling systems. As a competitor, Amaro Bento also experienced the ring emotions dozens of times, both in Kick Boxing and Thay Boxing, and he was also proclaimed 5 times Pencak Silat Swiss Champion. His students have won 112 Swiss national titles in Sanda, Pencak Silat, Lei Tai and Olympic Boxing, among other disciplines. As a coach, as paradoxical as it may seem, Amaro Bento has taught
Krav Maga in various countries, the main ones being Portugal, Jamaica and Israel. Yet, his great influence on the way of understanding martial arts emerged through his professional experience outside the "ring" and the "tatamis". Indeed, Amaro Bento soon began his professional experience in the field of private security. At 18 he started carrying out timeshare work contracts and high-risk security and personal protection contracts in countries such as Belgium, Switzerland, Germany, Spain, Russia, Kenya, South Africa, Mexico, USA, Paraguay, Colombia, and some Middle East countries. He also made various security services and training for a Jewish company. Currently, Amaro Bento owns a firm of Private Security and Training, registered in Zurich, Switzerland, the ASISGROUP (Ambo Security Instruction & Services).
Self Defense
This experience in real scenarios, soon enabled him to understand that many of the teachings that he had received in various Martial Arts from renowned teachers, didn't correspond to real life outside the "Dojo" or ring, since several times in the exercise of his security missions he was confronted to attackers who not having experience in Martial Arts, presented nevertheless levels of violence and determination in the fight which nullified
the pattern shape with which Amaro Bento put in practice the techniques he had learned in the "traditional" training. Amaro Bento thus understood the need to change much of what he had learned to successfully exert his functions in the Private Security. So he began to develop what would be his system of defense, combat and protection, ACDS - Ambo & Defense Combat System, dedicated to the competitive
Self Defense sports training, self-defense and protection of others, adapted to the reality of the XXI Century, obviously without forgetting everything that had influenced him in the mastery of traditional eastern and Western Martial Arts. Indeed, if when these arts were developed it was customary for people to walk down the street with a sword or a saber, today, on the street, usually people don't carry but a small knife or any other object of everyday use as a means of defense or aggression. Then it was common practice to defend or attack each other with "Bo" or "Nunchaku", today we use infected syringes, pepper spray, guns, or Tasers. If at that time teaching and
practicing martial arts was restricted to a minority and the word "master� was understood as "doubtless ", today is widespread the free access by any citizen to the "dangerous" world of Martial Arts, decontextualized of their genesis, and nobody respects the status of "Grand Master" outside the "Dojo", who is always confronted with "challenges" and "tests" of the effectiveness of the methods he teaches. That is, the world has changed and Martial Arts evolve or they simply become ineffective in their ultimate goal of ensuring the defense and protection, losing that of "good against evil." Two of the fields that stand out in the
Self Defense
Amaro Bento system are the Ambo & Defense Combat System - ACDS and the Chameleon. To structure his defense, protection, teaching and competition ACDS, Amaro Bento parts from the question: How to combine the different requirements, very particular of each Martial Art, in a system? For many people, the goal of Martial Arts training is mainly to provide an increased overall physical fitness and self-confidence, others want to lear n to defend themselves effectively at all times, against a surprise attack... At the same time, fewer and fewer people are willing to invest years of study in a highly complex Martial Art, which unfortunately is not applicable in the many situations of nervousness and violence that can arise. For people who want to compete sportingly in the ring, the training process should take into consideration that higher demand; for those who are looking in Martial Arts effectiveness in hand to hand combat, training should be focused in a realistic selfdefense and protection of others. Let's add that for security forces, police, military, private security, training should be even more realistic. There was also an urgent need to reconcile the fundamental difference between adult education and training for children. In short, expectations and difficulties couldn't be more different. To meet all requirements, ACDS was created.
What is ACDS? Without any doubt, the ACDS is one of the most complete systems to meet the
requirements of various groups which are subject of attacks. The idea has been deliberately not reinvent the wheel. ACDS is a mixture of different Martial Arts evolving from the practical experience of its founder. Defense and projection techniques, punches and kicks, and immobilization techniques are practiced. Training for adults, from blue belt, also contains disarming of aggressors and manipulation of various defense weapons (pepper spray, baton, Kubotan), defensive driving, anti-car jacking, training in low light, tactical shooting, first aid, current laws, teaching methodology for minors, among others. Odd feature is that for sports competition combat, all techniques are known by a numbering system and not with the traditional designation. For example, in ACDS, the equivalent technique to a jab or cross is number 6, and the front kick is 40. This system permits a much faster interaction between the coach and the athlete while fighting. In addition to training, advanced training includes a search for weapons and shackling. There is also a special training for those who intend to fight in the ring. ACDS is a modern system and it will remain so, thus new evidence from the sporting and medical point of view will be constantly introduced into this system. The organization of schools raised by Amaro Bento for Ambo Training Martial Arts International possesses right now schools in Switzerland, Portugal and Italy, and soon there will be also in France and other countries. Come to train and shape up with us. We have a team of professionals! www.ambogalaxy.com
There is no such thing as a pressure point... I realize this is controversial, it will upset some, it will anger others, but that should not prevent it from being said. I know much of my career and especially the series with Budo International, was all about Kyusho Points, but the term is incorrect and the new path will help you understand Real Kyusho even more.
“So for those of you Martial Artists that did not or do not believe in pressure points, you were correct (in part)�
e need to look at "Kyusho" in proper perspective and common sense... but a bit of a disclaimer first: I am a Kyusho Addict, I live Kyusho every day for 8 to 10 hours... and I have been at it for decades, full time professionally. I have been involved with all of the names you hear about from all organizations and many more you do not. I have written 7 books, produced over 30 videos and flown over 2.5 million miles all over the
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“That said, I no longer believe Kyusho is pressure points and to take it further I no longer believe there are pressure points.�
globe helping people learn this information (realistically). Currently we have spawned over 689 affiliates (not all current at this time), in 35+ countries with over 10,000 members. I was involved in many medical studies, brainwave studies and several other scientific modes to discover what Kyusho did and what it did not do. I am a certified in Tui Na (Chinese version of Shiatsu) and Chi Gung practice and therapy... and have worked and still do professionally in this field as well since 1995 (so I
know the TCM as well). I taught pressure points t h ro u g h t h e d e c a d e s i n s e v e r a l p a r a d i g m s f ro m e l e m e n t a l , t o t r i p l e w a r m e r, t o d e r m a t o m a l , t o physiological (tried them all and kept looking further). In s h o r t I h a v e b e e n a ro u n d t h e b l o c k . . . a l w a y s questioning and challenging the accepted dogma. That said, I no longer believe Kyusho is pressure points and to take it further I no longer believe there are pressure points.
Hey I am as shocked as you... but have been traveling toward this conclusion since the beginning and can no longer deny the findings. First let's go back in time to those that passed the science down generationally (although discreetly). None of the old charts, drawings, scrolls, texts, instruction (from an older practitioners, not the newer generation) where a vital point has been shown or depicted, calls it a pressure point. There are vital areas pointed out, where you can access the deeper anatomical structures that would or could damage or end the life if attacked with a weapon or specialized hand/ foot weapons. Some example names of the target areas are: Seigo-Ryu School translate into "Left Above Shoulder", "Above Bone" (meaning you attack above that particular bone) and even a target named "Ugh"... yes that's a true translation for the throat area. Takenouchi-Ryu School translation "Gate Below", "Left Rib" and "Dark Night" (at the eye). From Judo some translations are "Three Tongues" a
descriptor for the spine as the three processes that extend from each vertebrae shaped like tongues., "Dokko" (also called out by Hohan Soken which translates to little hollow behind ear) and "Hanging Bell" for the testicles (not a point on the testicles). The list goes on with areas and descriptions, but not specific or smaller points as believed today. Some had more targets, some less... but not the same as the acupuncture points and not all in the same locations! The Acupuncture points would limit by exactness from school to school due to the exactness of the points in quantity, location, equilateral left right targets, nomenclature and other such standardized aspects. Another thought to process is the ability to strike an area larger than a singular point and still obtain the same results. Take for example the points designated as P-6 & P-7, they are two small points (supposed), about the "size of a quarter" dollar coin (equivalent in size to a euro coin or 1/2 inch). Yet practically using this area there are 4 inches we can
affect or 4 times that area we can use... there are no point designations like P6.1, P-6.2, P-6.3 prior to getting to P-7. It is an area we are attacking (with underlying anatomical structure – a section of nerve in this case) as opposed to a finite point. So if we can still cause the same affect and by missing the exact point by an inch or two, then the point description is proven invalid. Next we can look into depth... if a point overlies vascular tissue, how deep can you put that needle for acupuncture without damaging the tissue, however that is the mission for Kyusho, to destroy the tissue that is not the point... just something underneath one... but again not just at that point. Now of course some Kyusho targets are under neath acupuncture point designated spots, but as the Traditional Chinese medicine hold that there are as many as 2,000 acupuncture points on the human body... they of course will overlay the Kyusho Targets, but that does not make them the acupuncture points the valid targets. Many also make the argument that the points are connected by a nontangible designation called a meridian, well if you are attacking a non-physical imaginary line, that would in affect not be a point either. And to take it one step further if we are attacking a non-physical anything, it cannot therefore be a physical point.
Brachial Plexus Myth As another example; for decades the martial arts and law enforcement agencies have be using the term “Brachial Plexus” to describe or label a strike to the side of the neck. It is used to stun an opponent or perpetrator so that further control or escalation of force is, more easily applied. Many Kyusho Practitioners label this LI-18 (Large Intestine 18). First please look at 3 areas in the graphic, one is the pressure point called LI-18 (circled in yellow)… rather difficult to target accurately in combative use. However as we see the vast branching of the Great Auricular Nerve (circled in red)… is significantly larger and the whole of it will render the same affects as the so called LI-18. So why would you work with only a small coin sized area when it is actually much larger and not a point but a section of the neck. And if the entire area affects the same result it is not a point… we must understand the anatomy more to understand Real Kyusho. This is where the Law Enforcement and other agencies are instructed to
“Kyusho is not and was not pressure points to the old schools, they are areas in which you can more easily reach a real anatomical structure that will dramatically increase your potential effect on an opponent)” use, however it is not the Brachial plexus as described by so many. But there are many factors that must be explained and many misconceptions cleared about this target area and term “Brachial Stun” and the concerns each should have about this striking method. We would like to offer a safer method as well as correct anatomical understanding. First and foremost the Brachial Plexus is very deep in the body and virtually inaccessible with the bare hand… from striking in the neck there is also too much muscle in front of it… you can reach it from the hollow behind the collar bone, but not without a highly trained hand weapon or actual weapon. The actual weapon will also remove this from being a legal target to totally illegal for law enforcement and ourselves. And there are other targets easier to access and safer as well. So we look at the area in question and ask a few questions: 1. What are we actually targeting? 2. How do we target it? 3. What are the health implications? 4. When can we best use it? 5. How can we do this safely? We see that the Brachial Plexus is too deep and not the real target, it has also been mis-named over time…so we should not use this nomenclature. We will only learn greater amount and detail when we get past inappropriate labels and use correct names and structures. And once we begin to understand and use these we will also see that they may not be the best answers (especially for Law Enforcement in this case), as it will let
us also understand the damage potential associated with it. The Side of the neck when struck straight in may cause damage to the cervical vertebrae and cause severe problems: 1. Can damage the vertebrae (permanently) 2. Can cause Cessation of breath 3. Cause Para or Quadriplegic injury 4. Can cause compression of carotid sinus 5. Can cause loss of blood flow to brain 6. Possible initiation of stroke 7. Severe drop in blood pressure. The better target is the more superficial nerve called the Great Auricular Nerve but with a different approach, tool and trajectory. The best tools are a small bony knuckle as at the heel of the palm… also the iron bone hand or bushiken. The forearm could do the same but will need more force as the weapon is a larger structure and will be prone to access more surface area not transferring the kinetic energy into the nerve, spine and brain as described in the film. The trajectory is the crucial part… it is not simply a matter of angle and direction, it is also how deep you take that and how well you penetrate in a kinetic sense. If we target straight in as most proclaim we will have the abovementioned health risks. If we instead apply downward trajectory and force, the damage is negated as we will be working into a stronger support structure of the body. However the nerves will also transmit the neurological signal more efficiently for even greater affect with far less strength or power factor. The main point of this article is to hopefully open your mind and potential by getting you to realize that there are no "Pressure Points" involved in the study of Kyusho. They are anatomical structures (real physical structures, not imaginary or supposed points and lines) and they can be attacked to cause less damage and alter physiological function. Or with increase force cause more damage and physiological malfunction. So for those of you Martial Artists that did not or do not believe in pressure points, you were correct (in part). Kyusho is not and was not pressure points to the old schools, they are areas in which you can more easily reach a real anatomical structure that will dramatically increase your potential effect on an opponent (and far easier to target in real combative application). But Kyusho is REAL.
Book Review- Kodokan Judo by Hikoichi Aida, 9th Dan Translated and edited by EJ Harrison Edited for this review by Hal Sharp, 9th Dan Hikochi Aida, 1893-1973, was a student of sensei's Kano, Yamashita and Nagaoka all of whom were famous 10th Dans. His original book in Japanese , titled, “Zukai Judo”, meaning “Illustrated Judo” was published in 1951 and was acclaimed as one of the greatest books on judo
by the Kodokan and by many highranking sensei's. The book was translated into English by E.J. Harrison and published in 1956. Sensei Aida was one of Jigoro Kano's favorite students whom he took to Europe in 1920 teach judo. For the next 10 years Aida taught judo in England, France and Germany. There he met a challenge of teaching relative novices the skills in judo that he had learned the hard way in Japan. After he had returned to Japan he spent the rest of his years teaching judo at a Japanese university. Aida was motivated to write this book as a teaching tool especially for novices. During his lifetime, judo
competition was based on “Ippon Judo”. If either player within the time limit (sometimes there were no time limits) did not win by Ippon, then the fight was declared a draw. In most tournaments the player who won had to continue to fight other players until he either lost or there was a draw. The concept of championship type judo, where there had to be the winner, even by decision, for each match did not exist at that time. Also, there were no weight divisions. There were promotion tournaments within which players fought others of a similar rank, team tour naments and regional kohaku (red & white) tournaments, all of which were based on “Ippon Judo”. Just imagine a time when there was no television, computers, video or judo books and players usually practiced 67 days a week with the workouts being primarily randori (sparring) against powerful players. Therefore, one had to be in excellent physical condition, flexible, knowledgeable of many techniques and in competition have the ability to read the opponent (mental eye), find a sweet spot and quickly react to take advantage of his opponent. Other than a penalty for forbidden acts, rarely done, they did not have International Judo Federation (IJF) type penalties or award wins based on decisions. In fact the IJF did not exist at that time. The translator and editor was E.J. Harrison was an English journalist and amateur wrestler. He arrived in Japan in 1897 to work for a Yokoyama newspaper. Shortly after he arrived in Japan he had an encounter with a jujutsu player and was easily thrown. Being impressed by that skill, Harrison practiced jujutsu. He thought he was doing quite well, however, when he went to the Kodokan in Tokyo he was easily thrown by the judo players. At this point he devoted his time practicing Kodokan judo. He discovered that the competitive skills gained in randori and shiai were more highly developed at the Kodokan. Harrison became one of the first foreigners to be awarded a black belt at the Kodokan. Throughout his life (1873-1961) Harrison wrote many books on judo including the translation of books by Kawaishi, Oda and Aida. He also wrote a book titled, “The Fighting Spirit of Japan”, which is recommended for the Budo enthusiasts. Harrison's writings were written in the style used by British journalists in that day which to some of us may seem archaic and difficult to follow. Compounding the problem is that this book is a translation from Japanese. I, Hal Sharp, have been a judo educator for over 60 years and own an extensive library of judo
Books books. My greatest treasures are books written by E.J. Harrison. It is a pity that Aida's book is out of print and is only available as a used book on the Inter net. Nevertheless, I consider this one of the best books ever written on judo and want to share some of the writers teachings with you. Editor's Notes: (Hal Sharp). When I was in my 20s during the early 1950s I trained in Japan for almost 5 years. At that time we trained hard 6-7 days a week. Most of our training was hard randori with few formalized classes. Generally you learned the hard way by trial and error and by observing others. Most judo experts were known for their knowledge of special techniques. A few like Oda who developed a newaza system where you could transition from one technique to another. Their knowledge was not freely given, you had to be accepted by them as a student before you studied under them. Therefore, when Aida went to Europe he could easily defeat European judoka, however he had to learn how to teach on his own. The fruit of his experiences as a teacher are brought out in his book. During this period I fought in approximately 100 tournaments, 99 were based on “Ippon Judo” and only one was a championship type which I won by decision. I only mention this experience because this is why I understand the background and mindset of sensei Aida. Below is a photo of myself and sensei Kawakami and he is son (Rei). Sensei Kawakami,1897-1987, had trained at Kodokan with sensei Aida in his younger days.Getting back to judo education in Japan, I once had a chance to film sensei Kawakami”s techniques. He demonstrated many techniques, some of which were his specialties. His son was his partner during the filming. When we finished I told his son that he was lucky to have a father who knew so much judo. His son said that this was the first time he had seen these techniques, his father would never teach him and just told him to go to the dojo and practice. Learning judo in Japan was like pulling teeth. This book was designed to help the student apply these techniques in order to win by “Ippon Judo”. Sensei Aida does a brilliant job in explaining how to train and how to make the techniques work emphasizing both the physical and mental attributes of the Nage-no-Kata. Within each of the throwing techniques he describes various ways of applying the throw, defenses, counters and how to practice by oneself. For mat techniques he covers
transitions and escapes. At the end of the book in about a dozen pages in a section titled “Judo Orbita Dicta” sensei Aida summarizes his thoughts on how to train and take care of yourself in judo. Fortunately the publisher,W. Foulsham, has allowed us to reproduce the section. . The section titled “Judo Obita Dicta” is reproduced in full text. Since this article is only a book review I will limit my writings to Aida's descriptions on how to train and practice judo. There are too many individual techniques in the book to describe. However, each technique covers various applications most of which are against an attacking opponent, including counter throws and how to practice the technique by oneself. This is in contrast to the typical judo book which only shows the form of the technique applied to a cooperating partner. In my latest book titled, “Boys & Girls Judo & SelfDefense” subtitled, “Road to Blackbelt” by Amazon. I have included some of sensei Aida's teachings, reinforced by the inclusion of YouTube instruction videos because the subtleties of kuzushi, kumikata, tsukure, kumikata ,taisabaki, opportunity, etc are very difficult to describe in the book. Attributes of Judo: In judo the result of the ideal development of the physique, the muscles and nerves of the body, is that the same action becomes smooth and swift, this condition is referred to as muscle memory. Symptoms of fatigue are few and staying power increases. Efficacy of body action improves. If we contemplate the efficacy of judo training in its spiritual aspect, character and morale are elevated, and arrogant and boastful demeanor is deprecated; hardships are lightly regarded; vacillation and immorality are abhorred, and respect for the etiquette of the game is fostered. Further: health is valued, courage enhanced, independent planning studied and conduct based on rapid judgment follows. Order of Judo Training: Judo training seeks to temper the body and cultivate the mind or spirit in the practice of both the defense and attack. Nagewaza or throwing methods are a most suitable starting point of training because it offers greater diversity; The23rerfc theory is complex and they offer maximum zest in practice. From a standpoint of physical training they are more efficient. When the judoka begins with Katame waza it is using more difficult for him to progress in Nage waza. There are three stages of training, (1) Randori or free practice,(2) Kata or
prearranged drills and (3) Shiai or contest which is the ultimate measure of your physical and mental ability to apply your skills under duress The Soft Controls the Hard: With every judo waza you do not powerfully resist your opponent's strength but softly adapt yourself to it and on the contrary take advantage of it so that when his forces reached its culmination you execute your waza in either attack or defense. The Tsukuri and Kake of judo are based on this principle. They epitomize the action designed to control the opponent, to lure him into a situation, physical and mental, has calculated to facilitate the execution of the relevant waza when his strength becoming more and more of a loss is less capable of resistance. Generally the skillful or awkward manipulation of the opponent's posture becomes the turning-point of victory or defeat. That is why in judo the man with strong arms and of large physique does not necessarily win. Union of Mind, Spirit and Strength: To effect waza the mental attitude is a primary consideration. The instant your mind is aware of the opponent's lapse (literally, gap, crevice, interval, etc.), in a flash the operation of your mind response to it and the relevant waza is born. In between there is not a single gap. Thus,”mind” (Kokoro) is a serene state of mind which senses the opponent's situation.” Ki” is the state or condition operating in the mind's energy. In conformity therewith is the working strength, i.e. waza period. When these three relationships work smoothly and harmoniously but swiftly, without an unreasonable gap between them, mind, spirit and strength united, and when the student begins his training on this basis, then action adapted to changes in the presence of opportunity is forthcoming. When grappling with an opponent the most important points one should not lose sight of are always to forestall the opponent, to seize favorable opportunities, and until one has thrown one's opponent not to relax one's own offensive. In a word, the retention of the initiative in attack is essential. Now the author goes on to explain three technical terms which describe three situations where there is an opportunity to apply a technique. These terms originated in kendo, sword fighting.( Editor's note) I will use also Osoto-gari as an example of when the opponent attacks you. (1) Sen-no-sen or Kake-no-sen: When you anticipate that the opponent is making a move against you. At this moment you can use the hand technique such as Ukiotoshi to pick up the opponent's momentum and throw him.
(2) Sen or Tai-no-sen: When the opponent starts the throwing action, in the case of Osoto-gari the opponent steps in with his left foot and swings his right leg in the air. At this moment the opponent is standing on one leg and it is easy to directly apply a technique like Ippon-seoi or Sumigaeshi. If the opponent manages to hook your leg then you can apply a counter,Osoto-gaeshi stepping back and reversing the throw on him. (3) Go-no-sen or Sen-go-nosen: When opponent's throw fails and he attempts to recover his position. In this case Sasae-tsurikomi-ashi or propping ankle throw can be applied. Although victory and defeat merge he determined by seizure of the initiative, if there is only the seizure and one is robbed of the spirit, the mind here ceases to function. This is a condition called “Shishin”, literally “stopped mind”. If one lapses into Shihin the operation of a vigorous mind is lost; falling into a crisis you may be defeated to defend yourself effectively against an opponent's offensive read the opponent's intention and so control it. Another term is “Ken-tai” which is a condition where your bent on attack and you leave an opening for the opponent to defend or counter you. Opportunities for Executing Waza: to control your opponent you seize the initiative, and take advantage of his broken posture to attack with the was a you have in mind. The following is the list of situations where you have an opportunity to attack. (1) Take advantage of the imperfection of your opponents posture; In a case where the opponent is energetic, alert and his posture does not seem to offer a gap. You may find that he is concentrating most of his attention on his right with a vacuum to his left, is an easy for a gap to be created on that side. (2) Take advantage of the start of your opponent's attempt to execute a waza: For example, if the opponent's “pet” throw is Harai-goshi and he tries to bring it off and turns his body into you, if you hold in in check the retort to Taiotoshi this may well prove effective. (3) Take advantage of your opponents bewildered situation: when you notice such situation you must attack in the flash and throw him. (4) Take advantage of your opponents static immobile situation: If an opponent hesitates it may cause you to like ways become immobile for an instant. You must invigorate your mental activity without a break dominate his immobility. (5) Take advantage of your opponent's excitement: Your
opponent when excited in a contest may try to drag you with him so that your posture is easily impaired. Avoid being dragged along with him, retain your possession and instead dominate your opponent. (6) Take advantage of your opponent's failure with his waza and the disorder of his mind and body: When your opponents waza fails, then for an instant his posture will be broken, and his mind and body are also disordered. Take advantage of the interim disorder of your opponent's mind and body to attack can throw him. Methods of Executing Waza: However skillful you may seize the opportunities, if there is a flaw in the method of executing your waza that waza will not operate effectively. Consider the following points; (1) Take up a position at a suitable distance from your opponent: This distance is called”Ma-ai”. If your Ma-ai is too far away, your waza level falls short of perfection; if, on the contrary, it is too near then your momentum will be lacking in your action. (2) The practical use of strength: If your strength is recklessly applied the opponent can read your actions and the unbalancing (Kuzushi) of your opponent is not skillfully affected then your waza may be wrongly executed. Originating from the principal that the” soft conquers the hard”, if it is executed in one breath the waza will be cleanly decided. (3) Don't retract your opponent's disequilibrium: Once having unbalance your opponents posture, until you have thrown him, don't retract your Kuzushi but it more and more and as you pull execute the waza. (4) Do not forget the union of mind, spirit and strength: If the gap occurs in your mind then your spirit and strength will not be effective and you may not be able to control the opponent. Aiki: this represents a condition whereby your opponent tries to push and pull you around or sometimes just become static. Intuitively, you may react the same way. This condition is referred to as “Aiki”. (Editors note: This may be similar to when someone yawns you tend to also yawn.) Do not allow your mind to be wrested from you by your opponent, you must really operate in accordance with your own rhythm and move about with foot action of advance and retreat(Shintai). The other writings in this book or more commonly known by judoka and is beyond the scope of this article. However, the following section titled “Judo Obita Dicta” is quite unique and is given in its full text.
Judo Orbita Dicta (Opinions of the author) Fundamental Attitude to Training There are no Secrets in Judo - Plan and Training - Continuity of Training Abuse of Waza - Improvement of Technique - Opponents in Practice Management of Mind and Strength Daily Care - Practice and Contest Care Before Contest - Hints on Training Fundamental Attitude to Training Nagano Shogo 9th Dan, speaking about his pet throw,Uchimata (Inner Thigh), is quoted as saying: “The fact that I can complete the technique of Uchimata is due to the practice of socalled “Happo akehanashi “(literally “leaving the door open in all directions”) which means that whenever I practiced with my opponent I always let him freely sees any part of my judogi he liked and afterwards I never refused an opponent's proposal. There has never yet been an opponent whom I disliked.” This attitude in which the opponent and you adequately display real ability and try to do so is indeed that of the true spirit of sportsmanship. Until now in judo some have been prone to attach too much weight to the question of victory or defeat only, and for the sake of victory not to discriminate in their choice of methods so that one has come across some decidedly ugly contests and practices. This attitude is a distortion of the spirit of the late Dr. Kano and is the cause of losing sight of the intrinsic nature of judo. Whether winning or losing, regarding victory or defeat as a secondary consideration, displaying to one's heart's content one's own real ability and manifesting one's temper in a fair and square tussle - such should be the basic attitude of judo training. Only to obstruct the issue, the consequence of forgetting the primary objective of the sport, must militate against progress in commendable waza. The object of sport while engaged in the struggle is to make a robust and healthy body and to nurture the spirit of wholesome sport. More especially to create a spirit of fair play is the ultimate object of sport. Both parties exhibit their efficiency, and the will to develop it is indeed the consummation of sportsmanship and the spirit of fair play. An attitude in which when we are engaged in judo practice we reciprocally take hold of the desired part, always adopt a correct posture without tension in a fair and square manner with the intention of earnestly
Books progressing and technique and of taking pleasure in waza, is of the utmost importance. This indeed, to create the spirit of fair play, is the first step; it is the sole road to progress in judo. There are no Secrets in Judo: There are sayings which imply that there are individual throws or “pet” throws (Tokuiwaza) and when listening to these remarks one might conclude that there must be some sort of secret in judo progress. But there are no secrets and it! Even a teacher of the invariable caliber of Kyuzo Mifune 10th Dan in practice and contest invariably and insidiously records points which have attracted his attention and by always adopting an attitude of inquiry is able to achieve mental progress. Nor is this restricted to Mifune Sensei. Every individual, every expert, by always adopting this attitude of inquiry and to gather with judo and his state of health can make mental progress in practice. The following are points which seem important to reply to the question of what preparation is essential to progress in judo. Planning and Training: In the first place planning and training are indispensable. A suitable plan should never be neglected and training in technique ( waza) should be uninterruptedly continued. However, there are many instances tending to prove that judoka, are apt to incline towards methods inconsistent with this principle. Even when the theory only is understood and when one is practically tempered therein, if it is not understood with the body then the position may be likened to that of one swimming on the surface of the mat. On the contrary, if one concentrates only on practice (keiko) and neglects a logical plan and inquiry, then progress in waza is only delayed and having reached a certain water level the judoka cannot expect to rise above that elevation. The techniques of judo are not simply a manifestation of brute force; they are scientifically compounded and are scientifically at the disposal of the trained judoka. Understanding of judo is an absolutely indispensable condition of progress in such techniques. Furthermore since skill in waza is a determining factor as regards the issue, when one is engaged in contest or practice, concurrently with attention in the first place to the customary study and planning, the judoka must train insidiously in actual keiko ( practice). However, in connection with this point, owing to lack of understanding and when in practice the judoka's efforts are limited to his body only, he may be said to reach a
certain water level where his progress is halted. Waza (technique) is not a fixed quantity. According to the utmost individual effort and planning, fresh methods are called into being; the “pet” throws of so-called experts are surely generated in conformity with this kind of normal study and training and this truth should be impressed upon the mind of every judoka. Continuity of Training: Continuity of training is important. We have already said that there are no secrets in the progress of waza, but only that there is no other path thereto than to devote oneself wholeheartedly to training. But to go in for excessive training in the expectation of suddenly achieving progress can never be efficacious. They're all too many examples of such mistaken tactics; longing for progress the judoka injures his body and is obliged to interrupt his training; he is disappointed when the prosecution of
the studies fails to bear fruit so that he has to break off his training halfway. The number of judo techniques is great. And prolong study is essential to the mastery of these multifarious methods so that they can be applied as occasion may require. The efficiency of one's studies is not immediately apparent. But as a rule while the judoka himself hardly notices it he is making progress and can himself direct unlooked for opportunities. On the contrary, the result of neglected training is that although not immediately apparent like the lingering snow on the roadside which melts bit by bit, before the judoka is himself aware of it, when eventually he does notice it the damage may very well have become irreparable. It mus t no t be fo rg o tten that indomitable application is essential t o pro g res s in judo . A nd amo ng
those entitled to day to be called experts there are many who have devoted as long as 30 or 40 years to one unflagging investigation and t raining in o rder t o o btain t heir present stage of skill. Correct Training: However patiently and perseveringly the judoka continues his daily practice, if he is employing erroneous methods harm only is likely to result. And while admittedly to continue practice correctly and for long is of utmost
importance, it is undeniably very difficult. While the judoka aiming at advancement is exerting the greatest efforts it may happen that he becomes conscious of having at various points reached a deadlock or stalemate, when the task of extraditing himself from such an impasse will prove troublesome. Not a few aspirants finding themselves unequal to this effort of extradition eventually succumb and abandon the struggle. Therefore together with the
necessity for firm resolve to continue the struggle, in the case of judo correct training is equally indispensable. The moment when this deadlock is reached may be succeeds in breaking it down he may then hope to start afresh with the bright prospect of a path to progress opened up before him. Abuse of Waza: A word of caution must be addressed particularly to the young beginner. When he has learnt a few methods and is eager to try them
Books out he should on no account abuse them. It is, of course, only natural that he should wish to test how far the techniques he has lear nt are effective, but he must never recklessly attempt them against others at the risk of causing injury through his own clumsiness. Moreover he may even run into trouble on his own account. Therefore when engaged in practice among his friends he should be careful not to experiment recklessly upon them. The judoka is also warned that he must not with a view of perfecting his acquired waza recklessly abuse his art outside the dojo. And in this context the story is told of how in former days a student of the old jujutsu, eager to test his acquired skill, was in the habit of sallying forth every evening and of lying in wait at some lonely spot at the roadside for passer-by whom he would dare and then throw by means of one of the tricks he had mastered. However, his jujutsu instructor later got wind of this playful propensity and decided to teach him a lesson along typically Japanese lines. So one evening covering his face so as not to be recognized he wended his way towards the way spot wayside and spot where he knew his pupil was lying in wait for a victim. The pupil unaware of the wayfarer's identity as usual rushed out and threw him. But the teacher while being thrown applied and ointment he had brought for the purpose to his pupils side and then as he rose to his feet addressed his assailant; “Look at your side!�. Then the pupil for the first time recognizes instructor and notices the smear of the
ointment applied to his side. Thereafter he abandoned the habit of throwing passerby's! His teacher had thus practically shown him instead of applying the ointment he might just as easily have killed him. Improvement of Technique: A correct posture (shiei) is the most important factor in the mastery of correct waza. If the posture is not correct then a light, easy nimble action will never be acquired. Therefore even when there is a favorable opportunity to attack your opponent, if your posture is wrong a trick opposite to this opening will not be forthcoming. Moreover when you are attacked by your opponent you will not be able to elude him. Thus if the posture is bad, however much you train you will never realize a correct and polished technique. The best posture whereby to be able to initiate a light and an easy nimble action of advance and retreat (Shintai) is the Natural Posture or Shizentai-. The Natural Posture is the most convenient for either attacking your opponent or defending yourself against his attack. The novice disliking the idea being thrown sometimes at the first to adopt a bad posture in practice and it is afterwards really difficult for him to rectify his fault. He should therefore always strive to practice in the correct Natural Posture. Again, the novice when practicing is sometimes inclined to fixed his gaze upon the opponent's stomach or feet and this tendency is the cause of a wrong posture. The spot at which one is looking should be neither too high nor too low. You ought not to be as though staring at a fixed spot on a tree in a field. It is best to direct your gaze at a point about the height of your own eyes with the feeling that your field of vision is lightly reflected in your eyes and in this way your posture will naturally be good. It is further important that when engaged with your opponent you should not grip his jacket to strongly; a strong grip militates against the adroit countering of your opponent, as also against the light and easy foot movement. We must endeavor to hold your opponent's jacket gently and must never infuse too much strength into your fingertips, wrists or arms. You may perhaps imagine that to put strength into the fingertips does not matter, but if you do so your entire body tends to become stiff; the most important nervous and sensitive parts the fingers are deadened, thereby inhibiting expedient, light and easy waza, so that when you try to unbalance your opponent you are likely to fail. What is more, the object of your action is directly made known
beforehand to your opponent. Without putting strength into your hands you want to adopt a positive position conducive to swift changes and foot movement in which you can utilize your opponent strength and naturally unbalance him while he himself is not conscious of lapsing into a perilous situation and is unwittingly put off balance. That is the ideal method of disturbing and opponents balance. A final point upon which special emphasis is laid is a necessity of sufficient training and Ukemi or break falls. If you are adequately trained in the break falls, then no matter how your thrown you will be able to take the fall skillfully without fear of injury. Your body instinctively and naturally avoids stiffness and your movements are agile, light and easy. The judoka adept at Ukemi is most likely to progress in technique as also to become skillful in the execution of the Kata or Forms. The foregoing more important considerations in addition to the training in techniques are particularly commended to the student's attention. Opponents in Training: In judo practice the students are free to take on all and superior in skill he should always exert himself to the utmost, falling with abandon and grappling for all is worth. Unhesitatingly, resolutely he should practice his waza and try to understand the principles of Tsukuri and Kake. When practicing with an opponent of the same grading as his own he should hold himself upright and attack with imperturbability. But he ought not to practice too long with an opponent of the same grade because to do so was calculated to inferior in skill he should try to adapt himself to his opponents level. What must most of all be eschewed is the unreasonable application of methods regardless of his opponents feelings. Unless he is careful in this respect not only is he likely to evoke the spirit of apprehension in his opponent but resentment as well. He will overtax himself, spoil his posture, technique will become warped and bad habits encouraged. He must therefore aim at throwing his opponent with logical and reasonable waza. Again it is important to practice with opponents that are hard to handle. Of course even with the difficult opponent, as one continues to practice one gradually gets accustomed to him so that to throw him a suitable plan and effort are essential. For example, when opposed to a person taller or shorter than himself or one of corresponding weight or one prone to the extremes of a right or left stance, the judoka should in practice led his opponent
take hold of the desired place. At first he is likely to be handicapped and often thrown, but with cumulative training he will become skillful in evolving counter tactics and cool and collected in action. On the other hand in order to define his” pet” throw when the desired place is even unreasonably grasped, he must practice a positive offensive. In order to master the numerous judo techniques the pupil should first select the methods he fancies and exert
himself to perfect them as soon as possible. By so doing he can use his favorite methods as a nucleus and easily get the hang of other awesome waza. Again it is important to train with opponents whose posture is correct. Caution in attack is necessary, but as practice is continued the judoka ascertains his opponent's weak points and succeeds in throwing him. Moreover his own posture remains correct. As regards the mastery of a correct posture, even when the judoka
takes on a beginner it is a step forward in the improvement of his own waza. Management of Mind and Strength: Shorn of sheer verbiage this paragraph is an earnest plea for the distinction between” mind” and “strength” in the practice of judo. The purpose of this distinction is to emphasize the undesirability of relying solely upon what in the vulgar vernacular we should call “beef”(Japanese:Wanryoku) for the attainment of victory. If in the early stages of his training if the judoka depends upon mere “strength” waza, not only will his progress in technique likely to be retarded but his action runs counter to the essential quality of judo from the inspiration of mind may prove of little practical avail. It should therefore be the aim of the aspiring judoka to understand the proper use of strength and to train with the object of managing his body in conformity with reason. When practicing he should refrain from aimlessly putting strength into his hands and feet, trying to throw his opponent by dint of mere strength. He should not fear being thrown himself and should employ correct methods. In this way he may hope to advance both mentally and physically in a study of the art. Daily Care: the judoka adjured to exercise great care in his daily eating and drinking habits. It is recognized that in the flush of animal spirits many young people are prone to indulge in over eating and drinking, but where the students of judo are concerned they are reminded that as a result of such indulgence even the possessors of superior waza have suffered defeat in contest. For instances are by no means rare. The ideal would, of course, before the judoka to steer clear altogether of alcohol and tobacco. Failing that, he will be advised to reduce to the minimum his intake of those stimulants and narcotics. Alcohol impairs the functions of the stomach and intestines and tobacco is injurious alike to the nervous system and digestion. Moreover if indulgence in them becomes a habit then to gradually the quality absorbed tends to increase. Thus in connection
Books with the sport such as judo calling for the concentration of one's maximum stamina, indulgence in these habits ought to be taboo. Especially on the day before contest they must be forbidden. As regards to food, eating between meals is not to be recommended and before going to bed the judoka will be well advised to cut out eating altogether. At least an hour or two are elapsed after a meal before the judoka practices on the mat. In my opinion an interval of at least two hours is still better. In any case the extremes of an entirely empty and a full stomach or to be avoided. The author rightly extols the tonic properties of the mutational cold douche and brisk toweling of the body as being conducive to both mental and physical invigoration and the improvement of an all round good health. In a word the zealous judoka will always accumulate habits calculated to increase the efficiency of his training and will sedulously avoid unsanitary and unhygienic conditions. Supplementing the foregoing sage counsel the author tenders advice on essential precautions before judo practice. Most of them ought to be self evident. Thus before going on the mat the judoka should always wash his feet and see that both toenails and fingernails are cut it short as possible. Slackness in this respect can easily be responsible for minor injuries to an opponent. Nor should it be necessary to warn the judoka who was not a total abstainer from tobacco and alcohol that on no account should he drink or smoke before judo practice since the odor of both alcohol and tobacco mainly with his breaths can hardly fail to be highly obnoxious to his partners on the mat. Practice and Contest: All students of judo must be familiar with the phenomenon of the judoka strong in practice but weak in contest. This common defect is ascribed to insufficient participation in contest judo (Shiai). On the other hand, there is the judoka who is regarded as weak in Randori but who when engaged in contest displays quite unusual ability. The reason is that since he enjoys contest is able composedly to develop his ability to the maximum degree. The judoka strong in Randori but we can contest, when engaged in contest tends to become stiff intense in his movements; he loses the spirit of decision and cannot sufficiently display what ability he possesses. It is here that practice in contest is essential. When the judoka takes frequent part in contest then contest tends to produce impressive and efficacious technique. It may be said that if practice in contest involves only
skill and tactics the result is not good, but in all matters if a bad use is made of the thing the results is bad, whereas if a good use is made of it the result is good. Be that as it may, the selfconfident waza acquired from contests cannot fail to be serviceable. Care Before Contest: Although much of the advice contained in this section will seem trite and obvious enough to Western readers, it may be well to summarize the gist of this sage counsel from which less experienced and would- be- judoka can perhaps gather some useful hints. The author's views are more or less in consonance with those of the leading Western authorities in the realm of sport. Thus at least two or three days before the contest the judoka ought to rest. If he keeps up violent practice up to the very eve of the contest he is more than likely to find himself stale and dog tired when he confronts in the adversary on the mat and so incur the risk of defeat. On the other hand, by letting up a few days before the matches he should have recovered from the normal fatigue of Randori and engages his opponent with renewed pep and vigour or what in judo parlance is called “genki�. However, a day or so before the contest can benefit from a few light limbering-up exercises which will stimulate the muscles, and so to speak, boast his morale. Again, reasonable gastronomic frugality should be observed before the day of contest. Highly spiced and seasoned food should be avoided and needless to say overeating in any shape or form. If he indulges in an unduly rich diet he may suffer from gastric disturbance which will prevent his participation in the matches. Instances of this kind, we are told, are not infrequent. In any case if he overeats is almost certain on the day of the contest to suffer from lassitude and diminished vigour. On the eve of the contest he should as far as possible try to distract his mind from thoughts of either to be the victory or defeat in various congenial ways, e.g. by listening to gramophone records, taking a walk, light reading, etc., in order to invite restful slumber and a clear head and in the morning. And once more abstention from alcohol and tobacco is strongly urged. On the morning of the contest special care should be taken with diet. Thus if an extensive burden is imposed upon the stomach the judoka will take the mat feeling languid and sluggish in these conditions are bound adversely to affect his fighting spirit. On the other hand, you must not feel hungry because of the does his full strength will not be available. As already suggested the lapse of two hours after
his last mail is as a rule the most suitable before his participation in contest. Individuals differ but this interval seems on an average to be the best to allow for transmission of food from the stomach to the bowels. During what are called the Taiko-shiai and the Yusho-shiai (Intercollegiate tournaments and championship contests) which last for days on end, so that it is customary for the participants to bring their noon meal with them, the choice and quality of food must be left to the individual taste. No other courses available. None the less if the judoka overeats (before going on the mat) both his wind and body activity will almost certainly be impaired. He should refrain as far as possible from drinking either warm or cold water. Gargling is a reasonable compromise. The author concedes that there can be no serious objections to the taking of a small quantity of some harmless stimulant apparently before the judo goes on the mat. It would, however the interesting to know what sort of stimulant he has in mind. Before championship and all other matches the judoka can advantageously have his body massage to ward off muscular stiffness. Some hints are appended on the best means of recovering from fatigue presumably after the contest, though this point is not specified. In any case it seems redundant to inform us that a recumbent posture is preferable to an upright one to minimize the strain on the rate of pulsation, respiration, the circulation of the blood, etc. Further, the judoka about to take part in contest will be well advised not to speculate overmuch beforehand on whom is weak and who is strong among his prospective antagonists. It may as likely as not turn out that the adversary deemed to be weak unexpectedly proves to be strong, which discovery at the start is often calculated to discourage and this concert his opponent. And conversely a foeman previously supposed to be strong may prove to be weak. What follows rather tends to qualify if not to contradict the foregoing. Thus the author postulates quite rightly that the object of contest is to defeat one's adversary and that consequently it is important that the judoka should know his opponent. For reference purposes knowledge of both his strong and weak points is essential. Nevertheless to know too much may exert a negative effect upon the issue is therefore not advisable! On the other hand, when the judoka is confronted by an entirely unknown opponent a plan of action is necessary. Indeed it not infrequently
happens than a plan of action is a determining factor in the outcome of the match. But on the other hand, should the judoka be too full of pep and impatient the victory he may run the risk of failure! When the judoka seizes an opportunity he should resolutely apply his waza. He is naturally eager to make an opportunity for the execution of his favorite waza but such opportunities is none too many. It is rather advisable to wait for the opponent to provide an opportunity and we are assured the plan of waiting never negatively affects the issue. On the contrary, to be in too much of a hurry over= impatient to execute waza may easily become the cause of failure The judoka must perfect his defense. But the supreme defense is attack. Especially in Nagewaza or throwing methods self-confidence in the posture of defense is highly important. In the domain of contest tactics the competitor is advised not to pull his punches and to go all out for his immediate adversary without bothering his head over the next one. The policy of trying to conserve one's energies for the purpose is severely deprecated. The next opponent is the next opponent; the present opponent is the present opponent. Therefore when tackling the present opponent the judoka should exert his full strength. Unless the judoka bent on victory he is not likely to win. However he should endeavor as when engaged in every day Randori practice to keep cool, not to be overcome with awe of contest so that both his mind and body can operate freely and softly. Hints on Training: Should the judoka incur an injury during practice he ought to discontinue it until he has completely recovered and is set to resume it. It is a mistake to give way to impatience and to resume practice before the injury has been entirely cured. The result of premature resumption of practice is to retard recovery. Instead he can while thus immobilized advantageously study showing of other judoka and profit from the waza of higher grade man. During the period of the mobilization also we should be careful not to yield to the importunities of his colleagues who may urge him to go on the mat. Minor injuries such as surface abrasions and scratches can usually be treated with first aid on the spot but when a real sprain, fracture or dislocation has been diagnosed by a competent senior or yudanshaka no time should be lost in the evoking the services of a medical man. When the pupil first joins the dojo he should on no account, even after he
has mastered the break falls, be in a hurry to start violent training. As in the case of other sports he should begin with preparatory exercises to get his body in good trim, and then by easy stages pass on to more vigorous movements. If he begins violent keiko prematurely he will run the risk of some injury which will appreciably slow up his chances of progress in the art. Moreover when he begins his training in earnest you must be careful not to lapse into careless haphazard methods. Unless he has a definite plan of action his efforts are unlikely to yield much fruit. As to what plan of action ought to be the author comments that inasmuch as allowance must be made for individual differences it is difficult to lay down any hard and fast rules, but as a guide to beginners he suggests a probationary three-week curriculum divided as follows: during the first week the tyro should submit himself to the instruction of a senior high-grade yudansha, endeavor to grasp then waza, then with this experience as a basis during the second week he should strive to develop his physical strength to the maximum degree and to take part in strenuous practice. During the third week while resting or taking things easily he can map out the next plan of action, consider his state of health or his role in his first contest and, so we assume, brace himself for the resumption of rational training with the coveted black belt as is beckoning objective. The judoka is advised to observe the following six Golden precepts: (1) After practice to bathe his entire body. (2) If overall bathing facilities are not available he should wash and his entire body with cold water and afterwards rubbing vigorously with a dry towel until he is perfectly dry.(3) Gargle well was warm or cold water and thoroughly clear his nostrils are very dust which may have entered them from the match during practice.(4) In winter, since there is always risk of catching cold if the judoka is wearing soiled and cold judogi, after practice he ought immediately to take it off, performance ablutions and dress himself. (5) If soiled and cold judogi is trying in that state, then owing to salinity, dampness is caused and it should therefore without fail be dried after washing. (6) Immediately after practice he should exercise care in eating and lying down. The author interpolates some well meant advice on how to deal with the problem of perspiration! It may be that for Western readers is suggestions are redundant but since not all Western judoka are equally fastidious in matters of personal
hygiene I have decided, so as to make assurance doubly sure, to include his remarks under this head. In summer more particularly the judoka after a strenuous bout on the mat is as often as not drenched in perspiration. The author deplores the fact that some judoka in the habit of wiping their faces with the sleeve of their judogi. He urges that this must be stopped not only because it is unseemingly but also because it is dirty. Instead his clean towel should always be used for this purpose. The continual wearing of a sweat soaked judogi is not only harmful to the wearer pretends to rot the judogi. Moreover the wearer of the judogi cannot easily feel fresh and his discomfort in this respect is bound adversely to affect the efficiency of his practice. Therefore the judoka's judogi should always be kept clean and the habit of wearing soiled judogi he reflects scant credit upon the wearer. A warning on the subject of rest while engaged in judo practice seems worthy of note. Thus we are told that it is not well from the judoka to rest imprudently; to do so is declared to be harmful in a mental and spiritual sense. No useful purpose to serve the resting longer than is really necessary to recover one's wind. The nervous and muscular stimulation engendered by the judo exercise disappears in the wake of an unduly long rest to the detriment of the efficacy of the judoka's training. Therefore after completing a short rest, the judoka feels no longer fatigued it is better for him to resume practice before the cessation of the nervous and muscular stimulus promoted by reasonable exercise. As an auxiliary aid to progress in judo was what is called condo Tandoku-Renshu, literally “independent practice�, i.e. practice solo, only recommended especially when a suitable opponent is not immediately available. As a foundation for the assimilation of knowledge of waza and therefore a more rapid progress in the art, it is becoming increasingly popular. It is indeed likened by the author to shadowboxing and bag punching among boxers. It is pointed out in this context that in judo techniques, whatever they may happen to be, in order to make them operate with maximum efficiency attention must always be paid to an important central or focal part or section. If the judoka, independently and adequately trains this essential or focal part, when he is engaged with an opponent in Randori he will be conscious of marked improvement in the management of his body (Taisabaki), hands and feet which will help to accelerate his progress.
Panantukan Concept - The SAMI Unlimited Fighting Art Good teaching - understanding complexity “Your body is your weapon� is the basic principle of Panantukan. It may sound simple: don't focus on the weapons you can actually see, just use your body weapons. But it is not as easy as it seems. There seem to be countless ways and combinations to use arms, legs, head and body. Panantukan uses them all and teaches them all.
T
here are 13 possible moves to manipulate an opponent's right arm, 13 more for the left arm, of course, and an almost unaccountable number of combinations with footwork, kicks, punches and locks to be practiced. A student who would be taught only one move at a time would probably take decades to develop a substantial repertoire of techniques. This is, why teaching applications is not the only way to teach Panantukan Concept. Applications, punching training and sparring are just parts of the whole, as are all the other exercises. Drills, chains and sequences are also very important. They form a solid basis for the student to build upon, to learn and to practice.
Teaching the basics Let's start at the beginning. Footwork comes first. It's footwork that keeps the whole system going (pun intended). Sloppy footwork will ruin at least two thirds of the techniques. And let's not ignore that he moves will never look fluent and dynamic. Therefore it is clear that the first things, which students have to learn and understand, are correct stance and correct footwork. In all SAMI International Seminars, seminars and regular classes footwork is taught either as an exercise for individuals -
simple commands for directions or specially developed footwork drills - which contain many of the possible footwork combos, or in combination with punches and simple applications. The complexity of the applications will, of course, be higher in more advanced levels. As a rule, levels build upon each other, Therefore, a practitioner of, let's say, level 4 must have mastered all the requirements form levels 1, 2 and three. So it makes perfect sense to include basic exercises into the higher levels, as well.
Practicing techniques in drills Drills are sequences of moves which can be repeated over and over. Singular applications are replaced by sequences of moves which allow students to jam a lot more repetitions into a lesson, a lot more than they will ever be able to do if they practice singular moves only. We distinguish between the following drills: • Change drills: both partners work, using identical or different sequences of moves. • Feeding drills: partner A works, partner B “feeds” partner A moves. Let's assume someone wants to practice
“Drills are sequences of moves which can be repeated over and over. Singular applications are replaced by sequences of moves which allow students to jam a lot more repetitions into a lesson, a lot more than they will ever be able to do if they practice singular moves only.”
“Drills are a good way to support students in their training. Drills be repeated frequently to enable the students to consolidate their knowledge.” defense moves. It is the other person's task to feed the practitioner a fixed set of attacks, so that the practitioner can practice defense. Roles may be switched. • Chains: chains are sequences of techniques which are practiced with a partner who will allow to be used as a “training object” for, e.g. chains of locks. Once the students have mastered the drills, particular moves can be extracted and be pasted into an application. For example: a lock, which was part of a chain of locks, will be complemented with an attack by the partner (jab, haymaker) and finalized with a takedown. Jab/haymaker => block + lock + takedown. Practicing drills provides the students with a large number of techniques. The lock from our example can quite easily be replaced with another lock, yet the student does not need to learn new techniques. Students are able to apply 12 locks from a chain of locks in 12 different exercises. Of course, drills and applications will gain complexity and length in higher levels. A level 1 drill may have only 6 moves, but there also level 4 drills with 24 moves.
From coarse to fine Drills are a good way to support students in their training. Drills be repeated frequently to enable the students to consolidate their knowledge. Once the sequences of moves have been understood, it makes sense to put more attention on details and to refine them over time. When students first learn and practice a sequence they may lack precision in posture, dynamics, correct grips and locks. These inaccuracies must be worked upon step by step to make the drill really effective and to allow the students to apply clean techniques. Just making moves in the right order is not the aim of the exercise. On the other hand, it does not make too much sense to explain every little thing in detail. Hardly anyone will be able to follow, frustration is inevitable.
Principles and concepts The SAMI Tactical Combat Systems are built upon principles and concepts which can be found in all techniques and applications. The further students proceed, the more principles they will learn. The more advanced they are, the more independently they must be able to apply the system's principles and concepts. This will gradually teach them a comprehensive understanding of the system. On the instructors' level dealing with the system's principles from the very start cannot be done without. Lessons which are held by instructors, for example in intensive seminars, will include the big picture of the system from the first minute on.
Teaching in levels Our trainings are held in various levels in order to offer our students lessons which are both demanding and promoting.
Each student has the opportunity to practice with partners on a peer level and develop his techniques and skills. Imagine a group where practitioners of all levels train together. Some may be strained, others might be bored. But there are exceptions, like box sparring, footwork practice or general applications which are important for every practitioner, regardless of his level. Advanced students can raise the levels of intensity and dynamics and generate improved training effects for all.
Be an instructor! We've made you curious? You want to teach Panantukan Concept? Well, we offer intensive instructors' training on a regular basis. SAMI International Instructors will gain plenty of the necessary knowledge and skills, so that they can present themselves as qualified trainers. Instructors' degrees are split into s e v e r a l l e v e l s , t o o , f ro m S t u d y Group Leader to Master Instructor. I n s t r u c t o r s ' c o u r s e s a re h e l d i n
multi-day courses and cover both the developing of individual skills within the system and instructors' skills. The length of the courses may v a r y, d e p e n d i n g o n a p e r s o n ' s d e d i c a t i o n , s k i l l s a n d p re v i o u s knowledge. For more information go to www.panantukan-concept.com Photos by Thomas Suchanek Written by Irene Zavarsky, Irmi Hanzal, Peter Weckauf, Thomas Schimmerl
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
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 CobraDefense is at www.SelfDefenseCertified.com. Chris Sutton is availble for seminars and special training. He can be reached at 727-791-4111 or Cobra@CobraDefense.com
The Eyes Don't Have It As an early self defense lesson when I was a kid, I was told to stare somebody right in the eyes to detect their intentions. This is well intended advice but I've never been hit with an eyeball. Getting a read on someone requires more of an observation strategy than a “high noon� stare down. What makes an individual physically dangerous is their arms and legs (sometimes even their forehead). Also their access to weapons or distraction devices like throwing a cigarette at your face. Most of the time it is an action that requires arms and / or leg movement. If you had an aggressor in front of you with no arms what's your threat level? Certainly he could still kick you, bite you, head butt etc.. but odds are you would feel less threatened. You're simply in a better position to defend against this guy because he has no arms. So when talking to a person realize that the body is where the danger is, not the eyes. An eye has never flown out of somebody's head and hit me. I'm not going to lock onto the eyes as though they're going to hurt me. Hands hurt you. Elbows hurt you. Knees hurt you. Head butts hurt you. Weapons hurt you. People blading their body, shifting their weight, bringing their hands above their waist - all these things will hurt you. Until I here of an attack with an eye butt, I'll focus more on the body than the eyes. I suggest you do too.
by Cezar Borkowski
On October 10th, 2014 the Karate world mourned the passing of Masami Tsuruoka. Dubbed the Father of Canadian Karate by Mito Uehara, publisher of Black Belt Magazine, Tsuruoka O-sensei leaves both an enormous void and an impressive legacy. Tsurouka was born to loving and well-educated family on January 12, 1929 in Cumberland, British Columbia. His childhood mirrored that of any youngster growing up a small, rural community until December 7, 1941 and the Japanese attack on Pearl Harbour, when Canadian-born Masami and his family would
be classified as Enemy Residents. The Mackenzie King government promptly shuttered all Japaneselanguage schools, took possession of businesses, newspapers and even boats owned by Japanese foreign nationals and citizens alike, and following America's lead, established internment camps. Young Masami become a resident of Tashimi, then Roseberry detention camp, where perpetual dampness and cold resulted in a respiratory
illness that would plaque him for the rest of his life. During the war years, the teenager found solace in Japanese Budo arts, primarily Judo and Kendo, as Karate was relatively unknown at this time. When the war ended, seventeen-year old Masami travelled to Japan to expand his horizons, and shortly after his arrival in Kumamoto province, encountered a man who would radically change his life: Dr. Tsuyoshi Chitose. A native of Naha, Okinawa and a highly-regarded Karate and Kobudo expert, Chitose, had a pedigree that was formidable. He learned Tote from Arakaki Seisho, Nahate from Higannona Kanryo, Shurite from Kyan Chotoku, Kumite (free-fighting) from Motobu Choki, and Kobudo (Yamaneryu) from Chinen Sanda. Under Chitose's tutelage, Tsuruoka achieved Shodan in less than three years, became the famed teacher's dai-senpai (senior assistant), and played instrumental in the development of Chito-ryu. He won several tournaments in Southern Japan and his Karate skills grew steadily. When not working or training, he spent time with a beautiful, young woman, Kei, the love of his life. They became husband and wife, and later, dojo partners. When the newlyweds retur ned to Canada in the mid-1950's, they found a country vastly different than the one he remembered from
childhood. They made their home in Toronto, a city that was evolving into a world class, cosmopolitan metropolis, and the perfect place to introduce something new: Karate. From its humble beginnings in 1957, the Tsuruoka School saw rapid expansion, relocated several times to accommodate the growing student body, Canadian icons like Shane Higashi, Benny Allen, Fern Cleroux, Monty Guest, Andre Langelier, Dr. Ned Page, Hal Henschel, Mas Takano, George Sylvain and several others trace their beginnings to the Tsuruoka dojo of the early 1960s. By the early 1970's, a branch-dojo could be found in metropolitan centres in every province. The popularity of Karate continued to gain traction with the establishment of the National Karate Association (the original group recognized by the government), and in 1962, hosted the first national tournament. Staging his impressive highflying and brick breaking demonstrations, he was often featured in national newspapers and magazines. Throughout his career, Tsuruoka received countless awards and accolades, including the Order of Ontario. In recognition of his achievements and contribution to the martial arts, the Canadian Black Belt Hall of Fame established the much-coveted Tsuruka Lifetime Achievement Award. As a teacher, Tsuruoka was tough and demanding, nurturing and kind. He developed many ground-breaking theories with respect to the practice of Karate, with emphasis on bodymechanics, hip rotation, and use of breath for maximizing power. While his physical teachings were profound, his true essence as a Sensei can be found in his philosophical lessons, and the
two concepts at the core of his method were, Nyumon no Kokoro (heart of the beginner) and Giri to Ninjo (obligation and humanity, particularly related to good citizenship and benevolence to all). To illustrate the concept of Nyumon no Kokoro, Tsuruoka would often recite following lines. We are beginners when we are born. We are beginners when we go to school. We are beginners when we leave our parents' home. We are beginners when we marry. We are beginners when we have children. We are beginners when we retire. We are beginners when we die. So do not follow your ego, but your responsibilities. The legacy of this incredible teacher, mentor and role-model will be preserved by a sizeable cadre of senior students. His son David, a passionate Karate master in his own right, will assume the helm of the Tsuruoka Karatedo organization.
“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
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The Intro Course Part Two Ready Position In preparation for their participation in your regular classes, your “ready stance’ is a good place to begin.
Guarding Stance Next, after “Attention,” “bow,” and “ready position,” comes “guarding stance” (as apposed to the term “fighting stance.”). Note: This sequence of moves is exactly how I begin most of the training drills in my classes. If your sequence of preparatory moves has another order or format, then that’s what you’d teach. The desired result is that the student makes a comfortable transition from your private lessons into the group classes –without feeling completely lost.
Footwork Footwork drills, like slide-step forward and back, are fun to do, and essential for defense and attack. When teaching children for the first time, it's also a very nonviolent aspect of martial arts that's non-threatening and easy to learn.
Punching Teaching punching is fun, and a good chance to have the student expel some of their nervous energy. And teaching front punch and back punch gives the instructor plenty of time to interact with a student –and the opportunity to use pads and/or x-ray paper.
Where to Punch and Where not to Punch Here's a great opportunity to talk about -and make the point in a dramatic way --where it's ok to use martial arts, and where and when it's not ok, something nearly every parent is concerned with.
Reviewing Throughout the course of your lesson, it’s essential to review, from the very beginning, everything you’ve taught up to that point. The more you review, the faster the process becomes, It might, after a few reviews, sound like this: “Attention, bow, polite greeting, --again: Attention, bow, ready position, guarding stance, slide step forward, slide step back, front hand punch, back hand punch –now double punch…and REST! Nice work!”
Kicking Goal Setting, the Idea that You Can Always do Better than You Think You Can, and Defining the Role of the Instructor For the final physical lesson of the first intro I recommend having the student perform a front leg stretch (swinging the back leg straight up –first demonstrated by the instructor, kicking waist high). Before the actual kick, have the student measure with their front hand how high they THINK they can kick. Ninety-nine-percent of the time a student (regardless of their age) will underestimate their ability, and thus kick higher than they thought they could. This is the moment to express the idea that they (everyone) can ALWAYS do better than they think they can — and that’s precisely your job (which you point out to them): To not only help your students to set goals that are challenging and obtainable, but to always remind them of that concept. For adults, you might say something like: “Well, that’s pretty much the bottom line…you’re hiring me to make sure that you don’t settle for anything but your best effort — mentally, physically and emotionally.” For children (after having them memorize the phrase, “I can always do better than I think I can.”): “There it is, Johnny; that’s why your parents are willing to pay for your lessons…because this martial arts training is going to help you become the kind of person who consistently performs better than he thinks he can. And that’s my job! To make sure it happens.”
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
With me here at my academy in Bamberg, Germany, is Brazilian Jiu Jitsu Grandmaster Red Belt Flavio Behring, and it is my honor to have an interview with this legend. As a ten-year -old, Grandmaster Flavio Behring started in 1947 to attend private lessons in Brazilian Jiu Jitsu with Helio Gracie in Rio De Janeiro, seeking to stay active and healthy and to overcome his asthma. A few years later, Helio Gracie commissioned Joao Alberto Barreto to help him teaching young Flavio Behring at the Gracie academy in Rio Branco, and in this academy he shared the mat with Carlson Gracie, Heligio Vigo, Waldemar Santana and many others. Interview: Flavio Behring, Andreas Hoffmann, Christoph Fuß Fotos: Gabriela Hoffmann
Grandmaster Flavio Behring: “My early years wit the Gracie family” Andreas Hoffmann: Wow, master, you have 67 years of experience in Brazilian Jiu Jitsu. Can you tell us some stories about your early years with the Gracie family? About your first fight? Flavio Behring: One day I came to the academy, and Joao Alberto Barreto was waiting for me. He told me we have to go to fight. I was surprised that nobody was changing the Kimono, apart from me. I asked: “How many students will fight?” - “Only you, you gonna fight.” I asked: “What fight? How?” Joao Alberto Barreto replied: „Just fight“. – “Who is the guy?” - “He is a Judo black belt.” Back then I was a 14-year-old white belt, so it was very
hard to force myself into the ring. I was trembling and afraid, and wanted go home. But Joao Alberto Barreto insisted in the duel. So I was up there in the ring. Carlos Gracie, the old man, was the referee. The Judo Black Belt approached me and performed one takedown, then another, three, four, five takedowns, because every time when I stood up, he instantly took me down again, and finally he immobilized me. I remember one detail from training, when I got him in a chokehold and he passed out. I went to my corner and wanted to leave. But Carlos Gracie said “No, now you fight again.” And two minutes later the Judoka indeed was ready to fight again. We did the
same thing, one, two, three takedowns, then the Kesa Katame immobilization, whereupon I did the same choke, followed by him passing out over me and me telling Carlos Gracie once more that he is sleeping. Finally I stood up, Carlos raised up my hand and said: “This is Gracie Jiu Jitsu.” That was the way how things usually happened at that time. Andreas Hoffmann: Astonishing, so you are a part of the Gracie challenge. Is it really true that they are prepared to fight anytime? Flavio Behring: Yes, and here is another story: Carlson Gracie and Joao Alberto Barreto once slept in the
academy. Suddenly at one night, at 2 a.m., the phone was ringing. It was Joao Alberto s brother who called, and he told his brother to come and fight with some big huge foreigner called „Messik". Messik claimed to be able to beat anyone. They called Helio Gracie and me to join them, and together we went to the place, where Joao Alberto Barreto submitted the guy. Then someone shoot at us and injured Joao Alberto Barreto. That was the way things happen in the early years. Andreas Hoffmann: Can you tell us about your first Vale Tudo fight? Flavio Behring: Once during our training, Helio Gracie came to me and said: „Put your Kimono off, and come with me”. I followed him to a Dojo where I then had to fight some Capoeira guy. I asked my teacher what we were doing there. He replied: “This guy challenged me, and now you shall represent me.” I was 16, and I was really afraid, so afraid that I submitted the guy within ten seconds. I jumped over him, but Helio kept me back and said: “Stop, stop! This was no good, you came here to fight, this was too fast.” So I had to fight again, but that second
time was easy, because the guy was already emotionally broken. Andreas Hoffmann: So Helio Gracie believed in you? Flavio Behring: During all my life with Carlos Gracie and Helio Gracie, they were always so confident about their students, so confident, they truly believed in us. It was normal to us for them to come and say to us: “Okay, we have one guy for you, now, lets fight“. I can tell you: 99 percent of the fights we won. Andreas Hoffmann: And Helio Gracie himself, did he live true to the same motto, to be ready anytime, anywhere? Flavio Behring: Oh yes, Helio always proofed that he lived that way. For example, he once fought against one of his students, Waldemar Santana. Waldemar was then aged 26, a strong guy, 82 kg. I used to train with him, and he really w,as a guy with a strong neck. One day a journalist called on Waldemar to leave the academy, and to fight on his own behalf to become famous. The first thing the journalist did was challenging Helio against Waldemar. The police did not allow this fight to take place, so it was scheduled and then cancelled again many times. One day, when Helio Gracie was at his ranch, far from Rio, his brother Carlos called and told him that the fight with Waldemar would take place in two hours. When Helio Gracie arrived there with his car, everything was already prepared for the fight, which then lasted for not less than three hours and 45 minutes. I was there, and it was very emotional for me. At the beginning it was a very exciting fight, but then at some stage Waldemar got inside his guard and remained there. Helio Gracie with his 46 years and 64
Together with Grandmaster Flavio Behring and Grandmaster Joao Alberto Barreto one of the most important figure in the BJJ community and referee of first UFC. In the interview Flavio Behring often talks about him
kilos against a much younger guy – his own student – who weighted 20 kg more. But Helio Gracie was there and took up the challenge. I could not listen what happened and could only watch it, but someone told me what happened. Helio tried to stand up, but Waldemar stood up before and asked the referee what he should do. And the referee told him to kick - so Waldemar kicked Helio Gracie, his former teacher, into the face and knocked him out. Can you imagine that? We could not believe it, that was simply incredible, and everybody went into the ring. The Police tried to get things under control, but imagine how emotionally loaded the situation was on both sides. At one moment Carlson Gracie screamed: “I wanna get you, Waldemar, be prepared for me!” Later he won against Waldemar. Andreas Hoffmann: Oh, I can imagine how this stirred up deep emotions among everyone involved. How was your preparation for the Freefights or Vale Tudo-fights at that time? Flavio Behring: Let me give you an example from one of the Gracie family s best fighters ever, Joao Alberto Barreto: He fought 52 Vale Tudo fights that took
place every week on Monday night, and he won all of them. During the week he taught our Jiu Jitsu, on the weekends he rested, on Mondays during daytime he was teaching again at Gracie academy, and in the evening he had his Vale Tudo fights. I learned by his example that our self-defense was the real training, it prepared him to fight and to win. We had a lot of training with boxers and wrestlers. But we didn t practice it, it was just for fun - our focus clearly was on Jiu Jitsu. Andreas Hoffmann: How about ethics in Vale Tudo? Flavio Behring: Today it is different, the rules are different. The ethics of the basic rules used to be that if
you punch someone, it was to knock him out, not to hurt him. Today however you see in MMA how many a competitor would punch with the intention to hurt. Andreas Hoffmann: Thank you, master, for the first part of the interview. It is fantastic to get first hand information about the beginning of Brazilian Gracie Jiu Jitsu. And thank
you for supporting me to build up and establish the Behring way of Brazilian Jiu Jitsu here in Germany. Since 10 years you visit my academy two times a year, and I m proud to be a Black Belt under you. Whoever likes to join our team and to learn how to teach is very welcome to contact me directly: www.wengchun.com.
POLICE AND THE MARTIAL ARTS It is difficult to truly appreciate how much "ego" exists in the martial arts community. With the possible exceptions of professional athletes, movie stars and other entertainers and politicians, martial artists rank very high on the scale of perceived selfimportance. That's why you could almost never convince a martial arts instructor (especially a "master" or "grandmaster"!) that he is not qualified or competent to teach Police Defensive Tactics. In fact, at the next gathering of prominent Instructors, such as a Hall of Fame banquet, make that a public statement and see how quickly you get into a nasty confrontation. Most, blinded by their
Combat Hapkido ego, cannot see nor accept the truth. Some, deep down inside, know the truth but, to protect their ego, will never admit it. This sad state of affairs has, for a long time, negatively affected an already complicated relationship between martial arts instructors and the police. So, let's put ego, delusions and greed to the side, and honestly examine the martial arts side of the debate. 1. "The martial arts were created for physical combat: on the battlefield, in your house, in the street, on a mountain or on the beach‌what difference does it make?" MY RESPONSE: A lot of difference! I am sure you would not drive your kids to school in a Formula 1 Ferrari, and, of course, you would not go rabbit hunting with an RPG. So why do you believe that all fighting strategies & techniques are "right" for police work? In the vast arsenal of martial arts techniques, there are certainly SOME that are right for police work but NOT most of them. True competence in this area is to know the difference: which martial arts techniques are practical, effective and legally appropriate for police work and which ones can be modified for their specific needs. True experts know that all combat is not the same: night or day, sand or snow, indoor or outside, in uniform or in a bathing suit. Officers not only understand the differences‌ they face them every day. 2. "I am an expert Black Belt & a certified Instructor. I am perfectly qualified to teach police officers how to defend themselves and take down the bad guys".
FBI
MY RESPONSE: A Black Belt in what? Obtaining a Black Belt does not automatically invest someone with magic powers and unlimited knowledge. It is simply a marker to record the level of a student's progress. When a Law Enforcement Agency is approached by a martial arts Instructor offering to train their officers, he should expect a smart official to ask several questions such as: A Black Belt in what art? What style? How old are you? How long have you been training? How long have you been teaching? Have you ever worked in Law Enforcement? Where? How long? Do you have references, endorsements, testimonials and recommendations by other police agencies that you have trained? Why do you believe your art / style is right for police work? Maybe 30 years ago any black belt in "karate" could get you in the door, and many, unfortunately, did. But those days are gone. Police officials are more educated and informed. They know the difference between Tae Kwon Do and Krav Maga, or between Kickboxing and Hapkido. Just having a black belt or being an Instructor is no longer enough. You must teach the "right" style and have the "right" background and experience to be accepted and respected by the police community. 3. "I am (or was) a champion who has won many fight and I can certainly teach officers how to win in the street". MY RESPONSE: Are you serious? Equating sport to police work would be like comparing a bicycle to a Ducati
Costa Rican Swat team motorcycle! Sport contests (even the toughest MMA fights) have rules, referees, time limits, weight classes, and, last time I checked, they are never held in the street, in the dark and with all kinds of weapons. Even if the instructor is (or was) a true martial arts champion, using it as selling point and a relevant "qualification" to provide training to police officers is ridiculous, unprofessional and will immediately result in the Instructor's loss of respect and credibility in the eyes of the police officials. 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". MY RESPONSE: Absolutely! And I wish that every police officer in the World chose martial arts training as their favorite activity. It would certainly help them as it helps everyone else who trains in martial arts. Just don't confuse it with training in specialized Defensive Tactics specifically designed for police work. While one could argue that "Any training in any style is better than no training at all", I could make the case that training in certain arts / styles is, for police
officers, actually worse than nothing as they will pick up stances, movements, techniques and attitudes that are useless and even dangerous when applied to their work. Although, in general, it is true for everyone, under-reacting or over-reacting will carry serious and possibly deadly consequences for a police officers. And that is why their training cannot simply be "martial arts", but it must be "Defensive Tactics", specifically designed for their type of work. 5. "Lack of proper training and lack of defensive tactics skills will result in more injuries to the
Combat Hapkido officers and the individuals they deal with. That will result in increased medical costs and expensive legal litigations". MY RESPONSE: Absolutely true! Medical costs for injuries sustained by the officers (and even by the bad guys!), legal defenses (and eventual award settlements), time lost, tarnished public image for the Agency and negative press are all tangible, direct consequences of officers lack of training in empty-hands Defensive Tactics. It is important to mention at this point, a very important statistic that tragically and unequivocally demonstrates the lack of training in Defensive Tactics (and the need for it!): 60% of officers killed with a firearm are shot with THEIR OWN GUN! Skills, knowledge, competence and self-confidence will dramatically enhance the professionalism and the safety of the officers and will be worth many times over the modest cost of the investment. 6. "The officers' lack of skills in empty-hands Defensive Tactics will inevitably lead to more unnecessary and unjustified use of firearms and other weapons". MY RESPONSE: Absolutely and often with tragic consequences! In a dangerous, scary, adrenaline filled confrontation, the officer will revert to his training, and, if he lacks training in one area, he will, by default, resort to other means to deal with the situation. Lack of skills is invariably accompanied by lack of selfPolice in Rome
confidence‌now add fear, stress and confusion to the mix! And, of course, we expect, no, we demand, that a human being make split-second decisions under those conditions! Not just any decisions‌the RIGHT, reasonable, just, correct, perfect decisions, every time. If, as a society, we expect that from our police officers, isn't it fair, isn't it logical, isn't it incumbent upon us to provide them with every tool available? Shouldn't we invest more in their training? Shouldn't we allocate funds for not just equipment and technology but also for experts & professionals to provide excellent training in Defensive Tactics, an area that, in my opinion, has always been severely neglected. And now I rest my case. We have looked at both side of this argument in a fair and balanced manner. I believe that a jury would render a unanimous verdict in favor of a permanent, competent, periodic Defensive Tactics training program for police officers. The key, however, is that it must be the RIGHT program! Like many martial arts Instructors, I wanted to offer my services to lawenforcement agencies. Not only because it is good business and it brings prestige to the Instructor, but also because I truly believe that it can actually protect the officers and be a benefit to the community. I felt qualified to do so having spent 20 years working in that field in several different positions. But I was aware that my "martial arts" material was fairly traditional and geared primarily
to the "civilian" market. So, with the help of several of my students who were veteran, highly experienced police officers, we set out to create a new, special program of modern, practical and effective Defensive Tactics, designed specifically and only for police officers. After 3 years of research, analysis and applications, we finally felt that we had structured the right program and, in 1998 the INTERNATIONAL POLICE DEFENSIVE TACTICS INSTITUTE (IPDTI) was born. While our main goal was to provide the most relevant and competent training to the lawenforcement community, the other important objective was to educate, train and certify martial arts Instructors in this very specific professional specialization. Since the establishment of the IPDTI we have conducted training for thousands of officers in18 countries around the World and we have certified over 300 Instructors. We have received dozens of letters of commendation, testimonials and appreciation. Most importantly, we have received numerous letters from individual officers thanking us and crediting our training with preventing serious injuries and even saving their lives. And that, for us, is the greatest reward. The IPDTI has proven that martial arts Instructors can work with police forces and provide them with valuable, important training. It just must be done the right way. Check us out at: www.dsihq.com
CREOLE FENCING: THE ART OF PONCHO AND FACĂ“N In the late seventeenth century, in the Argentinian Pampa plains, appears the gaucho, product of the mixing of cultures and races. He lives on horseback, enfolded in his typical "poncho" (an outer garment designed to keep the body warm, essentially a single blanket with an opening in the center). His figure, brilliantly glossed in Jose Hernandez's "MartĂn Fierro", an epic poem written in "gauchesque" poetry, acquires an identity of his own with characteristic
Ethnic Arts cultural forms and habits; among these, the use of weapons as the "facón" (a large knife generally tucked into the rear of the gaucho sash) and the poncho, as well as the "boleadoras", a contraption borrowed from the Indians, which consists of three stones wrapped in leather on the ends of three interconnected cords, usually made of braided leather, that are rotated from one of the ends to be projected, and can reach long distances to hit preys or entangle their legs on making contact. Today we bring you the figure and the arts of the Gaucho in an excellent article written by someone who, from Argentina, has devoted his life to the noble task of maintaining and diffusing this legendary character, as a tribute to the knight of the Pampas. Alfredo Tucci
Creole Fencing, the art of the poncho and the facón Late XVII century, South America… In the Argentinian Pampa a new race is born. It’s the Gaucho, a mixture of Indian and Creole; and with him a new warring art: Creole fencing. But what is Creole fencing? It is the art of fighting with a poncho and a knife. It had its norms and values; being a matter of manhood, there was respect and they fought one to one. Creole fencing had its own techniques and training systems,
including the "Visteo", where you fought with a smutty stick removed from the fire, half in play and half seriously, since a gaucho worth his salt was definitely good for cutting. This practice still continues and I really enjoy watching my children play Visteo when there's a good “asado” (Argentinian barbeque) involved! Visteo was practiced in a delimited area called "cancha" (fighting ground) of which you couldn't exit. The "canchadas" (encounters in the cancha) and their movements distinguished them from other knife fencing styles, where honor prevailed.
The knife used in the duel is called "facón", although you could also use a dagger. These knives were usually made ??of remnants of swords or bayonets and their blade length, not less than 35cm, could reach up to 80cm in the case of "facón caronero". As for the poncho, it is a rectangular or square piece of fabric with a hole for the head to pass through, and can be made of alpaca, vicuna, etc. The poncho garment not only protects us on cold nights, but also in the fight and it has an added curiosity: it was a regular piece of the costume of the first native army regiment. In the duel, the poncho is wound on the left arm to become a successful defense and a terrible weapon of distraction. Time led to perfect the poncho fighting techniques with movements like the "flecazo", the "manteada", etc. "The facón is used both to open a cow and to close a discussion" (Argentinian popular saying) Talking about the gaucho, this stoical character was employed for fighting against the Spaniards, Indians or any other enemy. Always pursued, simple and sincere, excellent rider, skillful with tools, knife, lasso (cowboy rope) and boleadoras, the gaucho was not happy to firearms and he always preferred the edges; in fact, there was more honor in duels, death was rarely sought and disputes simply ended with a "barbijo" (cut on the cheek) or a "planazo" (blow to the head with the spine or thickest section of the blade, opposed to the edge), leaving the opponent battered but alive; only if the situation had gone out of control would they end with the life of the unfortunate... a kind of euthanasia; "do the holy work" they called it. “Al caer en cualquier abismo, más que el sable y que la lanza, suele servir la confianza que el hombre tiene en sí mismo” José Hernández (Martín Fierro) When falling into any abyss it usually serves more the confidence that man has in himself than the sword and the spear There were other weapons accompanying the gaucho: the "Boleadoras", an artifact of indigenous origin which consists of just three balls joined together by leather thongs. This throwing weapon, masterfully handled, decimated the ranks of the royal armies in the wars of independence, along with the "chuza" (spear for the Spanish tongue of the time), the official weapon in the army of General José de San Martín. “Las armas son necesarias, pero naides sabe cuándo, ansina si andas pasiando, y de noche sobre todo, debes llevarla de modo que al salir, salga cortando” José Hernández (Martín Fierro) Weapons are necessary, but nobody knows when, so if you are walking, especially at night time, you must carry it in a way that it cuts as you unsheathe.
Ethnic Arts And time went by... In the early twentieth century, the times of "taitas" (brave and bold), "guapos" (braggart) and "malevos" (outlaws), Creole fencing was still in force; sometimes a scarf would be used instead of poncho, but a facón, a dagger, a verijero or a fiyingo (different models of Creole knives) were always present. It didn't take much to draw the weapon, the simplest reason was more than enough, a woman, a single word louder than any other... and disputes were settled with a duel where a cut on the face or "barbijo" ended any misunderstanding. Su esperanza es el coraje, Su guardia es la precaución, Su pingo es la salvación, Y pasa uno en su desvelo, Sin más amparo que el cielo Ni otro amigo que el facón. José Hernández (Martín Fierro) His hope is courage, His guard is caution, His horse is salvation, And he spends his wakefulness, With no other shelter than the sky And no other friend than his facón. Today, Creole fencing is still present in villages throughout the Argentinian countryside and you'll always find a knife dispute in “tamings” and folk festivals: it's a habit hard to eradicate which is also held in the prison reality, where inmates continue to mending their differences now with "faca" and blanket -, and maintaining the same standards, like the "planazo" or blow with the spine of the blade in the middle of the head that puts an end to the fight, where the inmate who loses will have a hard time; the gaucho carried it out to the cry of "God save you". "Rara vez mata el paisano porque ese instinto no tiene, al duelo criollo se aviene por no mezquinar ni un tranco, hace saber que no es manco y en el pelear se entretiene" Atahualpa Yupanqui The peasant rarely kills because he does not have such instinct, he agrees to the Creole duel for not taking even
a backward stride, he lets know that he's not "maimed" (unarmed) and he entertains in the fight. Another actual fact is the practicing of this discipline carried out by George Prina, who, in a historical revisionism, is diffusing and teaching Creole fencing with its ancient techniques, through training sessions and open competitions of knife combat. We use different types of weapons: verijero, facón or caronero knives in our right hand, and of course the poncho on the left with its variety of techniques, such as disturbing the opponent’s sight with the fringes, called "flecazo", or divert an attack with the socalled "manteada", which is an excellent defense. The poncho wrapped around the forearm avoids cuts reaching the skin. Now "visteos" (sparring) are performed with wooden knives, unfolding a variety of techniques in which you can appreciate the ability of the fencers. "Potrillo, recién te apunta el colmillo, mas te lo dice un toruno: No dejés que hombre ninguno Te gane el lao del cuchillo" José Hernández (Martín Fierro) Young colt, your eyetooth is barely coming out But is an old hand who tells you: Do not let any man to win the side of your knife.” An interesting gaucho skill is handling the boleadoras, which are thrown to the legs in its different variants in order to bring down the prey, be it man or an animal. Another variant is to hit the head of an enemy, as used in gaucho wars, where they were tossed so that when falling, the first thing that impacted was the balls. Practicing is carried out with different targets or with special training boleadoras, which do little harm. We also practice the way aborigines used to do, by hooking one of the balls on a foot and hold the other two one in each hand swinging them for a close combat. In our practices we perform weapon crossing in fights of facón and poncho against boleadoras. The handling of the chuza (spear) is original and very peculiar. Chuza is the Southamerican spear; it has an iron tip - it might not have it - usually made of
Ethnic Arts colihue cane. It must be remembered that colonial Lancers regiments, dating back to the nineteenth century, had a warring technique that gathered the group action in defenses and attacks. Instead, Creoles used the spear in different ways; pampa Indians tied it to their forearm to go long distances and, prepared for the attack, waited patiently for the barrage of firearms to charge right away against the fort with their spears...This was known as "irse al humo" (go to the smoke) because of the characteristic smoke of the Muzzle-loading firearms. Currently we recreate chuza movements rescuing a rich wealth of techniques, from the "molinete" (windlass) to the "chuzaso". We conduct monthly open meetings in different places, where we practice old-fashioned Creole duels, with protection and throwing of boleadoras, ending with small competitions, apart from regular classes and seminars. "A creole without a knife is a naked creole" (Argentinian popular proverb) All peoples of the world had, and some still retain, their own fighting arts; this is Creole fencing, the Argentinian art of war. www.esgrimacriolla.blogspot.com.ar About the Author Jorge E. Prina * 1st Dan ITF Tae Kwondo * 1st Dan Kick Boxing IKA * Self Defense, Urban Security and First Aid Instructor (OFI) * Defense and Knife Combat Instructor (HICP) * Master of Native American Warriors Arts (N.A.W.A.) * Course, Training and Association as a Muzzleloaders Weapons Marksman (CN 592) The photos were taken with George Prina, along with Paul and Lisandro Liciaga Neyra, Creole Fencing practitioners. The images were taken at: "The Fort铆n Tradici贸n Platense, in which Te贸filo Olmos along with Almafuerte, set out the decision that October 10 be declared National Day of Tradition." San Martin Park, Silver City, meeting of Creole Fencing. Seminar in Troy, Missuori, Creole Fencing Seminar in Rosario, Sante Fe. Creole Fencing Tournament in Ituzaingo.
Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdom of the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflections that are capable to move at once both the reader's heart and head, thus placing him continuously in front of the abyss of the invisible, as the true final frontier of personal and collective consciousness. The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages to approach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedly devoted. Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a large number of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can be read individually in no particular order. Each one of them opens up a window to us through which we can take a look at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness and grandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agree with the common places in which everyone coincides. We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity of its contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioral ideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls and intelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizing minds, without dogmas, without transient morals, without subterfuges...
Karate
Edited by Budo International, it finally appears the DVD video Wado no I Dori & Ta n t o D o r i c o n d u c t e d b y M a s t e r Salvador Herrรกiz, 7th Dan, one of the greatest experts of this style at an international level. For such reason, the author reveals here and now the features and relevance of this work at a crucial time in his life.
Karate
NEW DVD VIDEO! WADO NO I DORI & TANTO DORI SALVADOR HERRAIZ, 7th DAN The content of this DVD video now presented, gathers a selection of the more emblematic techniques of Wado Ryu, furthermore offering an interesting attractiveness to karate practitioners of other styles. Indeed, Wado Ruy has a very important group of techniques, the so-called Kihon Gumite, but perhaps its features make it unattractive to practitioners of other schools. Both I Dori techniques (defenses from the traditional Seiza position, sitting kneeling on the heels) and Tanto Dori techniques (defense against knife) are widely practiced as important groups within the style, but they may also be of interest to karate practitioners who are alien to Wado Ryu traditions. That's why I chose these techniques to form part of this DVD video, so that it may be of interest to all types of practitioners. An interesting subject at the time to understand the technical ways exposed on this DVD is that of the differences among the existing technical lines. Wado Ryu is a style that, like all other systems, has undergone technical changes throughout its history, all within a "normality" caused by divisions that, for political reasons, have led in technical differences. We all know that within the Wado Ryu there exist three main technical lines that we must consider and respect: (1) The Wado Ryu Karatedo Renmei line - led by Jiro Ohtsuka, the son of the founder, who by his age, in a few years will give the baton to his son Kazutaka; (2) the Wado Kai line (within the Japan Federation and technically led by veteran masters like Toru Arakawa, Hajimu Takashima, Katsumi Hakoishi, Takaichi hand, Shinji Michihara, Shunsuke Yanagita, Yasuo Kuranami, Hideho Takagi...); and (3) that of
“Efficacy is no doubt very important in Martial Arts. However, if it was the only significant thing and the main goal for their practice, I would honestly recommend other type of disciplines.� WIKF, founded and led by Master Tatsuo Suzuki, until his death in 2011, that continues with his followers. All of them self-award the title of most loyal to the instruction directly received from the founder Hironori Ohtsuka and therefore their teachings are supposed to be the purest regarding those of Hironori. Many important masters say "This is the way I learned from Ohtsuka". But in fact, all depends on when these leader masters trained with the founder, because he didn't cease to vary and develop certain aspects of his Wado Ryu until his last moments of life, so, depending on what moment they trained with him they would obtain one or other type of specific technical details. As for the current Wado Kai, I have observed, for example, that they are modifying positions and their names, seeking perhaps an "underhanded" approach to
New DVD video! other styles, so that their Wado becomes more competitive in tournaments (basic objective of the Japanese Federation or the Spanish Federation...). The line of Suzuki sensei shows other important differences. Perhaps the remoteness of the master, established in England since the 60's but with the matrix of Japan, influenced such differences at the appropriate moment. Therefore, in principle, and regardless of major or minor sympathies, the Wado Ryu of the son of Founder should be considered the purest, for being able to endure and absorb the changes that the Founder kept doing until the last moment. But then, I've also noticed that in these 25 years from the Founder's death, his son Jiro (and after him his grandson Kazutaka) have also changed several things. Well, maybe it
“This work finally includes a ten of I Dori techniques and another ten of Tanto Dori, as well as Seishan Kata and Chinto Kata, the most characteristic forms of the style.�
is normal and you have to accept it! However, my concern is determined by these movements and characteristics that have nothing to do with any of these three groups of Wado Ryu and that in some cases, they even clearly go against certain features of Wado, in any of its three technical lines. That really worries me! But what worries me even more and I find at least curious, is the attitude adopted by the Ohtsuka family facing the technical and philosophical development of their Wado Ryu. I have my theory about the reasons but ... I feel it inappropriate to discuss here and now. Be that as it may, the DVD video we now present contains a selection of techniques used in all three main lines. It's not a video on a particular tendency, or intended to be more Catholic than the pope, but precisely what it was said at the beginning: a
Technical
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choice of the more characteristic combinations in pairs of the Wado Ryu style. Moreover, Karate in general is enduring a difficult time, not only in its technique, but especially in its spirit, in my view too far away from the path it should follow (something that can only be found in in a handful of humble dojos and masters generally away from the madding crowd, so their influence on other karate followers is limited). I must confess that the truth is that I personally am quite tired and disappointed. "The Sailor Who Fell from Grace of the Sea", is not only the title of one of the most popular books of the known Japanese writer Yukio Mishima, who in the 70s staged a notorious seppuku (ritual suicide), on the understanding that Japan values were being lost. The phrase, regardless of the content of Mishima's book, also expresses the feeling that for some time I am overcome, by the attitude of many karate supporters (including teachers). We're all fed up of knowing and repeating great sentences about the spirit and philosophy of Karate, but ... acting accordingly is a completely different issue. But of course, we're all self-convinced of our attitude and we cling to what interests us instead of recognizing that often we act against some of the most fundamental values ??of Karate Do. I think that at this point of the way we all know very well what is expected of a karateka, we all know about philosophy and history, about dojokun and blah, blah, blah... but then, our behavior in the everyday reality, from my
“Therefore, Karate should be understood at a higher level, as a combat technique, but also as a moving meditation. Same thing with Budo in general.â€? point of view, leaves much to be desired. I am filled with sadness and disappointment, feeling like that sailor who fell from grace of the sea... Moreover, this DVD video appears in a moment also crucial for me, harassed for years by the aftermath of a back and spine that juggle to keep a decent level of physical execution. In mind for many years, this DVD had therefore to be done fast, also against possible eventualities. It was now or never! This work finally includes a ten of I Dori techniques and another ten of Tanto Dori, as well as Seishan Kata and Chinto Kata, the most characteristic forms of the style, and Wanshu, one of the most universal Karate Kata. In any case, we've tried to keep the rhythm and cadence of a Karate focused on a natural technique execution, as befits Wado Ryu, without seeking spectacular performances or personal exhibitions, a Karate that, as historically has been claimed, tries to be "Zen in motion." Efficacy is no doubt very important in Martial Arts. However, if it was the only significant thing and the main goal for their practice, I would honestly recommend other type of disciplines. As for us Karate practitioners, we do what we do and we do it the way we do it, looking far beyond, and the one who is only seeking the biggest effectiveness in combat, might not find his way here. I will say even more: This is not his way, for sure. Therefore, Karate should be understood at a higher level, as a combat technique, but also as a moving meditation. Same thing with Budo in general... It's not just a fighting system. In Kyudo, for example, great masters have always maintained that hitting or not hitting the target was is of little importance, because it is not about that, but rather about the process, gesture, breathing, concentration... and the effects that all this produces in the one who throws the arrow, without worrying about where it goes or who receives it. Techniques like ryote dori, gozen dori, zu dori, asĂ dori, te dori shotei zuki, hiki otoshi dori, hijite kansetsu gyaku torinage, take shape on the screen, showing the technical essence that has historically characterized the one which is the first Karate school eminently Japanese (the rest of the oldest and most developed, actually come from Okinawa). Regarding the defenses against knife, udegarami dori, kotenage dori, hikitate dori, and many more, they provide a clear example of a type of Karate with a relevant influence of Ju Jitsu.
The KMRED GROUP and ITS PARTNERS The Kravmaga RED group, as we said in our previous articles, is meant to develop without constraints a realistic and modern self-defense, built on the basis of a discipline like Kravmaga, but also focusing on fighting disciplines as Thai boxing, English or French boxing, completed with the experience of its teachers in the management of conflict situations. But most important is that the group doesn't live in autarky or remains alone in its corner insisting stubbornly on believing just in its achievements. Our greatest strength lays in continuing to "seek" what could be "better" without hesitating to surround ourselves with people from different styles and disciplines. Indeed many other people have had that same approach of "researching" and "opening", and it's important being able to share and work together to develop "tools" that will enable our students to protect their physical integrity or that of their relatives. For this, the KMRED Group has been establishing for a long time now, numerous training courses and exchanges with external groups with not only a long experience in combat sports, but also in actual physical conflict. Among the prominent personalities this year, in November, one of the precursors of the Filipino martial arts
in France in 1985, Didier Trinocque, will speak for the 3rd time with the students of the KMRED clubs in the Southwest region. His specialty, KALI Eskrima, allows us to clearly understand, if necessary, the dangers posed by knives and sticks in a real encounter, and how to use them to your advantage. During his visit, a new long term society will be also launched of which he will receive the title of "honorary member" of the KMRED group. The month of November will also see the arrival in the south west region of Vincent Roca, one of the first specialists in self-defense who has undertaken the task of working with a "free" approach in the development of a
method of self-defense adapted to the great majority, called QUICK DEFENSE. A regular speaker for special intervention groups in France and abroad, he is fully integrated in this process of opening of spirit with experienced people that defend KMRED group, and the initiator of all these projects, Christian Wilmouth. It is worth remembering that all the research we ourselves or the different specialists above mentioned do, is intended to enrich a "technical content" that will go to our pupils and not to favor anyone's ego. "I think it's important to pay attention to what is taught in self-defense, because those to whom we transmit our knowledge are likely to use what they learn in a real situation, and reality leaves no room for fantasy." In the framework of our approach to developing our skills, there is an area in which we will never stop learning: COMBAT!!!!! In this
regard, we have a great specialist in Boxing English, one of our key collaborators, which has to his credit a long history of champions who have been trained by him. Giovanni Rocchi is a COACH, in capital letters, that has accompanied many national and international champions and has managed to integrate English boxing as the basis and indispensable supplement of the combat capability to the practitioners of the KMRED group.
His regular interventions bring a new dimension to the combat game that is very present among us. The KravMaga RED group, currently in full development, will continue throughout 2015 building itself by constantly questioning through constructive dialogue with all those who work in favor of practitioners, away from any “war of egos".
Shifu Shi Miaozhi , is one of the best teachers who have emerged from the best generation of teachers of Shaolin , and he is a highly respected student of Master Shi de Yang. In this DVD he is going to introduce one of the most characteristic forms of the Shaolin style, Xiao Hong Quan . The origin of this Tao Lu is halfway between a historical reality and a legend. It is centuries-old but today it is still considered essential in the teaching of this martial art , because it contains the essence of Shaolin Gong Fu and is a good tool for learning the method of the Great Palm, Zhang Fa Palm Techniques. One of it s main features is that it is famous for its effectiveness in real combat . Shaolin Xiao Hong Quan could be defined as a Tao Lu whose development is accurate and with rhythm, the technique is powerful and strong, and when executed properly you could say it is like the wind . This is Tao Lu basic steps and movements from other types of Gong Fu . It can be said that it has a full set of combinations of techniques based on the movement of the hands, legs, eyes, step and footwork, and the whole system of theory and practice on the offensive and defensive projections. The DVD includes warm ups , a training routine at different speeds and angles , and step by step techniques for self-defense applications . A routine that anyone interested in learning this martial art should know in depth.
REF.: • MIAOZHI-1
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If we are to talk about a martial and powerful performance of Tai-Chi, I must say that I've never met anyone that matches Master Chen; and when I say "power ful", let it be understood, I never theless keep saying "soft". The essence of Tai Chi is the mystery and paradox of how the soft overcomes the hard; a beautiful concept that curiously we all can envision in our minds, although theory is one thing and practice is another. The classic metaphor of bamboo, water... all this is very familiar to us through the magnificent spread that Eastern philosophy has had in the West in recent years. But ... "easier said than done", reads the old proverb, and when it comes to move to action, most of times, Tai-Chi is little more than a pleasant and aesthetic "per for mance"; of course, seductive and certainly healthy! But as for what you might call a Martial Art... my pal, I had to make an act of faith, until I met Master Chen! Yes. Softness is there, but so is the needed firmness to project the strength. - "Tai-Chi is like bamboo; when you push, it yields, but when you release the tension, bamboo hits you back like a thunderbolt", Master told me at our first meeting. His dearly student, Diego Cรกceres, had warned me that Chen was "different." Well, you're sick of hearing things of the like in the Martial Arts world... but in this case it was true! Therefore, and after the success of
Kung Fu
his first video on the "YI LU", the leading form of the Chen style, I asked the Master to write a book: the definitive book for students of Tai-Chi. In it, of course, the form appears described step by step; but in order to be coherent with the martial part, we have also asked him to share with you what in Karate is known as "bunkai", i.e., the applications that tradition proposes as the most effective uses of the techniques and movements that you carry out while executing the form. It ceases to be a dance! Arms are broken, opponents are projected, weak spots are hit, and everything from the application of the keys to Tai-Chi: The soft beats the hard. The result is stunning. A book with more than 1000 color photographs, a truly complete guide to the study of Chen style that supplements the video work already available to Budo International readers. A work of which we all feel proud in our newsroom. Alfredo Tucci
Tai Chi Chuan The Chen Style The Chen style is the oldest known and is considered the origin of Tai Chi Chuan. You can say that it was the result of compiling various Martial Arts. Its work sets out a series of striking techniques with fists, elbows, shoulders, legs and knees, as well as throws, locks, immobilizations, jumps, etc. There is a popular saying about it which reads: "the whole body is hands," that is, many parts of the body can hit. Its origins date back to the late fourteenth century, in the village of Chenjiagou in China. It was in that period when Chen-Bu, who is regarded as the source of the Chen family, settled in the village, but the style began to be known from family’s 9th generation with Chen Wang Ting (16001680). Chen Fake (17th Generation) traveled from Chenjiagou to Beijing around the 30's, where the Chen style became ??famous because of its high technical level. Initially there were 7 forms that later were cut down to 2, called Yi-Lu and Er Lu (Pao Chui or Cannon form). Both are characterized by combining slow, gentle movements with fast and explosive ones, always within the continuation itself of Tai Chi Chuan. In the Er-Lu form, there is a greater use of Fa-jing in a great part of its moves. The positions are low and deeply rooted, which favors downloading the Fa-jing power. The "Chanse-Ching" is the most characteristic feature of the Chen style. It arises from the principle called "winding the silk cocoon" and is based on the work of the spiral force: Chi (energy) unfolds in a spiral from the feet, ascending through the whole body to reach hands. This spiral movement is used for defense or attack.
Great Masters
Kung Fu The original force of Tai-Chi Chen Chen Tai Chi is a style that explores the fusion of opposite and complementary energies, a mixture that should be controlled. The Tai Chi practitioner must achieve the same naturalness and power of movements of a newborn. It could liken to the birth of a baby; at the moment of cutting the umbilical cord is when the lack of oxygen occurs arising that primary need for the baby which is breathing on his own. At this precise point in time an energy seizure starts, running up his body and that is precisely what causes the act of breathing. This powerful and uncontrollable shaking is what we try to recreate with Tai-Chi Chen: an energy flow so strong as to cause the body to convulse almost electrically, in order to perform, on one hand the blow, and on the other, a healing and energizing body discharge. In Tai-Chi Chen, when performing the form movements, it is applied the above concept as groundwork, with a constant collection move or internalization of energy to immediately expand and, where appropriate, "explode" in the Fa-jing. That same energetic sensation can be also seen in the movement of the body, which withdraws into itself to then open outwards. At the same time, wave motions are performed; it’s something like the waving of a snake.
Elementary energies and energetic circulation Man responds to the forces of Heaven and Earth and depends on the energy exchange with the environment. The energies of Heaven and Earth occupy everything; after dispersing they reunite again, always returning to their initial state. Everything comes from the Tao, the unique and undifferentiated principle. Qi is the elemental force, the first manifestation of the origin. Qi polarizes through two forces: Yin and Yang. Any state of energy imbalance creates discomfort for two reasons: deficiency or excess. In fullness we call it XU (or Yang), in default or emptiness, ZXU (or Yin). Man is a being resulting from these two energies. He harmoniously emits
vibrations with his movements; this constant and continuous mutation requires a power supply that maintains it. One way to generate that energy, speaking in martial terms, is performed by means of breathing, and another through physical movement itself. Yang energy expands, Yin energy contracts; this is the game we must keep in our practice. The human body has two pulses: Du and Zhen; men and women work with opposite pulses, women's weaker pulse is on the outside and the stronger pulse is inside: men are the opposite. Zhen pulse leads the blood force and Du pulse the air impulse.
Great Masters In practice we need to center the main channels of circulation of body energy. The energy circulation emerges from the Tan Tien (four fingers below the navel), bisecting the body; on the one hand, it ascends through the chest toward the head and descends down the back to the point Huiyin; and on the other hand, it comes out from the Tan Tien making a circle and going around the waist. When it comes to practice, we must focus our concentration and
breathing in the Tan Tien and visualize this energy flowing through these two channels, while maintaining a slow and quiet breathing like the warble of a bird.
Technical features The practice of Tai-Chi Chen teaches us a technique based mainly on the "explosion" movement of the body. This movement causes it to spin like a tornado, pushed by a seizure from head to toes that, in the last moment, manifests like a whip attack against the enemy.
The art of attacking is analogous to the way an eagle catches a rabbit in its claws. You have to maintain control through physical contact, but without getting to grab it. Tai-Chi Chen attacks press on concrete surfaces, not just anywhere, and usually correspond to tendons and nerves, veins and arteries, pressing on axis points that make bones move, dislocating them and dividing muscles and tendons. The weapons we use are the palm and back of the hand, fist, shoulder, forearm, elbow, etc. The thumb and little finger can rotate like the hands of the clock; clockwise, in favor, Zhen, or counterclockwise, against, Fan. The palm also can use touch movements for and
Kung Fu
Great Masters
Kung Fu against the movement; when a hand is up, the other is down and vice versa. The movements of the feet have eight techniques in which you can use the instep, heel, the middle part of the foot arch on the inside, on the outside, and their variants at 45ยบ, besides the advised sweeps and tornado turns. In terms of positions, the most important is the socalled Mapu (horseback riding), since it allows you to alter your weight distribution and swing your body to one side or another depending on the attack. We also handle the Xiebu positions, sitting on the heels: Xibu rotating, Dulibu on one leg and raising the trunk; and also Pubu positions, very low, to strengthen tendons. The style requires a lot of flexibility, so it is advisable to start practicing while being still young, when muscles and tendons are not yet hardened, in order to prevent they lose their extension capability so that we can keep it throughout life. Otherwise, we will see that our positions are harder, less aesthetic and we'll find extremely difficult to maintain those that give us the needed power when doing the exercises. We must always bear in mind that Mapu is the most important position, in which head always remains straight and alert, eyes looking straight ahead, but not with the stare fix at any point. Ears must also remain alert, with the nape concentrated but not tense; the back straight, your chest upright, belly inwards without arching your back or pull out the buttocks. Thus, we can make any kind of turn with our body, allowing us to spin in the attack and defense
Kung Fu by facilitating the spine to rotate freely 45 ° left or right. The buttocks must remain as if we were sitting on the water, in a firm position, yet flexible enough to not be stiff when moving; so that if the opponent attacks us from the left we can change the body weight to the right and vice versa, thus avoiding attacks on the thighs or knees by being able to move them and get them away from the angle of attack. A stiff buttock would fix us to the ground, preventing us from moving with suppleness. We must respect our target and always keep it during the attack. We'll use circular moves. As we have said, when a hand goes up
the other goes down; when the body goes upward, the next move will be downward. When a palm is facing up the other will be kept facing down to change the position, and the one that was on one side will now be on the other side, and so on; we play the game of opposite movements all the time. Learning takes place like when we were infants, performing those circular motions we kept doing with our arms and legs, and that we have been losing during the growth process. When we were babies, all our movements were circular, as a method of defense against the unknown. In Tai-Chi Chen we have to recover the circular movement system.
The movements most characteristic of our Style are as follows: • Baihe liangehi. The famous crane spreads his wings. • Louis aobu. Knee sweeps with a step forward. • Daojuan gong. Withdrawal turning forearms. • Zoulan quewei. Grasping the sparrow left tail. • Youlan quewei. Grasping the sparrow right tail. • Ti dengjiao. Heel Kicks. • Chuansuo. Swinging back and forth • Zhuanshen banlanhui. Turning the body, deflecting, dodging, hitting.
BIOGRAPHY OF MASTER CHEN Master Chen was born in the municipality of Ruian, Zhejiang Province, at the village of Chen-Ao of the small town of Chang-Qiao. Since his youth he studied Kung-Fu with the Shaolin Master Youlongji, known as the "Iron
Monk". While he was learning with him, he heard about Hongyunshen Master, who was teaching the Tai Chi Chuan Chen Style in the City of Shandong and without hesitation, he moved there. The year was 1983 when he finally began his apprenticeship with Hongyunshen in a small school that he attended every morning. During this period he met Master Liochende, who imparted classes every evening in the park, to which he also began to attend. In 1996, Master Chen returned to Ruian, where he began to teach. Students came from faraway places to learn with him. In 2000, a series of unfortunate events pushed him to leave the country. After many trips and adventures, Master Chen arrived in Spain in 2001, invited by, Mr. Fan Xin Min, a businessman of Chinese origin, a famous actor and Martial Arts teacher in Madrid, who has also made ??a video with Budo International. In the Spanish capital, he met Diego Cáceres, with whom he got along right away. Professor Cáceres soon perceived the outstanding skills and knowledge of Master Chen, and adopted him as his teacher. Soon after, Master Chen decided to stay in Spain, where he currently imparts his teachings.
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
Kung Fu
“I believe that people really don't change, our basic personality is set in stone from a very early age.�
Masters & Styles Making it to the Big Apple has always been one of my biggest dreams. With great fondness I recall being eight years old and climbing up the tallest apple tree in my parent's yard. From the very top of that tree I could, on the clearest of days, faintly see New York City's iconic skyline. It was in those moments that I dreamt of making it to the Big Apple. But not even in my wildest dreams did I think that my obsession with Chinese kung fu and Bruce Lee would be my ticket there.
Kung Fu “To survive in such a competitive place, one must be principle-centered and have a working operating system to handle life's obstacles�
Masters & Styles ince 2002 I've been running City Wing Tsun here in New York City. Before opening my school I had traveled the world to train with the best instructors and fighters in the wing tsun (WT) system. I was a full-time student at the EWTO's Langenzell Trainer Academy in Germany. As such I am the only American to have trained full-time and graduated as an instructor from there. My original plan was to open a school in Miami, but fate would have it otherwise. In September 2001 in Berlin, grandmaster Leung Ting offered me to become the new head instructor for New York City. Since opening my school I've trained exclusively in Hong Kong wing tsun under all of the top Chinese masters. In 2011 I formed my own independent association, the City Wing Tsun Athletic Association which aims to develop wing tsun exclusively in North America. Teaching in New York City has truly been a dream come true for me. There is no other place on earth where so many different cultures and ethnicities collide in such a creative way. The faces in a class at my school looks like an assembly at the United Nations or Benetton ad. The art of wing tsun is no longer an obscure or secret system taught only to a handful of students in China. It is now something for the entire world. There is perhaps no
S
better place to see that than here in NYC. Whether it is a CEO, lawyer, actor, musician, or anything else under the sun, so many different people come to City Wing Tsun to achieve their personal goals. For some people they want a place to safely relieve the stresses of this city. For others, it's a great workout without the indignity or boredom of the gym. Of course, many come because they want to learn selfdefense, but most have more vital lifeimprovement goals or benefits in mind. The beauty of martial arts is that it can bring so many people together harmoniously, despite the fact that everyone has their own goal. The school becomes the escape from the incredible energy of the city for my students and myself as well. To survive in such a competitive place, one must be principle-centered and have a working operating system to handle life's obstacles. This is often more valuable than the fighting aspect of martial arts. The deeper lessons that wing tsun has taught me has allowed me to survive ups and downs throughout my teaching career. I strive to impart these same lessons to my students so that the philosophy of wing tsun becomes a daily practice, not just something for the potential streetfighting scenario. Just as the wing tsun uses principles to deal with an attack, so can these principles be used to
subdue life's obstacles. New York City is a melting pot for so many creative minds and talents. In this way the amazing people I come into contact with on a regular basis constantly inspire me. Living and teaching in New York has given me the fantastic opportunity to meet many people that I have looked up to for a long time. One of those people was Sifu Vincent Lyn, whom I knew from his fight scene with Jackie Chan in Operation Condor. I feel blessed to call him a friend and I always look forward to our long conversations which are usually over good food in Chinatown. When you find a friend with that mix of talent, drive, and authenticity as a human, one must value that as the rare gem it is. www.citywingtsun.com <http://www.citywingtsun.com> You know the joke? How do you get to Carnegie Hall? I guess one could also ask how do you make it in one of the most expensive and competitive cities in the world NYC? Beyond practice, who you know, being in the right place at the right time, talent and of course a little luck always help. Sifu Vincent Lyn was born in Yemen to a British Mother and Chinese Father. His two parallel life long passions music and martial arts were both learned from his parents. Piano studies with his Mom and Kung Fu from his Dad. To many these two arts would
Kung Fu seem like a contradiction, seemingly at both ends of the spectrum, but he has been extremely fortunate to have had a highly successful career on many fronts. His accomplishments as a martial artist may be even more glamorous than those in the media. An Action movie star, Grammy Nominated recording artist, a top model signed with the Elite Agency, Kick-boxing champion, celebrated writer, but what makes him complete is practicing his family's Ling Gar style of Kung Fu. A 10th Degree Black Sash and scholar of Chinese medicine and heir of his family style, Ling Gar. Lyn was inducted into the World Martial Arts Hall of Fame and received a Lifetime Achievement Award from the Action Martial Arts Magazine Hall of Fame. "Jackie Chan called Vincent Lyn one of the best fighters he has ever worked with!" Also in Chan's autobiographical bestseller "I am Jackie Chan" one of his Top Ten Best Fights of all time. In connection with the release of his 2011 Grammy Nominated album "Heaven Bound" Vincent gave his debut performance at Carnegie Hall to a sold out crowd. He received two nominations one for Best Instrumental Jazz Album and one for Best Improvisation Jazz solo for Oscar Peterson's "Nigerian Marketplace." The Top Ten Jazz Album of the year for Unsigned Artist's and Top 40 Jazz Album of the Year. Now his much anticipated third album release "Vincent Live in New York City" a live recording of his 2012 second concert at Carnegie Hall. It already has been in the Top 40 CMJ Jazz Charts for the last 8 weeks peaking at #12 and to amazing reviews. Everything looks like its on its way and very well might become a stellar success at the 57th Grammy Awards. The big question is how on earth does Sifu Lyn find the time to do all of these things that require so much time, discipline, tenacity not to talk about patience to attain a degree of excellence at any Art? Obviously he seems to have taken it in strides. With all of these accolades you might be surprised to know that in his city of choice NYC for the past 12 years he has owned and operated a company called Pro-Force Security Corps. It's main focus is private security, executive protection for VIP's. Also Sifu Lyn has recently become a P.I yes Private Investigator - For those of you who are unsure of what a P.I does. A private investigator , a private detective or inquiry
Kung Fu agent, is a person who can be hired by individuals or groups to undertake investigatory law services. Private detectives/investigators often work for attorney: <https://www.facebook.com/pages/w/11269643 8745118>
s in civil case <https://www.facebook.com/pages/w/108510899179928> s. So how on earth does a martial arts teacher and professional musician run a Security company and become a Licensed P.I? After the worst terrorist attack on American soil 9-11 took place Sifu Lyn was approached by a former martial arts student who now lived in NYC had he ever thought about starting up a company to focus on security to NYC's elite families. The paranoia that swept throughout the country especially NYC was unprecedented and certainly with good reason. So it seemed like an opportune time to take advantage of what he thought was a great idea. Of course starting anything new always comes with a sense of trepidation but that's what makes it all the more exciting. Change is a good thing. But many people thought the idea was crazy, selling his home in CT, and his successful martial arts school. It seemed like an insane proposition. But with big risk comes big gain and so Sifu Lyn took that leap of faith. A year after 9-11 he moved into an
Masters & Styles
Kung Fu apartment in downtown Manhattan in exclusive TriBeCa. A stones throw from what was the former World Trade Center now smoldering a year later. Fast forward a decade and we have been very fortunate not to have been attacked again though terrorists surely have continued trying. But we will never be out of the woods, terrorists whether home grown or Al Qaeda or now ISIS will always be one step away from trying to do us harm. We must always remember they only need to get it right once, we on the other hand have to get it right every single time. They are extremely patient and while we become complacent and let our guard down they will come knocking. So for the clients that can afford the luxury it makes them sleep better at night. Having become a licensed private investigator was an offshoot and surely an added plus to an ever increasing demand for security. It was just finding the time to study for it and take the exams. But if you truly want something there is never any excuses! If one can see from Sifu Lyn's amazing rewarding and ever changing life in his own words. "I believe that people really don't change, our basic personality is set in stone from a very early age. Child psychologists say as early as 5 years old. That seems awfully young but if there's any truth to that then we really don't change at all! With that said what we can do is evolve. We must continually evolve ourselves. I hope I'm a good example of that and continue to evolve myself all the time. The same goes for my dear friend and Chinese martial arts brother Sifu Alex Richter. We have both followed a different road but here we are in NYC pursuing our dream. What an awful shame is that so many people never evolve. They remain stuck and their life goes by in the blink of an eye. But Double Dragons Live On! www.vincentlyn.com <http://www.vincentlyn.com>
Masters & Styles â&#x20AC;&#x153;We must continually evolve ourselves. I hope I'm a good example of that and continue to evolve myself all the timeâ&#x20AC;?
Taekownodo and me The Art of Self Defense, Health & Fitness We all know the history of Taekwondo, the art of kick and punch to the most vulnerable points of the body originated in Korea many years ago. It is also known as the art of unarmed fighting with empty hands for the purpose of self defense using attacks in different directions for striking techniques. This practice for efficient actions to reach the ultimate goal of survival as Taekwondo was used by the Korean army over 3000 years ago to the fight the enemy at wars. By incorporating linear movements flowing circular patterns involving kicking and punching as means and forms of self defense. In today's mixed martial arts many fighters practice Taekwondo, known as the Korean martial arts. It is the most popular discipline in the world, and it is the basic art of successful careers in combat sports. Taekwondo's emphasis of powerful kicking techniques and fast hand strikes make it an ideal weapon for striking base for MMA fighters. It is based on the theory that the length of the leg over the hand and leg techniques with eye coordination to execute comes from the power generated with the proper training. That also helps leg strengthening, balance, flexibility and fluidity to benefit the transition of movement to strike the weakest points of the human body. UFC survival fighters use their taekwondo skills greatly in the cage in order to for success and further their career with many wins under their belts. Growing up as a young man I was always obsessed with sports in general, especially martial arts. I started running every day around the school premises every time we had a break period and during sports activities. Sometimes I would run for few hours after school until my mother would come to pick me up. Then I joined the school's gymnastic team with great appreciation. During the course of exercising and participating in all aspect of the gym training I discovered that to be good my instructor advised me that I must take chances. He realized that I had special
abilities so he encouraged me to take advantage of learning the best way possible. Not long after I become very good, capable to perform some of the most difficult jumps, flips, hand bars, etc. This approach of not being scared built up my confidence to do better at anything I had set my mind to. Knowing my drive and endless possibilities my mother enrolled me into music school conservatory in Israel to play the trombone and trumpet. At first it was hard doing so many hobbies but I trained my mind to deal with it. After a few years I became the solo and leader of the Acco Symphony Orchestra in Israel. My conductors Shmuel Kahana and Zubin Meheta took me into their hands and taught me everything they could in music. Shmuel was multitalented, skilled in playing several instruments. With this type of experience I played for presidents and top generals in Israel. It was a great challenge in my life as I decided to excel in school studying day and night in order to succeed and escape the poor life and miseries that I witnessed for years. My vision and endless dreams took my mind to the point that, when the teacher presented questions whether on the blackboard or verbally I immediately had the correct answer. As the school principal became knowledgeable through recommendations of my teachers he decided to give me an IQ test which I easily passed. After succeeding several government tests he decided to jump me two years of school from 6th grade to 8th. At this point of my life I knew there was no stopping to what I wanted and could do in high school. I took art lessons and upon discovering my artistic ability my teacher extended himself to teach me all the secrets of oil and water painting. The quality and high details of my artwork landed me in a job at Acco City Hall where I painting posters, logos, festival signs, etc. until I eventually got a job at the Golan Globus Movie Production Company in Tel Aviv, Israel. There I painted posters and promotional materials of movies that were released in theatres. With this brief biography of my teenage life story you will realize the endless achievements, drive and experience of my martial arts life story.
It started when the Movie Company Golan Globus Production brought Bruce Lee's first movies “Big Boss,”and “Fist of Fury” to Israel. After viewing the movie at the company conference Mr. Menahem Golan asked all the directors to consider and present their ideas on how to promote Bruce Lee or any other karate movies. Because of my admiration of Bruce Lee I reached out to world karate champion in Israel, Gideon Kadari, who was world champion in Shodakan and an Army Specialist. When I divulged my idea of live karate demonstration before each showing of “Fist or Fury” movie in theatres, instantly he gravitated to it and it became a great success, spectators were so excited, packing the theatres everywhere. My idea was very simple, special and realistic insomuch people were able to see and be motivated to appreciate the martial arts and the strength, artistry, physics, speed and agility. Most important, it gave the human mind the freedom to explore body movement just like dancers do. By now I developed great respect and friendship with GM Kadari. He took me under his wings and taught me all the secret moves of Shotokan martial arts in 1970. I migrated to the United States that same year to study Architecture at Columbia University, New York City, and immediately enrolled to study Kung Fu at NY Kung Fu Academy in Time Square. After a few competitions I wanted to learn how to use more leg, hand and my body movements, speed, techniques and reflex that were more effective in fighting. One Saturday morning my brother recommended that I paid a visit to GM Richard Chun Martial Art Center on 76st and First Avenue, New York City. When I arrived at the Taekwondo Center GM Chun was kind to introduce himself and offered me the opportunity to try taekwondo class. I accepted the offer only to realize that the class master, Joe Hayes, was a great world champion. At the end of the class Mr. Hayes invited me to spar with him and as we sparred he observed that my reflex and blocks were fast with good timing. He
GM Maurice Elmalem 7 Time World Champion, Author, Producer, Artist, Architectural Designer. www.mauricepromartial arts.com
commended me and said “You are very good, fast and fearless!” GM Chun invited me to sign up for classes but because I was a student without good income I declined. After Mr. Hayes and GM Chun conversed briefly I was able to take classes at an affordable rate with the condition that in the future I will agree to teach for free and represent Chun Taekwondo Center in Taekwondo championships. With the GM's generosity I eventually started to embrace TKD and my quest to learn the depth of martial arts. I researched on it and found out that practicing will feel somewhat complicated using different elements of the body that we are not accustomed to such as side kicks, turning kicks, moving in different directions while in motion, observing every move with good execution. After a few classes my perspective changed, and I got very involved, practicing in groups where everyone was instructed to follow the master instructor so no one is left out. This routine of practice has been very instrumental to me ever since. After 40 years of practice under GM Chun I have great deal of respect one of world's most honorable for him as one of the most honorable Taekwondo GM, author, historian, philosopher, a man of integrity. Dr. Chun is a perfect example of a world successful TKD GM. Thank you for being my mentor guiding me all the way to the top with great advice and wisdom of a lifetime. Taekwondo meditation enables the mind to connect with the bod. Its history keeps us motivated. The respect between the GM, instructors and one student to another is outstanding with this in mind everyone benefits. Throughout my 48 years studying martial arts, Kung Fu, Krav Maga, Combat Hapkido, Taekwondo is the art that got me where I am today and will enable me to leave imprints of my legacy on this universe. Living in a fearless world I had to kill the fear in me and use the energy to process all my dreams. I have learned that without trying using your mind even when risk is involved you will never accomplish much in the real world, especially with all the changes that are taking place in the world of martial arts and everything
else. The late GGM Aaron Banks was a very honorable man, his influence, wisdom and inspiration played a big part in my life. He opened the doors of success for me as well as many more martial artists. He recognized and admired my talents moreover worked with me for many years as my personal talent manager. He was mindful to acknowledge me in front of audiences on numerous occasions and dubbed me as the Architect and Houdini of Martial Arts. He always emphasized that “Life is beautiful and full of fear.” In 2001 he made me the star of Oriental World of Self Defense at Madison Square Gardens that brought upon highlights of my martial arts career when movie star Chuck Norris placed my 7th world champion belt and said “You are a great champion.” With everyday challenges we have no other choice but to fight and deal with various issues and aspects of life until all problems are solved. With this in mind we become strong minded and that is what Taekwondo have to offer. The chance to explore our mind through forms, self defense, breaking, fighting constantly throughout exercise class routine, leadership, and go for our dreams. My philosophy has always been “no guts, no glory” winning only comes by just trying “if you do not succeed the first time, try and try again until the mission is accomplished.” Taekwondo martial arts paved the way for me to become 7 Time World Champion, 8 Time Guinness World Record Holder-awarded me with Renassaince Man Title. I am an author of three books, producer of over 30 instructional martial arts DVDS, movie producer, Budo Magazine editor, artist, real estate developer and most important my success in architecture design and general contracting, building artistic dream buildings, houses like picture perfect. Without Taekwondo and the discipline along with tradition of will power I don't know if I could have accomplished all what I was set to do. 100% of my dreams, my belief is “To be great is to reach beyond the impossible.” Always remember if you give up on your dreams you die: keep on dreaming. With the motivation and the wisdom that comes to me
from grand masters around, the world I am still a student of Taekwondo martial arts. I intend to accomplish more and conquer the world of martial arts by giving back to the community that witnessed my achievements throughout the years. Conducting free seminars, give advice, engage in charities, donations, judging in championships and UFC, taking pictures and signing autographs, corresponding with several martial arts magazines, and newspapers, TV and radio stations, meeting and enjoying the company of movie stars, legends, historians traveling the world with grand masters of the martial arts, taekwondo philosophy through me “you are not the best unless you experience the good and the bad, therefore keep on trying.” To win you must have superior attitude and superior state of mind. To learn how to fight, first learn how to heal people and how to protect yourself at all times.” My achievements are beyond the imagination but I always believe in the impossible. Pray for the best, and if the worst happen deal with it with integrity. Find the solution to resolve all our problem in peace. Keep on practicing Taekwondo. Laugh more. Be happy and healthy. Love music and most important take care of your body, with a good mind and healthy spirit take care of yourself and your family. Keep the good faith in God who is the “King of
the Universe.â&#x20AC;? Always believe in yourself. I was told several times I would be out of my mind to go after all my dreams. Yesterday, today and tomorrow I will go out of my mind to follow my heart. I am a living dream. My defying and electrify demonstrations as the world champion martial arts daredevil that have been witnessed by millions of spectators and fans from around the world on live TV shows, commercials, movies, world championships, Olympics and especially by the movie that Guinness World Records produced about my biography and featured on TV programs in different languages all over the world for several years. Life is beautiful, enjoy.
WING CHUN GUNG GUNG FU: FU: The Explosive Art of Close Range Combat
Five brand new Wing Chun DVDs 1 DVD: “Bot” Jom Doh Basics Complete “Bot” Jom Doh Form, 108 Motions, Historical Information about the Wing Chun Broadswords, Detailed Knife Blocking and Striking Techniques, “Bot” Jom Doh Footwork, Details of the footwork orientation of the form, One-man “Bot” Jom Doh Drills 2 DVD set: “Bot” Jom Doh, Applications, Drills, Concepts & Principles Applications of the motions from the “Bot” Jom Doh form, Knife vs. Knife, Knife vs. Pole, Drills, Concepts and Principles, Specially created Knife drills for the Wooden Dummy, Detailed Knife Blocking and Striking, Knife techniques as compared to their empty-hand counterparts, Cutting Principles
Sifu Randy Williams’ extensive collection of books on Wing Chun in 6 volumes, the series contains the history of Wing Chun, the theory and description of all Wing Chun forms in detail, Volume 6 is focused on instructing the system and provides additional information about Wing Chun Combat Theory from A to Z! This great work, originally written in 1988 and newly revised and updated is a must for the library of any serious student of the art. You can order the entire series as a set of 6 books, or by individual volume, and the new DVDs can also be ordered individually or in sets directly from us through our website:
1 DVD: CRCA Wing Chun “Biu Jitsu” Groundfighting Contents: The concept of “Reverse Engineering,” Chokes; Rear, Front Standing, “Guillotine,” Head-and-Arm, Side-Mount Shoulder Choke, and many other Groundfighting drills and techniques.
2 DVD set: “Look Deem Boon” Gwun Volume 1 ( 55 min. ) Content: Pole Details, Pole Drills, Pole Footwork, Form Overview, “Look Deem Boon” Gwun Form, 6 ½ Strikes of the Pole, Applications: Pole vs. Pole
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“Look Deem Boon” Gwun Volume 2 (60 min.) Heavybag Drills, Dummy Drills, Two Man Drills, Form overview, Pole vs. Knife