MARTIAL CINEMA On June 29 of this year 2013, Jim Kelly, the undisputed Black star of action films of the 70's died at his home in San Diego, California. Launched to stardom for his appearance in the film "Enter the Dragon" along with his mentor, Bruce Lee, his figure, which had faded in recent years, certainly deserves a Special like today's, set up by our expert Pedro Conde. A work full of details and curiosities of the life of a star who, linked to Bruce Lee's career, broke barriers for the African-American community.
APACHE KNIFE Apache Knife: A Way Of Life. Some Indian tribes use a war post like I do it helps the students to understand the importance of using the knife in a hammer grip it puts tension on the hand while striking the war post so they can learn how it feels to strike a body or bone.
JKD
COMBAT HAPKIDO Just like many other martial artists, I became interested in ground fighting after having watched the first Ultimate Fighting Championship and seeing how Royce Gracie defeated his opponents without much effort and quickly immobilized them, unable to continue to fight. I then resolved to better my self-defense skills and began to research all the information that I could find about ground fighting.
“BUDO INTERNATIONAL” is a publication of: BUDO INTERNATIONAL PUBLISHING CO. Central: Office: Andrés Mellado, 42 28015 Madrid - Spanien Local pages: Maurice Elmalem mauricenterprise@aol.com International pages: Alfredo Tucci: budo@budointernational.com
Using the principles laid out by Bruce Lee along with an understanding of the foundation and function of Jeet Kune Do, we can investigate other arts and draw out their essence. We call this the "JKD Filter".
INTERNATIONAL BUGEI SOCIETY It's not strange that many students seek today in neighboring arts an added to what they believe to be deficiencies. We can clearly see this in countless practitioners who are forming themselves in four or five different martial arts. Far are those days when fidelity to the Way symbolized the inner honor of the practitioner. Times are different and in this new era everything is possible! Now it's been established the search line of the spirit and of the necessity of desire. It seeks to satiate all desires and frustrations.
SDS-CONCEPT S.D.S.-Concept Security Training is an educational system for operative and practical security schooling and training. Some professional groups run a clearly higher risk of being attacked by aggressive customers and clients than others. This may be daily business, but should not be taken lightly. Our educational program was clearly designed for these professionals' day to day work.
ESKRIMA How to become a good eskrimador. Today, Eskrima is a mix of different styles. It seems that many students mix different styles and then call it Eskrima and add new things which have nothing to do with Eskrima. They are shopping, want to learn as many techniques as possible and then mix it in their own style and start teaching.
TOYAMA-RYU BATTO-JUTSU Hernández Beltrán to give deserved response in this article, rescuing from the recent memory a combat style that can be the revulsive to a different way of seeing the authentic disciplinary arts of Japan: the Toyama-Ryu Batto Jutsu.
HUNG GAR KUNG FU The award of the 9 Master degree by the World Martial Arts Institute, with the commentary of the responsible organizer Dr. Song: "This is the least which we can distinguish you." And so left Grand Master Martin Sewer the occasion finally with more awards than he could bear, and proved that hard work pays and correct in the long run.
General Director & Art Director: Alfredo Tucci. Advertising: Maurice Elmalem - mauricenterprise@aol.com International pages: Alfredo Tucci. budo@budointernational.com Columnists: Don Wilson, Yoshimitsu Yamada, Cass Magda, Antonio Espinós, Jim Wagner, Coronel Sanchís, Marco De Cesaris, Lilla Distéfano, Maurizio Maltese, Bob Dubljanin, Marc Denny, Salvador Herráiz, Shi de Yang, Sri Dinesh, Carlos Zerpa, Omar Martínez, Manu, Patrick Levet, Mike Anderson, Boulahfa Mimoum, Franco Vacirca, Bill Newman, José Mª Pujadas, Paolo Cangelosi, Emilio Alpanseque, Sueyoshi Akeshi, Marcelo Pires, Angel García, Juan Díaz. Photographers: Carlos Contreras, Alfredo Tucci.
"As we acquire knowledge, things do not become more comprehensible, but more mysterious" Albert Schweitzer
e are all tools of forces that are beyond us. Partly chosen, partly imposed by the very process that results from our individual and collective evolution, the process of awakening of consciousness that does not stop to consider details, ideologies, opinions or tastes. The large forces encourage, sustain and lie behind every little thing, because they are but parts of that Whole that creates them. Since man is man, and somehow even before, he has tried to understand how that amalgam of forces, energies and tensions act on us. With uneven success, he has explored countless ways, roads and explanations, and he will continue doing so for as long as he will exist. The impetus to understand the mystery of existence and its consequences is enrolled in our DNA, and it got reliably activated from the very moment that the light of awareness and understanding was kindled in our species. Nothing can replace that unconscious yearning of the inquiring eyes that look up at the night sky wondering what's up there, or the weeping eyes of a mother who finds no answer to why her son had to die, or the man who confronts the storm that will ruin harvesting and condemn his kin to death. Understanding, being able to see beyond the obvious, finding out what works from the invisible, its paths and directions, its laws and secrets, is the dream of every man eager to transcend the discourse of the reality, understood as a group agreement. Those who were able to question the convictions of the ensemble of their contemporaries, those rebels were the transgressors who transmuted the consciousness of the group. Sometimes branded as crazy, others as apostates or heretics, they opened doors that were closed and sealed by the stupidity of a reality admitted as such usually by the fear and ignorance of many. Today, imbued of the arrogance of that sole thought that promotes the materialism of our day, we are not so different from Galileo's contemporaries. Science itself acts as a demonizing mechanism of any other form of analysis of reality that doesn't agree with its ruling premises, to eventually -of course, after the damage is donerecognize to their heretics the merit of a differentiated approach to its postulates that, very reluctantly, led to change a paradigm. Once lost their initial impetus, all things cool down and castle in their own tendency bringing to light the best and worst in them. Nothing replaces the humility of "non credo", "do not know", "my truth is my truth, but not necessarily yours." Respect is the great antidote to fanaticism and stupidity that the result from the consensus of each era. That's why the sage always listens with an open mind, with no judging. There's no urgency or demerit in it, quite contrary, one can act and must do so according to his own truth, because consequences will be for him, in good and evil, and because they are part of his personal
W
"Know yourself before you start deciding about the nature of God and the world" Ramana Maharshi
history, of his own path. It is uncertainty itself, that form of fear that stems from insecurity, what pushes people to intervene and try to convince others of its truth. Proselytism originates in this evil; it unequivocally points such weakness and stresses the perversion of our certainties. Breathe twice before advising without being asked, breathe three times before criticizing other's ideas, breathe a hundred times before denying the truth of the other . Yes, it is fear, always fear, what pushes us to take positions against the others, to deny them their bread and criteria, to fight them relentlessly and finally to destroy them. All fanaticism is consequently a form of cruelty; all intransigence is a step towards disaster. Waking up to these points is the result of a lot of selfquestioning and also and necessarily, of the experience. Because every arrow shot to the target carries the potential and the chinks of the bowman's intentions. Many times in life, what hits you is an arrow that you shot yesterday; in a curved universe, everything comes back, everything returns. When life teaches us that lesson, rather, when we are able to understand it, many of us have plenty arrows stuck in the ass. There's nothing we can do about those arrows we've already shot, but we can do a lot about the ones we'll shoot from now on. Even fanatics are necessary in a complete Universe; the sage should, however, protect himself from the consequences of such folly, like the researcher who wears his protecting clothes when entering the lab full of microbes or pests. Shit does exist, but it doesn't mean you have to eat it. The great forces of the Universe do as they please, moving freely on all sides. Only idiots or arrogant can conceive freedom as something undifferentiated and acting over such forces. You can surf a wave, but you will never be bigger or stronger than her. Wise men learn to use the forces, to stay one step ahead of them, anticipate them, even to direct them, but never to feel bigger than them The power of the magician arises in all this, comes from his knowledge and his empathy with such forces, from playing with the "Magnus", the greatness that underlies everything; in such process he becomes small, flexible and unpredictable like that he frequents; elusive and impassable, not to be touched by them, extremely robust in his simplicity, because only void can be compared to the greatest of all powers, Nothingness. The monumental forces that make the cosmos spin are not based on an intention, but in the very nature of things. Us humans, instead, move on impelled by intentions, whether visible or hidden to ourselves or to others; independently of the type, the blindness that pushes us generally makes us predictable and petty, whilst it can make us also giants and generous. That second option depends on our level of consciousness, but also on our inner greatness. Life is always taking out what we have
https://www.facebook.com/alfredo.tucci.5
inside, but is in great crises, in extreme situations, where inevitably either choice will sprout. We all serve something greater than ourselves; consciously or unconsciously we are part of something bigger that feeds on us as we feed on other things. The Universe exists in a continuous give and take of unimaginable forces, most of them invisible to men's eyes. Waking up to these realities is a giant leap for which few are prepared, but to which everybody is invited, because the nature of the occult is no different from that of the visible. Every existing thing feeds upon something; anything that feeds upon something exerts a function and generates consequences and wastes. The nature of all forces responds to higher laws, and does its job beyond any consideration of good or evil. What is good for some will be bad for others and vice versa. In the course of eternal things, we men pass through existence usually asleep and unable to see anything beyond the immediate. Always put in front of a mirror, one day we finally decide to look at ourselves and wonder who is the one we see reflected there. Only after questioning the answers will come ... it's been always so. Poor he who has never questioned himself and lives feeding on the manger of normality, where there is nothing but deceit and decadence. The invisible is acting behind every breath; it exists concealed, doing without doing. The wise sooner or later is bound to have that encounter with the mystery. The ancient Shizen people called this meeting "fuemaru", or "open your eyes". All the visible comes from the invisible. If we are tools in the hands of superior forces, any possible glimmer of freedom, however small or big it can be, will depend on our knowledge and our level of consciousness. We can't surf a wave that we don't admit it exists and we don't study how it behaves.
Alfredo Tucci is Managing Director of Budo INTERNATIONAL PUBLISHING CO. E-mail: budo@budointernational.com
Text: Sergio Hernández Beltrán Photos: © www.budointernational.com
Toyama-Ryu Batto-Jutsu, IMPERIAL JAPANESE ARMY FENCING Darkness wraps in gloom the advance. Slow and silent movements until just a hundred yards of the enemy… Only choppy breaths stir the breasts of those who know that most likely it's going to be his last sunrise. And then wait, while the moist sea breeze, along with the sweat produced by the stress and strain, drenches the bodies soaking the clothes. Clarity leaks out the figures stationed in front, conversations and noises of an awaking camp are heard. Suddenly, everything is moving. Deafening noise and hundreds of torn throats screaming. Death takes over the field and the battle begins. He stands up with sword in hand crying out commands as he starts running. He's young. The bodies seek contact. Some fall to never rise again. Others stumble, pant, crawl... With wide open eyes, lungs about to burst, running in a desperate way, they shorten distances screaming nonstop. The first ones reach their objective. With both hands, right and left, the young man armed with a curved saber stabs and cuts on an amalgamation of limbs and weapons. Blood flows and the sword accomplishes merciless the cold duty of the arms that wield it... Although this sequence might seem extracted from a battle report of the many that shook feudal Japan, nevertheless it occurred in the middle of the twentieth century, specifically in Saipan, on July 7, 1945, at the end of the last world conflict. The young officer was Captain Sakae Oba (1) of the Imperial Japanese Army. This is one among thousands of examples where men of a past time fought with anachronistic swords against modern firearms. And what type of technique did they have? Where did they learn the use of modern sabers copied from their ancestral and effective Katana swords? To these and other questions we hope to give deserved response in this article, rescuing from the recent memory a combat style that can be the revulsive to a different way of seeing the authentic disciplinary arts of Japan: the Toyama-Ryu Batto Jutsu.
(1) On February 11, 2011, the film "Battle of the Pacific" was released in theaters portraying the struggles of Oba and his group in Saipan, and the relentless pursuit of the US Marines. The film was produced by Toho Pictures, directed by Hideyuki Hirayama and shot in Japan, United States and Thailand, starring Yu t a k a Ta k e n o u c h i a s C a p t a i n Sakae Oba.
Author: Sergio Hernández Beltrán The Rikugun Toyama Gakko, birthplace of the Toyama-Ryu style In the sixth year of the Meiji era (1873), in the remains of what had been the village of the Owari clan, had its beginnings the Rikugun Toyama Gakko (Military Academy Toyama), in what is now the Shinjuku district in Tokyo, until 1937 when it was transferred at 40 km southwest, near the city of Zama, Kanagawa Prefecture. At the end of World War II, the Toyama Academy became Camp Zama, a detachment of the U.S. Army in occupied Japan. The school had different specializations to train the Army dashboards, namely: shooting practice, physical fitness, selfdefense and swordplay. Since its founding in 1873, the purpose of the Toyama Military Academy was that of enhancing the Japanese Imperial Army to reach as quickly as possible the same level as Western armies. In order to achieve this goal, French army officers were invited to provide the necessary unified military education for Japanese officers who later would form the basis of each regiment and disseminate the acquired knowledge, so that the objective of updating and unifying the entire army could be reached.
Gunto Soho - Military Fencing The vast majority of physical education programs for war intended for Infantry Officers of the Imperial Japanese Army (IJA) were created in the department of physical training of the Toyama Military Academy. At first, the melee combat technique (Hakuei) taught at the academy, was based on the French military style, with the sword fighter using a sabre
Arts of Japan which commonly was wielded with only one hand. However, after Japan's war with China (1894 ~ 1895) and Japan's war with Russia (1904 ~ 1905), the reliability of the Japanese sword, the "katana", was evaluated again taken into account also its spiritual side as well as its ancient psychological attraction in the Japanese people. Victorious in these wars, the Japanese Imperial Army evolved up to the level of other world powers and during this period, the style of wielding the sword changed from one hand to two hands. In this context, during the Taisho period, the Toyama Military Academy began researching more traditional Japanese fencing ways and developing an entirely Japanese military sword that could be introduced into the army. To this purpose, traditional Masters of sword fighting (katana) were called upon. Specifically in the field of swordsmanship, the Toyama Military Academy summoned the head Masters from each school - styles of Iaijutsu and Kenjutsu - forming a new style that later was called ToyamaRyu. The Toyama Academy had six big dojo halls for Kendo training and another one for Jukenjutsu, the practice of using the bayonet. Every dojo was 60 meters long by 12 meters wide. In the fourth year of Taisho (1915), the Western style of wielding sabers with one hand started to evolve toward the military swords called Gunto, which were used both two hands. Between the eighth and ninth year of the Taisho era (1920-1921) researches to improve the attacking ability in melee combats were undertaken and short sword techniques or Tankenjutsu (wakizashi and bayonet) began to be taught Also were selected the best exponents among those who had developed short sword techniques in order to improve the Ryote Gunto Jutsu techniques (Gunto techniques at two hands). In the 13th year of Taisho (1925), with the opening of the Toyama Military Academy main dojo, teachings to provide techniques and strategies to be used in guerrilla warfare to all soldiers carrying Gunto were put into practice. As far back as the 14th year of Taisho (1926) the denomination of
Reportage Toyama Ryu Iai Jutsu was established as the name of the style. In 1925, Morinaga Kiyoshi, who was first lieutenant and manager of the Kenjutsu Kenkyu Kai (Toyama Academy's Sword Technique Research Committee) was commissioned to help create a practical system of using of the Japanese sword in the modern battlefield, in order to incorporate it as a study subject in the Academy. The idea was to pick the most efficient techniques in the classic styles of Iaido, Iaijutsu and Kenjutsu. On behalf of the Japanese army, Morinaga Kiyoshi came into contact with the Masters Kunii Zenya (Kashima Shin Ryu) and Nakayama Hakudo, highly celebrated the latter for being an important Master of the Muso Jukiden Eishin Ryu Iaido style and also founder of the Muso Shinden Ryu. Morinaga requested their help in compiling a system of sword techniques that could be used in the battlefield. The second step in the creation of this military style was to analyze the reports of experts in the great battles of Japan's recent history. The conclusion reached, based on the wounds and deaths of the Battle of Satsuma in 1877, was that the most common and efficient technique was the so-called "Kesa giri", a cut made diagonally downward, which had been the main cause of almost all the fatal injuries. Therefore, it was concluded that the technical basis of the new style should be the "Kesa giri". The result of the works of the Kenjutsu Kenkyu Kai and Nakayama Sensei was a new style that was born in 1925, and it was first called Gunto no Soho, consisting of five Kata in Tachi- Waza, i.e., sequences of moves for modern war from a straight up stance, shifting forward, rightward, leftward and backward, and designed similarly to modern Iaido, created by the same Master Nakayama, adding the Tameshigiri (cutting technique test). For this purpose they used the "makiwara", which consisted of rice straw rolls that had been previously sunk in water so that they got solid and remained moist presenting the consistency of a human body. However, these kata were only practiced in the Academy and were not spread to the rest of the army. In 1934, the Japanese Imperial Army officially changed its word similar to western swords, by other traditional Japanese style sword, referred to as the Gunto 94 model military sword, thereby creating the Gunto no Soho, the first Japanese fencing style with a military sword akin the old katana. In Sowa 15 (1940), the Gunto no Soho was redefined, the reason for this reform being its scarce profit in Manchuria during the war between Japan and China. Morinaga Sensei served repeatedly fulfilling his duties as instructor assigned to the Toyama Military Academy (Rikugun Toyama Gakko), with the grades of lieutenant (Rikugun Chui), Captain (Rikugun Taii) and Commander (Rikugun Shoosa). Later, from 1939 to 1945, being a Lieutenant Colonel (Rikugun Chusa), Morinaga Kiyoshi was appointed Director of the Toyama Academy. As such, he was responsible for expanding to seven the Iai curriculum from the five established kata. This was achieved by deleting the 1925's version of the number five form and adding a “new number five form”, along with two extra kata, the "number six form" and the "number seven form”. Precursors of this change in 1940 were Seiji Mochida and Goro Saimura.
Commissioned as Kendo Masters of the Academy, they officially adopted seven kata in Tachi-Waza. These kata were included in a supplementary chapter of the KaikoSha (a social organization of army officers), under the title of "The November 1940 Manual. Techniques and Tameshigiri with Gunto" (military sword). The manuals were distributed to all officers of the army, thus making the Gunto no Soho, developed at the Toyama Military Academy, to be known by the Japanese Imperial Army as a whole. In January 1942, Hisakazu Tanaka, of the Toyama Military Academy, created a collection that was published, entitled "Tanki sokusei kyoiku gunto kunren - Ichigeki hissatsu" (Intensive Gunto Training Manual - Killing with a single blow). The main purpose of this intensive instruction was to teach handling the Gunto to people without knowledge of "Kenjutsu." In actual combat it focused on three techniques: 1. Ryote shomen giri (vertical cut forward at two hands). 2. Ryote shitotsu (lunge with both hands) 3. Kesagiri Hidari (left diagonal cut) In March 1944, the "Intensive Gunto Training Manual Killing with a single blow" - was revised and republished as "Gunto no Soho # 1" and the original Gunto no Soho as "Gunto no Soho # 2", then the Toyama Military Academy combined both and with some corrections published as the "Gunto no Soho and Tameshigiri of the Kokubo Budo Association". There were three stages of evolution and development of Gunto Jutsu. 1st - It extends until the fourth year of the Taisho era (1916), definition and development of the Gunto Jutsu techniques in general. (Kenjutsu). 2nd - In the 14th year of the Taisho era (1925), development of the "Batto jutsu", unsheathing, sheathing and cuts with the Gunto, plus five kata (forms) easy to learn. 3rd - Corresponds to the closing of the Toyama military school and it focused on "Tameshiguiri" (cutting test), points to consider as etiquette and seven kata (forms) were fixed that became the basis of what is known today as Toyama Ryu Iaido. To evidence in detail the practical effectiveness of the sword techniques of Toyama School, it suffices to refer to an American publication titled "The Jap soldier" that was published in 1943, which explained and gave advised to military officers of United States, in the possibility of an encounter with official enemies in the battlefield. It said: "The Japanese officers still carry old swords. You'll see them lead their troops
“In 1934, the Japanese Imperial Army officially changed its word similar to western swords, by other traditional Japanese style sword, referred to as the Gunto�
"Toyama-Ryu Batto-Jutsu", "Toyama-Ryu Iaido" or "Batto-Do"
Reportage waving their swords, just like in the old movies. "Shoot them as fast as possible, because those swords can slice a man from the neck to the hip with a single and clean vertical cut." In this respect, the quote about the skill with the sword of Japanese officers was probably based on testimonies of eyewitnesses proceeding from the battlefields, who would have transmitted that information to those responsible for c re a t i n g n e w t r a i n i n g m a n u a l s . Reports could also come from the events produced by the "Nanpo Heidan Yamashita Kirikomitai" or "Southern Yamashita Army Group Assault Force", who was stationed in Manchuria during the last war. This elite group went into battle armed only with swords, against infantry equipped with modern weapons causing severe physical and psychological damage to the
enemy despite their minimal chances. One of the instr uct ors of t hi s group said that once they were at about ninety feet from the enemy lines, and when the light arms fire d i re c t e d agai nst t hem was inaccurate, the advantage seemed to change suddenly in their favor. When the enemy saw the skilful s w o rd s men f al l i ng on t hem, determined in their goal of reaching their positions despite their low p ro b a b il i t i es of success, t he defenders became demoralized falling into chaos and disorder, thus allowing the raiding party to shorten quickly the distance without much d i ff i c u l ty. In cl ose comb at , t he
advantage of the trained swordsman overwhelmed those who tried it.
The main features of Toyama Ryu style were and still are: - Easy learning, so that anyone without prior knowledge could dominate it. - Effective and real techniques; only techniques that are realistic were and are practiced. - Being a style for "REAL" combat to be developed in the battlefield, only techniques from the standing position are practiced. But perhaps the most noteworthy feature is the so-called "Ichi Geki Hisatsu" (Killing with a single blow).
Arts of Japan Techniques went through many changes since, due to a c t ua l c o mba t e x p e ri e n c e s , w e a k p o i n t s were continuously modified. There were also changes in the style's name: "ToyamaRyu Batto-Jutsu", "Toyama-Ryu Iaido" or "Batto-Do".
History of the Zen Nihon Toyama-Ryu Iaido Renmei The Zen Nihon Toyama-Ryu Iaido Renmei engages in activities to widely promote martial arts in general and Japanese culture in particular, through learning and training in the Toyama- Ryu Iai -Do style, not only in Japan but also abroad. Along with these activities, the organization includes international exchanges of Japanese martial art students overseas from countries such as USA, China, Hong Kong , Taiwan, Spain , Venezuela and Andorra. The Toyama Ryu Iaido is based on Gunto Soho, a wellestablished fencing method, improved and officially adapted to the katana sword by the Toyama Military Academy of the Japanese Imperial Army. After World War II it was called "Toyama- Ryu" and it was established as a school of traditional Japanese Iai -Do fencing, being continually modified and today it is considered an art. The whole process of establishing, consolidating and
improving the Gunto no Soho took about twenty years, from the Taisho period until the end of World War II, having been several sword masters from different schools those who were involved in its development in the different stages; the Toyama- Ryu is not attributed to a single founder. The peace treaty with Japan (the San Francisco Peace Treaty) was signed in 1951 and entered into force in 1952. That's when Japan regained its independence and the prohibition of the practice of martial arts was lifted, Morinaga Kiyoshi, former director of sword fencing at the Toyama Military Academy, Yamaguchi Yuuki, Nakamura Taizaburo and others began to call "Toyama- Ryu" the fencing style based on the Gunto no Soho and started to spread it throughout Japan. The current Zen Nihon Toyama-Ryu Iaido Renmei ( ZNTIR ) was created as "Toyama-Ryu Shinko- Kai", established by Tokutomi Tasaburo and Nakamura Taizaburo, who taught at Gunto Soho in the army. Over time the "Toyama- Ryu Shinko-Kai" was renamed as "Zen Nihon Toyama-Ryu Iaido Renmei", and another organization, the "Zen Nihon Batto-Do Renmei" (ZNBR), was established in order to include other schools of the art of Batto-Do, being these two Iaido federations as the two wheels of the same cart. In 2001, the Zen Nihon Batto-Do Renmei and the Zen Nihon Toyama-Ryu Iaido Renmei split. While the Zen Nihon Batto-Do Renmei is an organization that includes several schools of Iaido, the Zen Nihon Toyama-Ryu Iaido Renmei has become an independent organization, although a member of the former federation, with independent activities.
The Toyama-Ryu Association in Spain (Zen Nihon Toyama-Ryu Iaido Renmei - Spain Branch) In 2007, thanks to the endeavors of Sergio Hernández Beltrán Sensei, known expert and researcher of Okinawan Karate and Kobudo, as well as an Iaido practitioner since 1983, the Toyama-Ryu starts to spread in Spain. From a first seminar held in Madrid under the technical direction of Robert Steele Sensei, from USA, and convinced that the Toyama-Ryu BattoJutsu style amply fulfilled his own needs, Sergio Hernández decided to make it known in his environment, in an independent way but as a complementary martial activity to the practice of Seitei Iaido of the Zen Nippon Kendo Renmei. Profiting the infrastructures and with the help of friends from other Karate and Kobudo organizations, a series of training sessions to spread the style began. With several articles published in press in July 2008, the Toyama-Ryu Association Spain saw the light, with registry number 14251 of the Consell Català de l'Esport (Catalan Sports Council). A year later, in May 2009, the Toyama-Ryu Association Spain invited Bob Elder Sensei from Orlando, Fla. (USA), in turn Master of Robert Steele, first exponent
Reportage
“The vast majority of physical education programs for war intended for Infantry Officers of the Imperial Japanese Army (IJA) were created in the department of physical training of the Toyama Military Academy�
Arts of Japan of the Toyama-Ryu Iaido in our country. This step is essential to formalize relationships with Master Mitsuo Hataya, President of the Zen Nihon Toyama-Ryu Iaido Renmei, whose confirmation and acceptance would occur the following year, with the coming to Spain of Master Hataya in May 2010. In the following two years, the activity was substantially duplicate, and in 2011 the Toyama-Ryu Association Spain (ATS) was officially accepted as the organization responsible in Spain of the Zen Nihon Toyama-Ryu Iaido Renmei (ZNTIR), through the Ryubukan Dojo coached by Sergio Hernández Sensei, who was appointed "Spain Branch Director" (Director of Subsidiary in Spain of the ZNTIR ) . In February of that same year, Bob Elder Sensei was invited again, this time in the Principality of Andorra. After the event, Elder Sensei awarded the rank of Shodan of the American branch of Toyama-Ryu to Sergio Hernández, thus becoming the first graduate of the style in our country. A three-member team, which included the presence of Christopher Gea Sensei, secretary to the ATS, traveled to the East Coast of the United States in order to participate for the first time in the Orlando Taikai 2011, where Sergio Her nández Sensei conquered the first place in the Batto Kata contest, a fact that positioned the Spanish organization within the world context. A month later, in July 2011, Hataya Mitsuo Sensei and Masaharu Mukai Sensei, President and Vice-president respectively of the ZNTIR, visited Spain again. But it was in 2012, on a cold February day, when after an intense week of personal training at the ZNTIR Honbu Dojo in Machida, Tokyo, the responsible until then of the diffusion of the style in Spain and the Principality of Andorra, Sergio Hernández Sensei, obtained through a demanding exam the rank of Shodan (1st Dan) of the Zen Nihon ToyamaRyu Iaido Renmei, becoming again the first Spanish Yudansha in the ToyamaRyu style within the ZNTIR. In that same year and for the second time, Masters Mitsuo Hataya and Masaharu Mukai were invited to impart their teachings in the Principality of Andorra, carrying out an unsurpassed seminar. Two recent events are proclaiming the coming of age of the Toyama-Ryu
Association Spain and make it an international benchmark: one is the trip to Venezuela of its President and Technical Director, Sergio Hernández Sensei, and his secretary, Cristobal Gea Sensei, invited by Pasqualino Sbraccia Sensei, who is spreading the style in his country, in order to give two seminars, including, under the guidance of the ZNTIR, the tutelage of this fledgling group in Venezuela. And the second event took place in October 2012, when the book "Toyama-Ryu Batto-Jutsu. The sword style of the Imperial Japanese Army", was published, the prologue of which was in charge of Master Hataya. The author could be none other than Sergio Hernández. T h e g o a l s o f t h e To y a m a - R y u Association Spain, are the survey and diffusion of the Iaido / Iai-Jutsu arts (Battodo / Battojutsu), specially the line developed within the Zen Nihon Toyama-Ryu Iaido R e n m e i , t h a t p re s i d e s H a t a y a Mitsuo Sensei, based on ToyamaRyu style, focusing on the differentiating concepts traditionally transmitted from its origins and ensuring to maintain its purity and authenticity. In an effort to achieve these objectives, the Association attends the training and promotion of its teaching staff in particular, and of all its members in general, with the arrangement of events scheduled in its Annual Agenda, as well as any other relevant happening or supplementary service for the benefit of its members. All members have the right and the obligation to be affiliated and registered with the Zen Nihon Toyama-Ryu Iaido Renmei, with the benefits, advantages and responsibilities that it entails. With the organization certificate, the Association accredits its "Dojo Responsible members" and recognizes the Dojo training halls they manage as "Dojo-cho", through the Zen Nihon Toyama-Ryu Iaido Renmei .
Masaharu Mukai - 7th Dan Kyoshi - Zen Nihon Toyama-Ryu Iaido Renmei. - 7th Dan Kyoshi - Zen Nihon Batto Do Renmei - 4th Dan - Zen Nihon Kodachi Goshindo Renmei - 2nd Dan - Kendo
Masaharu Mukai Sensei was born on January 1, 1949 in Okayama Prefecture (western Japan , one of the most famous places of origin of the Japanese sword) After graduating from college, he was a policeman in Kanagawa Prefecture, specializing in Traffic Regulation, Problems derived from Traffic and Advice to Police Officers. After 36 years of doing his duty, he retired in 2009 as Police Superintendent. After leaving the Police Station in Kanagawa Prefecture, he worked two years as a consultant in the city of Sagamihara . He is married with Yoshiko and has two sons and four grandchildren (two boys and two girls). Master Mukai practiced Kendo for many years in the Police Academy, reaching the grade of 2nd Dan. One day he met Yoshitoki (Mitsuo) Hataya Sensei, current President of the Zen Nihon Toyama-Ryu Iaido Renmei, joining his dojo in Machida and his group Seizankai in 1985. For him it was a revelation, since real practice with a Japanese sword was what he had been searching for so long, and thanks to Hataya Sensei he had finally found it. The ZNTIR knows about the interest of many people worldwide in practicing real cuts with a Nihonto (Japanese sword), especially among practitioners of Kendo and Iaido. Personally, Mukai Sensei is keen to spread the Toyama-Ryu and its spirit among those who wish to lear n a true management of the Japanese sword. So much so that it has been appointed by Hataya Sensei as the maximum responsible f or t he d i ff usi on of t he st yle in Europe. His main goal is that of finding instructors to lead the promotion and expansion of the style in their own regions and countries, practitioners whom he can instruct and give support so that they are able to make known the Toyama-Ryu Batto-Do worldwide in the right way With the support of the ToyamaRyu Association Spain, he hopes to use its structure and its components as a basis for dissemination of the Toyama-Ryu in Europe. Master Mukai also practiced Takeda Ryu Yabusame from 1995 to 2000. He is currently Vice President and General Manager of the Zen Nihon Toyama-Ryu Iaido Renmei and its Technical Director.
TOYAMA-RYU WEB ADDRESSES Zen Nihon Toyama Ryu Iaido Renmei: http://toyamaryuiaido.jp/index_en.html Blog of the Toyama-Ryu Association Spain: http://zntirate.wordpress.com/
Arts of Japan
PARTAKERS IN THE TOYAMA-RYU BATTO-JUTSU DVD
Masaharu Mukai Vice President and General Director of the Zen Nihon Toyama-Ryu Iaido Renmei Sergio Hernández Beltrán President of the Toyama-Ryu Association Spain Manager of the Zen Nihon Toyama Ryu Iai-Do Renmei Spain Branch Responsible of the Ryubukan Dojo C/ Barri, 7 La Parroquia d'Hortò, 25714 - (Lleida, Spain) ryubukan@hotmail.com
Cristóbal Gea Gea Secretary to Toyama-Ryu Association Spain Responsible of the Yoshikan Dojo C/ San Salvador, 9 bajos. Ripollet, 08291. (Barcelona, Spain) yoshikandojo@yahoo.es
Víctor Herrero Pérez International Relationships - ToyamaRyu Association Spain Responsible of the Ken-Zen Dojo C/ Berenguer, 3. Santa Margarida i Els Monjos (Barcelona, Spain) dojokenzen@gmail.com
José Mateo Miranda Deputy Director of the Toyama-Ryu Association Spain TADAIMA DOJO C/ Juli Garreta, 18 17600 Figueres (Girona, Spain) josemiranda.tadaima @ gmail.com
“Some Indian tribes use a war post like I do it helps the students to understand the importance of using the knife in a hammer grip it puts tension on the hand while striking the war post so they can learn how it feels to strike a body or bone.�
Apache Knife: A Way Of Life
Text & Photos: R. Redfeather: redfeather88@aol.com
Tradition Apache Knife a Way of Life Founder Chief Instructor Robert Redfeather I do not teach from theory I teach from my life experiences. One thing I have learned in my life experience is you do not have to fight all your battles but I expect you to stand on your own two feet. Apache knife fighting is as old as Mother Earth. It is direct and goes hand to hand with nature, it is the Apache Indian Way. In 2005 I was asked to represent the United States for The 8th Chungju World Martial Arts Festival as the oldest Native American Fighting Art in Chungju City South Korea. I was honored to raise the Flag of the United States of America and March in the Parade to represent the Apache People. I spoke at the Universities about Native culture and gave demonstrations to the Korean Army on knife fighting. It has been documented in their Martial Art Museum. In 2013 I was Honored to be inducted into The Museum Honor Award by Michael Matsuda in Burbank California for Apache Knife the Oldest traditional Native American Art. I teach Apache knife fighting and combat tracking. I am also a producer, Technical Advisor, and choreograph knife fights and stunt scenes for movies. I am working on a courant film called Red Cloud Deliverance directed by Alex Kruz My Brother Ralph Redfeather and I talk a lot about Knife fighting and how it is amazing how many people have a fantasy about knife fighting, but in reality they have no clue what its
Tradition about. When they come to my seminar, I tell them I am not here to teach you how to knife fight, I am here to teach you how to save your life, and your loved ones lives. I am not here to be your friend, I don't care if you don't like me, I am here to teach you to survive! My brother smiles in the back ground because he knows there will be bumps and bruises and they will be very tired, sore and worn out. Thank god they are not real knives, because someone would be dead. Most of all, he knows they will never forget their experience and what they have learned from Robert Redfeather. I always have one person in the crowd to asking me, Sir? What would you do in a knife situation? And I tell them I would run. They usually say,” No really! What would you do?” I repeat I would run because I know what happens in a knife fight and I do NOT want to be in that situation. Then I pause and tell them about some Apache history, and things I learned from my Grandfather and Grandmother. My Grandfather was a great influence in my life and he taught me from his life experiences. He was in the U.S. Army during WWII and the stories he would tell me were blood chilling. I was always fascinated by his knife collection that he would gather from his enemies. One very important thing that my Grandfather taught me is to get rid of the threat, which is the knife hand or the hand with the weapon. So we learn to attack the knife hand, cut, move and stab, to torment the enemy because we know in those days, there was no hospital to go to. The Knives were infected with rust, bacteria and diseases, which you could die from later on or lose a limb from a simple cut. So to slow down the enemy, we would wound the hand and just run, then come back and do the same thing again and again, because they would have to stop and help take care of there on troops. It's like a game of chess, how to move and manipulate the enemy where you want them to be in order to out flank them. We have
learned this, and know it's an art of fighting, which is called Nagondzoog. It's an old term for guerilla warfare, but if you break it down, it can mean war, fight or combat. Nagondzoog is not a style it's just a term, but if you use it in a proper sentence (Nagondzoog Nyol ) it means “Fight Like The Wind” It is also my Family's fighting system. I teach a basic technique called a downward wind, which is a downward motion of striking and cutting of the knife hand of the enemy like fingers, hand, wrist, and forearm. The upward wind is the same but in an upward motion, and from there I teach them how to hold the knife properly and make sure they are hiding behind the blade and in a warrior stance with one leg forward and one leg back. Martial Art students always have trouble with this because they want to fight in a sideways stance, but I tell them I have never seen a deer try to run with there legs crossed. It is very difficult to fight in a sideways stance, you have to be able to move, walk and run. Everybody has trouble walking. They are puzzled when I tell them to walk, then they realize how natural it is to just walk and move. All through the program they have trouble walking with their knife as they are fighting because they feel like they have to stay and hold there ground and fight. We are constantly moving and walking around the enemy. Other Martial Artist, or fencer's want to lunge, and when they lunge, there planted like a tree and cannot move, and we move around them like the wind and go in for a kill. Let me explain a little bit why it is difficult to fight in a sideways stance while knife fighting. When you are in that stance, or a Martial Art stance, you are exposing your kidney, lungs and butt. It is very easy for someone to maneuver around you, and get behind you. It is not wrong to fight in that position, you just have to know when, and how to fight in that position, you cannot linger because timing is life or death.
Some Indian tribes use a war post like I do (see picture) it helps the students to understand the importance of using the knife in a hammer grip. It puts tension on the hand while striking the war post so they can learn how it feels to strike a body or bone, and most importantly it helps you learn your striking, walking, and moving around the post as you would in a knife fight. I even have students make there own war post in there back yard because they realize how important it is to train on one. Another training exercise I teach my students is stabbing the earth so they can get the affect of what it will feels like stabbing a body it puts pressure on the wrist and the thumb this helps you to know how to hang onto the knife and it is very important to have a guard on your knife like a K-bar so when you stab a body your hand does not slide down the knife towards the blade. When you pull the knife out of the ground or body the hilt of the handle should be slightly curved so you can pull it out because if it is straight your hand will just slip off the handle especially if it is covered with blood. Like my Grandfather says the first thing that touches the body is the blade of the knife not there hands like in most movies you see. In the movies someone is sneaking up behind somebody and reaching around to cover there mouth with there hand and
then slicing there throat (that is so wrong). We are taught to use the blade to touch the body first then into the neck. For instance, in some cowboy and Indian movies you will see an Indian jumping of his horse and grab the enemy but that is just Hollywood, in real life the warrior would never grab his enemy, his blade is first thing to touch the enemy. When I teach the U.S. Military and Special Forces I teach them different than I do civilians. In the civilian's class, I teach more of self defense and the Law. I teach the Military how to fight and to get the job done I think you get my drift I don't like using the “K” word. I teach all over the world, people that host seminars for me to teach I go to them and I also teach at my home If you would like to know more about Robert Redfeather go to www.apache-knife.com. I would like to leave you with an Indian Way of thinking. You have noticed that everything that an Indian does is in a
circle, and that is because the power of the world always works in circles, and everything tries to be round. The Sky is round and the earth is round is round like a ball, and so are all the stars. The wind, in its greatest power whirls. Birds make their nest in circles, for theirs is the same religion as ours. Even the seasons form a great circle in their changing; always come back again to where they were. The life of a man is a circle, in there childhood to manhood, and so it is in everything where power moves. “All things in the world are two (naki-two). In our mind we are two-good and evil. With our eyes we see two things, things that are fair and things that are ugly. We have the right hand that strikes and makes for evil, and the left hand full of kindness, near the heart. One foot may lead us to an evil way, the other foot may lead us to a good. So all things are two, all Naki.” R. Redfeather: redfeather88@aol.com
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
The Zen Nihon Toyama Ryu Iai -Do Renmei ( ZNTIR ), once reviewed and adapted the concepts and methodology of a school that proceeds from a method of real combat, is the body that currently intends to maintain this tradition and original forms alive through a system that unifies body, mind and spirit in a realistic and effective way. This DVD was done at the instance of practitioners of the Spanish subsidiary of the Zen Nihon Toyama Ryu Iaido Renmei (ZNTIR Spain Branch) to present to everybody a combat style with a real sword, created last century, but with roots in the ancient fighting techniques of feudal Japan. In it you will find the basic structure of the methodology applied in the style, from the coded warm up and preparation exercises, cutting exercises, guards, the school kata, work in pairs and initiation in the Tameshigiri or cutting exercises on a real target , the cornerstone of the Toyama- Ryu. We hope that knowledge of the existence of a style such as the Toyama-Ryu Batto-Jutsu acts as a revulsive of a traditional way and yet very different from current combat disciplines, that attract those who want to go further in their martial practices. Those interested in the Japanese sword and initiates, will find useful this DVD both as support to their learning and as a reference.
REF.: • TOYAMA1
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
Reportage
Eskrima HOW TO BECOME A GOOD ESKRIMADOR How to become a good Eskrimador? I hear this question over and over again in my seminars. I receive lots of emails from people asking me this question. When I started Eskrima almost 30 years ago, everything was different. There were no computers, no internet, and no email. You could not just find a video on YouTube and see the masters in action. You had to find true Eskrima yourself. Nowadays you can easily contact the masters and even train with them. Modern times provide lots of opportunities. But the other way around you can easily be fooled by a video. True Eskrima has to be practiced, understood and experienced in real time. You cannot learn the specifics by watching a video.
“Today, Eskrima is a mix of different styles. It seems that many students mix different styles and then call it Eskrima and add new things which have nothing to do with Eskrima� Different styles Eskrima Today, Eskrima is a mix of different styles. It seems that many students mix different styles and then call it Eskrima and add new things which have nothing to do with Eskrima. They are shopping, want to learn as many techniques as possible and then mix it in their own style and start teaching. These self-proclaimed masters forget the most important principles of Eskrima which lie in its foundation. Every martial art starts with a good foundation, and the same applies to Eskrima. Without it, one cannot be a good Eskrimador, certainly not the best you can be. The use of a knife for instance, starts with and understanding of the weapon; what is does in a combat situation, its dangers, how to defend against it, how to block, how to attack, what distance really means and how it affects the fight. It takes years of training with sticks and knives before you have mastered its foundation principles. True masters understand these principles in-depth and can anticipate their opponents' attacks, foresee their movements and their reactions. They
Reportage
Eskrima know their opponent by understanding the weapon used by them. Of course this also applies to empty hand techniques. Unfortunately many self-proclaimed masters open a school and start teaching their pupils the wrong way, that is, without a good foundation. You can imagine what happens to real Eskrima. Little more remains.
The five basic rules for Eskrimadors This brings me to what in my opinion are the five basic rules for becoming a true Eskrimador. These are: obtain a good foundation by a good teacher, focus on self-discipline, train hard, watch and listen, and of course you have to have talent for becoming a true Eskrimador. Of course there are many other features to mention, but if you are able to find a good teacher who is willing to teach you a good foundation and you work hard, with a little talent you can get far. Finding a good teacher is not easy. The teacher should meet several requirements. The teacher must be good at Eskrima, it does not matter what style. It means he does not only understand Eskrima drills and how to block and hit. Understanding Eskrima is about, where and when do I make these blocks. How do I counter the right way, what is the proper distance because for each weapon. With stick you can use a longer distance than with knife etc. Then one of the most important characteristics of a good teacher is how they ensure that students grow in Eskrima, how can the teacher make the student better? Because you often see that the student becomes better than the teacher in a short period of time.
Train hard and train smart Hard training is the key to success, but not the only key.
So we have a good teacher and a good foundation, then nothing stands in the way of becoming a good Eskrimador. If only it were that simple! Look at all the people who are successful in Eskrima, they share one of the most important features: the will to train hard. On the other hand, during my seminars people come up to me and say: Frans, I train for 4 hours every day, I work my ass off against the punch bags and car tires. I train with friends every day and I'm not progressing. They train hard. Actually, my answer is simple; hard training is the key to success but hard training is not enough. You have to train hard and combine your hard training with smart training. Every workout should consist of the basic principles of the foundation. Also try to define what you want to get out of every training, be more focused on what you want to learn. For instance train for endurance, explosiveness (very important in Eskrima), or focus on coordination. Each workout should have a purpose, in every step you take in training you should be able to explain how you get to your goal to be a good Eskrimador.
Focusing Focusing is one of the main aspects of my style. Every stroke, every attack, every disarmament, and every move you make you make for a reason, with a purpose. Functional footwork, body movement, everything you do must serve a goal. In this way your Eskrima will be effective.
Talent Not everyone is born with talent. How often do you hear, 'I have talent and can easily practice the moves and the techniques. Unfortunately I have bad news for these people. My experience is that these people do not reach the top because to really reach the top talent is not enough. Also talented people will have to train hard and smart and must have a good teacher. But if you have talent and access to all requirements and a good mentality, you will reach the top of the mountain and will be unrivaled.
Conclusion Anyone can learn Eskrima at their own level. Just for sport or self-defense. Many people do not care what style they practice, they just like the teacher and there is a nice group of people to train with. People who want to be become a top Eskrimador, I would advise be very critical in choosing your teacher and see if your teacher really has the qualities to make you a good Eskrimador. Do you want more information or have any questions or comments feel free to contact me. You are welcome in my world, the world of Eskrima
“Best Karate Kumite”. George Bierman Generally speaking, if you ask someone, “why are you in Martial Arts”, they will tell you it's because they want to learn how to fight. You usually never hear them say that they wanted to learn kata, weapons or wazas. I guess all of us have a little of that “I want to be a tough guy” or you could be motivated by a real need to protect yourself. Whatever the reason, in this DVD I discuss Basic and Advanced kumite techniques and concepts that all of us should know, whether you are an advanced student or just beginning, and some things that have worked for me over and over. Some can be used on the street but I'm mainly focusing on tournament techniques. I can tell you over and over to keep your hands up to protect your face. Some of you may do it and some may not. Once you get hit in the face several times by not doing it, you will. I began my Martial Arts training in 1973 and this is a collection of proven techniques and strategies that have worked well for me in competition to present day. I have combined strategies, footwork, techniques and combinations that lead me to well over 2000 tournament wins and a World Champion fighter in St. Petersburg, Russia. They work! LANGUAGES: ENGLISH, ESPAÑOL, ITALIANO, FRANÇAIS
REF.: • BIERMAN3
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
Great Masters
Chinese Arts “Mizong means 'you must not lose your own strategy and position' or 'boxing of the lost trace', emphasizing deception and distraction to the opponent�
hroughout the history of Shaolin Temple 708 forms have been recorded, of which only a few have survived to this day. Even some styles that were thought lost have been recovered. We can list some of the styles that have marked the history of the Shaolin Temple and that are still being practiced today, such as Taizu Chang Quan, Da Hong Quan, Xiao Hong Quan, Da Tong Bei Quan, Liu He Quan, Luohan Quan, Pao Quan (Cannon Fist) and Quan Mizong, among many others. Today we'll talk about Mizong Quan. Being one of the oldest and most effective Shaolin fighting systems, the Mizong Quan style became known throughout the world by the famous Master Huo Yuan Jia, who was one of the founders of the Chin Woo Association and, for many Chinese citizens, a national hero who fought for the Chinese people. Huo Yuan Jia had a great command of Mizong Quan, so much so that many people think that it is his family's own style. Even his disciples referred to Mizong Quan as the Kung fu style of the Huo family. The Mizong Quan style spread throughout China, but its home always remained the Shaolin Temple, so we can say that the Mizong Quan comes from our Temple. The family of Huo Yuan Jia developed the style and made it famous throughout generations. It is said that Huo Yuan Jia's grandfather visited the Shaolin Temple and studied the style for years, and later passed it on to Huo's father, but it wouldn't be known as such until the renowned Huo Yuan Jia developed it and improved it, becoming one of its greatest exponents. According to the Shaolin Temple historical records, the Quan Mizong style, created by a monk, was taught for a long time in the Shaolin Temple itself. Mizong means "you must not lose your own strategy and position" or "boxing of the lost trace", emphasizing deception and distraction to the opponent. Some of the most famous Mizong Quan style specialists during the Song Dynasty (960-1279) were Zhou Dong, Lin Chong and Lu Jun Yi. During the period of the Qing Dynasty in the years of Emperor Qian Long (1735 - 1796), the Mizong Quan style spread all over to reach the province of Hebei. At that time, there was a man named Sun Tong, a native of Shandong Province who had trained hard for many years in the Shaolin Temple achieving a high level of perfection in the Mizong Quan style. According to history, Sun Tong had transgressed the law, so he decided to flee the city, heading northeast. On the road, he crossed the border of the Qing district and Jing Hai District, and taught Mizong Quan, in the villages of Da Tun and Nan Xiao He. So in both areas two sects of Mizong Quan were developed maintaining the tradition for generations. One of the essential characteristics of Mizong Quan are its quick movements and changes of direction to confuse the opponent, making him believe that he's going to be attacked from the right and hitting by the left instead. Therefore we can say that it is a style that uses false steps to counterattack the opponent and thus take advantage in combat. During practice it is required to be fluent, natural and harmonious, combining strength and flexibility. Once you have mastered the Mizong Quan techniques, you can use them in all cases applying each movement or technique as you wish. This means that technique changes may be unlimited in the different combat situations.
T
Text: Shi De Yang Chinese Translation: Yan Lin & Bruno Tombolato
MARTIAL ARTS AND THE INNER PATH t's not strange that many students seek today in neighboring arts an added to what they believe to be deficiencies. We can clearly see this in countless practitioners who are forming themselves in four or five different martial arts. Far are those days when fidelity to the Way symbolized the inner honor of the practitioner. Times are different and in this new era everything is possible! Now it's been established the search line of the spirit and of the necessity of desire. It seeks to satiate all desires and frustrations.
I
Through deep observation, we could say it is a time of internal rescue, the rescue of communion values, having in view the intense movement that globalization is causing worldwide. In Europe this is very palpable. Teachers of just one art are no longer formed. In this regard, Bujutsu masters of ancient Japan were miles ahead of our time and our martial discoveries. They exalted an awareness of their own shortcomings and established as their main goal the opening of the mind in the pursuit of perfection of combat techniques. The very concept of "Bugei SanJuropan" sets this line of military growth, previously established in the form of Seteigata. Several forms, various streams, different schools ... Each one of them did it their own way and reached fullness also their own way. What was the most correct? What was the most real? It is like talking about this regarding the current military systems. Perhaps the difference lies in the pursuit of wisdom - how to use properly what you have. For Zen, at this point, wisdom is not our common knowledge; is the innate knowledge, our innate intuitive connection, like the fundamental principle of continuing, called Tsuzukeru in Japanese. It's the act of "deep practicing"; we could translate it as "persist", “go on�, "keep on". Keep on deeply in the perfection of wisdom. Thus, "practicing" is a good word for "going on". The verb go on, in modern times, translates as continuing. Continuing to search, to study, to try out, to open oneself ... to form yourself! "Wherever you go, go with all your heart!" Eastern Wisdom However, it is also a new time for discovering. The hidden is rising to the surface to be noticed. How many old schools are not being reborn now, reorganizing and reestablishing themselves in the stage of martial practices? This is the way! In a quick summarized analysis, it's been our pride and selfishness that have caused the wars, the massacres of the Crusades, the bonfires of the Inquisition and the horrors of Slavery. Thus, over the past centuries, we have advanced a lot more in the materialistic outer progress than in the intimate ethical journey of the Spirit. It is all too natural that titles and designations are used both in public and private life if only to set lines of respectability to situations of individuals or groups in the environment they are manifested. However, there are people that turn the concept into a permanent object of idolatry, solemnizing the very conditions in such a way that they don't even
"Pursuing happiness and protecting us from being unhappy is possible if we make that our will and what we want are beyond what comes from the sensitive and unstable mutant world, and also, if we don't sadden with what escapes us of the sensible world." (Sufi Poem)
Traditional Arts realize their own fall into slavery and dire formalism. We hope this new exchange with the ancient arts will awaken the modern martial man to cultivate courtesy. But let's get away from all superficiality and calculation in regard to the common experience. In ancient arts, this inner observation not always took place in a pleasant way for the pupil, breaking the Western convention. Shiken is a Japanese word meaning test, exam. It is the time when the instructor or master imposes certain sacrifices in the student's life, as a subsidy of observation. This form can range from the loss of an important post to a constrictive situation. There were masters who went further; they didn't pass the student in a certain test, forcing him to abandon his path, to then observe his honor and character. There are many stories that refer to this type of observation. Some say that this kind of moment is critical for granting the total confidence of a master. Others say it was the compulsory test for the graduation of Okuden. However, there are also some contradictions which designate the interest of every truth. What is sustained as a palpable conclusion is that all these forms originated in
the Sengoku period, marked by betrayals and conflicts, in which it was common the infiltration of people from other clans in a given school, intended to demoralize and deconstruct their forces. Many myths have arisen from this form of observation, many lies have strengthened within the modern arts, attributing to such tests the proof of the lack of prudence by some masters, insanity, unnecessary and offensive behavior, etc. We can see that different phases have marked intense revolutions in the classical martial periods. In the past there were different types of Shiken. The two best known are: Uke Ireru - A test in which the master accepts the student as his apprentice. Nori Koeru - A test in which the student passes a crisis, an emotional slump. It is still common today that teachers use this type of foundation for observing pretentious students that approach showing good intention. There are different classifications for good and bad people: Shinjitsu (person who has the inner truth, but who lacks the searching spirit) and Honmono (a person genuinely real and ready for the pursuit of his or her dreams and goals); Itsuwari (person who is false, deceitful) and Damasu Hito (person who arrives with the intention of lying). In one way or another, be it right or wrong, information
of historical and anthropological stamp leads us to understand that, as students, in order to discover what is true, everyone should see it objectively, critically and even intimately; we all should see it with that personal interest we have when going through a crisis in our lives, when our whole being is being challenged. The central problem is the complete and absolute liberation of man; first internally or psychologically, and then, externally. There is no real separation between the "inside" and the "outside"... "Do not trust in me if you lack the courage" (Inscription engraved on an ancient dagger) There are two very important points in the master-pupil relationship, considering that the first - the master - is responsible for guiding the student's personality while facing the martial way. This is because in relation to life and activities, freedom of action must be pursued in a free and true way, and in the second place, because through his experience, he will build what he believes to be best for the student's existence. Especially in the past, there has been much confusion in regard to Senpai-kohai relationship, due to the influence of Bushido: "The vassal is nothing without his master" - brought the indescribable feeling of fragility to the student, who usually reflected in the image of the perfect and unchanging master: well, if we carry a personal legend that seeks evolution, no one is perfect or immovable. Strengthen, according to the dictionary, means make or become stronger, invigorate, corroborate. Fig, encourage, enliven. In other words, the master must provide the student with the conditions for him to seek to develop his critical sense, his adjacent truths, qualities that ascribe him the status of thinking for himself, free of influences ... Free of external illusions. We become fragile when we believe we are unable, unfortunate, when we only attribute to something or someone the reason for our happiness. If man explores himself in his own truths, or on behalf of his consciousness, through an internal insecurity, there will come a day when he will tear down this system: once he has detached from himself, he becomes dependent. This is therefore one of the problems; while the student is subject to the vanity of masters and schools, there is no hope of internal evolution. Strength and fragility are two trays containing different raw materials, but both lead us to the same sublime legacy - apprenticeship. However, thoughtless humanity identifies in the first the wonderful delicacy of victory and in the second experiences the insane food of defeat. Errors have much to teach. They provide us with determinants occasions for the inner growth. When we establish some of our needs, we also establish our references. One side can exist only if the other side exists too. There's no master if there's no student. No traditional school can survive just by the will of the master. There is no necessity if there is no reference. Nor any master is a master by his own will. The master, like the student, is built through the process of the established relationship. In the moment we translate the unknowable into the one we know, what
"It's not strange that many students seek today in neighboring arts an added to what they believe to be deficiencies. We can clearly see this in countless practitioners who are forming themselves in four or five different martial arts. Far are those days when fidelity to the Way symbolized the inner honor of the practitioner. Times are different and in this new era everything is possible!"
Traditional Arts we translate it's not any longer unknowable - although that is always the objective or goal of our aspirations. At all times we want to know, because then we will have continuity. As we look forward, we aspire to an even better moment than the one we are living. The present moment is different from any future extension. It's is hardly a fragmentation of this aspiration. When I desire just a moment, I don't desire the totality. It means that from then on, other moments will come. Step by step, time to time ... If this moment is better, it's possible that others can be also better. Many of the conflicts that affect the modern human being proceed from patterns of behavior that he himself adopts in moments of his daily life. It is common to copy models from the world - models that stimulate you for a short time - without analyzing the consequences that those models of behavior can cause. It is also natural that the same consequences of these models are established for those who adopt them. Any current action, therefore, has its matrix in others actions that preceded it and that are printed in the deep files of the being. Martially speaking, day by day we forget more and more about the ancient teachings of the master-student coexistence. Everything has become a product! I no longer worry to look ahead through the inside prism. Everything has to do with this product that I want to purchase. And tomorrow I will want another product and another, and another ... Overall, it is the product in vogue the one that is set up as correct and the best. Great masters of traditional schools know that the rooted vicious habit remains imposing its characteristics, thus inciting man to maintain its continuity. Likewise, healthy efforts in the good and the virtue display the folds of the soul and lead us victorious to the internal exercises of building and evolution. "He who desires ephemeral things, can be considered an unfortunate man, but the one whose will is fulfilled is a happy man." Theories about being aware of balance, respect, rationality, no need of interaction with the negative, use of the coherent form of reason, permit us to be able to notice that all the good and the bad that comes our way, begins in our attitudes. The performance of an action of ours represents the releasing of a force of our inner spiritual personality to the outside world. That force follows its own path and suffers the laws of the dynamic world. Our responsibility is also a launched returning force by the long way of evolution. This parallelism with the dynamic world tells us what happens in the imponderable world of our personality. Thus, searching moments, instants that are constructive, is the first step to get rid of the doubts and nightmares that invade the martial arts. The important, sometimes, is not change the path, but the way of walking.
S.D.S.-CONCEPT SECURITY TRAINING S.D.S.-Concept Security Training is an educational system for operative and practical security schooling and training. Some professional groups run a clearly higher risk of being attacked by aggressive customers and clients than others. This may be daily business, but should not be taken lightly. Our educational program was clearly designed for these professionals' day to day work.
Security personnel - private or official alike - have to deal with violence and aggression on a daily basis. Quite often though, the focus of attention is laid on events where the actual aggressors get hurt or wounded. Therefore, dealing with potentially dangerous situations is part of securities' daily bread. Only a very well trained security will be able to handle complicated situations - intimidation, insults, threats, attacks - appropriately. It is absolutely necessary to react calmly and adequately in dangerous circumstances. Times change, self-defense systems and programs are more and more adapted, and S.D.S.-Concept is also a product of our times. Life goes fast these days and most people cannot invest years after years to study martial arts. S.D.S.-Concept is not a by-product of any combat system, which is why it can operate off the beaten track. It completely focuses on security training, considering all tools and locations available. There's clearly no need to study a system, only to adapt it later or to modify concepts and principles for the use of weapons or self-defense tools.
S.D.S.-Concept Security Training - The Idea The basic idea of S.D.S.-Concept Security Training is to give more safety to professionals who run high risks in their jobs. The combination of security relevant, pedagogical and psychological insight with experience from lawyers and police staff resulted in an offer of courses, seminars and counseling.
S.D.S.-Concept - professional use of equipment S.D.S.-Concept techniques are typically executed with tools such as flashlights, handcuffs, telescopic rods, tonfas and pepper-spray. These tools are used to attack, control, fixate and transport opponents, as well as for self-defense. Potentially harmful effects of inappropriately used tools • Severe injuries or even death • Technique inappropriate for a given situation • Tools may be prohibited in certain areas (e.g. some airlines do not allow tonfas or pepper-spray on board of their vessels) • Techniques inappropriate for teamwork • Use of techniques may be exaggerated and thus inappropriate • Not always advisable
Content of training The syllabus contains technical aspects as well as teamwork training, situational assessment, search techniques, emergency planning, third party protection, self protection and legal studies. It is typical for S.D.S.Concept that techniques are always taught and practiced in the context of special demands regarding tactics and strategy.
Operational tactics Operational tactics can be defined as the use of verbal and physical means for the implementation of necessary measures in a well planned and coordinated mission or task. Important factors are the strength of the team, timing, location and purpose. Operational tactics contain: preparation, team briefing, application of physical force, use of tools, positioning of team members, accompanying techniques as a team, attacking as a team, techniques of fixation and transport as a team, perception, errors in perception, processing of information under stress. As you could see in the earlier articles, S.D.S.Concept is a very broad system. It is different from other systems as it focuses on situations and not on levels. It is perfectly fine to just teach, for
example, techniques which are relevant for females, or the use of pepper-spray, or the use of flexible objects etc. There's no obligation to teach the whole system of S.D.S.Concept. Generally speaking, S.D.S.-Concept is a highly elaborate close combat system with the single aim of enabling every person to defend themselves effectively. The system covers a wide range of topics from the area of selfdefense, both against armed and unarmed aggressors. S.D.S.-Concept is a combination of self-defense techniques with the S.D.S - the Self Defense Stick (Kubotan, Dulo, Yawara, Pocket Stick) or
everyday objects and all body weapons available. S.D.S.-Concept is neither a combat sport with a sophisticated set of rules nor a traditional martial art, but rather a system which focuses on efficiency and on efficiency only. It is completed with preventive measures (avoidance of escalation), tactical self-defense elements, scenario based training, S.D.S. handling training and de-escalative techniques. Peter Weckauf is an internationally renowned expert for the martial arts and self-defense. He devised S.D.S.-Concept as a meaningful addition and complement for various selfdefense system and martial arts in order to efficiently improve the users self-defense abilities. Instructors' courses are scheduled for March and September 2014. For more information go to www.sdswww.samiconcept.com or international.com Photos by Mike Lehner Written by Peter Weckauf and Irmi Hanzal
TText: Gladys Caballero & Pedro Conde Photos: Pedro Conde
On June 29 of this year 2013, Jim Kelly, the undisputed Black star of action films of the 70's died at his home in San Diego, California. Launched to stardom for his appearance in the film "Enter the Dragon" along with his mentor, Bruce Lee, his figure, which had faded in recent years, certainly deserves a Special like today's, set up by our expert Pedro Conde. A work full of details and curiosities of the life of a star who, linked to Bruce Lee's career, broke barriers for the African-American community. Were the days when Bruce, an Oriental, and Kelly, a Negro, could never be the center of attention of Hollywood, yet they opened up new markets, leading to a myriad of fantastic sequels of movie productions, many of them of the B series, but with a box office impact that would amaze us today. A fantastic reportage that we offer this month to our readers for the liking of collectors, Martial Cinema “nutties� and enthusiasts of the "good old days". Alfredo Tucci
Martial Cinema JIM KELLY, THE BLACK SAMURAI Jim Kelly (James Milton Kelly) was born on May 5, 1946, in the city of Paris, Kentucky. Yet, his real origins are to be found in Millesburg, which at that time was such a small and humble town that lacked hospitals. After a while, his parents settled in San Diego, where his father ran a military clothing store. Jim began his sports career in Millesburg High School with the practicing of Basketball, Football and Track and Field. As a senior student of the Institute, he was selected San Diego's Athlete of the Ye a r. B e c a u s e of hi s ex t raord i nary sports abilities, he earned a Football s c h o l a rs h i p at t he U ni versi t y of Louisville, which he left in the first year. About this Kelly explains, "My parents divorced and I had the choice to stay in San Diego with my father, or go back to my mother's in Kentucky. I didn't want to stay with my father, I did not get along with him at all; we had a problem because my father didn't want me to be a sportsman; instead of that, he wanted me to become a lawyer or a doctor. Kentucky is a town further south and at that time there was a lot of racism, but in that moment I didn't think about it, I just thought I'd be happier with my mother". Because of the racial problems existing in the South at the time, Kelly became interested in martial arts: "I started in the world of Karate through books, since in those days there wasn't any clear picture to follow." Eventually, he moved to Lexington, where he started practicing the Shorin-Ryu Karate style under the tutelage of Parker Sheldon. Later he trained with Gordon Doversola, instructor of Okinawa Te - of whom he always kept a fond memory and he also practiced some Kempo Karate with Steve Sander. In 1971, Kelly proved to be an excellent fighter by winning four prestigious tour naments, including the World Middleweight Karate title at the 1971 Long Beach Inter national Karate Championships sponsored by Ed Parker. Aware of his great potential in the Martial Arts, Kelly decided to open a Karate gym. While he was teaching and competing in the Los Angeles area, he met Hug Robertson, a movie director who was making up a film entitled "Melinda" (1972) in which he had included some scenes of Martial Arts. The filmmaker asked Kelly to collaborate in the production as a technical advisor and choreographer. Eventually he gave him a small role in the film, becoming the first African-American star in the Martial Arts movies. About his involvement in the film, Kelly stated: "It was almost by accident. I was not prepared to be an actor; I was determined
to take full advantage as an instructor, especially after winning the Long Beach International". Undoubtedly, his appearance in "Enter the Dragon" was crucial in his career and in his life, but how did that opportunity come about? It was definitely fate: Knute Tarkington unexpectedly dropped out two days before shooting began, and producer Fred Weintraub, who had heard about Jim Kelly's karate studio contacted him. Kelly recalled: "After 'Melinda' everybody told me how great I was, that I wouldn't stop receiving offers, etc. The truth is that nobody called me in six months, so I kept teaching Karate at my academy. One day, my agent called and said: "Jim, they are beginning to make a film in Hong Kong and there is a problem with one of the actors. I want you to go to Warner Brothers. I don't think you'll get the part, but they will be doing more films in the future and it's good that they know you." So I went there and found Fred Weintraub and Paul Heller. They asked me to demonstrate some of my Karate, and there I was jumping and kicking crazily. At the end they said: “Do you know Bruce Lee?” I said no because actually we had never been introduced, although I'd heard of him by the "Green Hornet" series. Next thing Fred Weintraub said was: “When can you be off to Hong Kong? The part is yours..." Initially, the project was very appealing. Jim Kelly played Williams, a character that, along with Bruce Lee and John Saxon, was participating in a tournament on the island of Han, which was just the hideout of a syndicate of heroin and prostitution... However, despite appearances, Kelly was not entirely satisfied, as he would declare shortly after the release of the film: "I got killed in the first 60 minutes of the film and I'm not too happy about that! John Saxon (who was a brown belt in Karate and Tai Chi Chuan), supposedly had to be killed according to the original script , however that was changed along with some of my dialogues, so he remained alive and acquired more prominence in the film". All those script changes were motivated by several reasons including racial problems: in 1973 there wasn't any Hollywood production starred by an African-American and an Oriental Besides, John Saxon convinced that he had been hired as the actor who would render the film some quality or prestige (he was the only one with a film background), allowed himself many licenses. Apart from that, there were many more changes:
Martial Cinema "When I was given the part for 'Enter the Dragon', I flew to Hong Kong where I was supposed to be 4 or 5 weeks and at the end I stayed for 3 months. The film producer company took its time; nothing to do with "Melinda". I loved Hong Kong, but after about a month, I already began to feel nostalgic". Despite all the setbacks, Kelly felt very comfortable on the set working with Bruce Lee: "During the time I worked with him, he taught me some techniques; we trained on different subjects and combat techniques. 'Damn it!' - I told myself - 'Bruce Lee is a real tough guy!' His techniques were very dynamic and powerful for his size. He was just incredible. Many times he developed a power that would tur n pale a heavyweight. During the short time I stayed in Hong Kong we kept pretty much united. We had a sincere friendship Even at work, Lee respected always my opinions. In a fight scene we shot together, Lee told me: 'Jim, would you like that we do the scene such as you had planned? You were the choreographer of a film and I know you have experience in the art of choreography, so you have my full confidence to do whatever you want. Of course, if you need my help you know I am entirely at your disposal'. So I choreographed myself my own fight scenes, although I must admit that in many levels and in some
techniques Lee advised me and that really made me gain a lot of showiness in front of the camera. Often Lee would call me and say on the set: 'Hey, Jim, what do you think about this?' I looked at him and said: 'I think we should change this for that!' Then we talked about it, seeing the positive and negative points, analyzing the stroke mechanics, and we always decided what was best. Lee never came up to me saying imperatively anything like: - Jim, do it this way! You have to do it like I'm telling you because I am Bruce Lee, the technical director of the film!' Bruce was not like that, he always gave me absolute freedom to change completely some things within the fights that I was to hold throughout the film. And that really made me feel more comfortable in front of the camera."
With "Enter the Dragon" Kelly saw many of hi s d reams f ul filled, including meeting and talking with Bruce Lee and finally training with hi m: "I rememb er a great comp l i ment t hat Bruce Lee dedicated me, when I finally met him. I told him I had been looking for his school to train with him, but when I found it was closed. Then he sai d : It 's a p i t y, J i m. If I had coached you, no champion of that time could ever have touched you!" K el l y f el t t hey were doing something good, but he never even imagined that this film would become the quintessential in Martial
Arts Cinema. On this he thinks: "In those moments we didn't imagine, we were just trying to shoot a great film, but couldn't figure out it would have such an impact." The film swept the West. Despite of how short wa s t he ro le o f K e l l y i n t h e f i l m , W i l l i a ms's character struck a chord in the public and made him gain the star status. And because of that, he earned a three-film contract with Warner Brothers. As the actor himself acknowledged in some interviews, thanks to Bruce Lee's choreography, his techniques in the scenes improved greatly and somehow, he was the actor who managed to stand out more, after Bruce Lee. The truth is that after the death of "Little Dragon", Warner Brothers bet for him as Lee's clear successor in the United States,
Martial Cinema
and so he was offered starring in "Black Belt Jones", in which he'd be again directed by Robert Clouse. However, the tandem Kelly & Clouse, did not work as expected; it lacked the star, it lacked Bruce Lee! The film did not quite catch on among the American public, although scored a tremendous success among African Americans as well as in the rest of the world. Of course, it was not comparable to "Enter the Dragon", although it must be admitted that the film surpassed the eastern productions that were projected in those days on the screens in half the world. Kelly downplayed the film's failure in some of his statements: "I was not interested in making a film with a message, I just wanted to entertain people". He also expressed his annoyance with the studio: "I have participated and collaborated on the choreography and my name is not on the credits ... It will not happen again! From now on it will be stated in my contract that my name will appear in the credits." The film showed Pat Johnson ("Karate Kid", "Ninja Turtles", etc.) as the sole choreographer. He also complained that the specialists who participated in the film were not qualified for the job. "I broke the skull of a guy and broke the jaw of another, because they were not ready to fight me. What I do on screen is not realistic, because in front of the camera I'm doing the opposite of what I believe. If people used what they see me doing on screen to fight in the street, they would end up dead." After that production Kelly, landed a small role in "Golden Needles", again directed by Robert Clouse. Filmed in Hong Kong, the appearance of the actor scarcely exceeds five minutes, in which he briefly shows his skills. The film was played by
Martial Cinema Joe Don Baker and although there were some martial arts scenes, it was the typical action film of the 70's. This and the previous film were produced by Fred Weintraub, who tried to repeat the "Enter the Dragon" blockbuster. Although he never got it, nonetheless he won considerable successes, as it was the saga of "Karate Kid". Regarding his work on "Golden Needles", a disappointed Kelly said: "I play an owner of an antique shop that has only a fight over a statue of Acupuncture that many people are chasing around the world." After a lukewarm reception from the public, there was a third filming with Warner and Jim signed a contract with Jim Brown and Fred Williamson to shoot a typical film of the genre "Blaxploitation" entitled "Three the hard way". Despite its naive and simple shooting script (a crazy white man plans to annihilate all blacks, introducing a bacteria into the water supply of three major American cities), the action sequences were acceptable and so were the Martial Arts scenes, obviously staged and choreographed by Jim Kelly, getting a good reception from the crowd, especially the African-American public. Kelly declared: "I learned a lot from them, but I won't say what I learned ... What is clear to me is that I do not want to be Jim Brown or Fred Williamson, I just want to be Jim Kelly and become the first black player in the screen". His next work was "Take a Hard Ride" or "The Long Hard Ride", a western filmed in Spain, specifically in the Canary Islands. While he was in our country, he was interviewed several times and about his filmography he explained: "I've been working in the movies for only two years. So far I've made five films, the most famous of all was "Enter the Dragon", with Bruce Lee". When asked about the types of roles he played, he replied: "Action. All my movies are about action. I believe that through them you can influence people in a positive sense". In all interviews it always emerged the same topic: Can you tell us anything about Bruce Lee? "Sure, why not! We became great friends, closely united by this common passion: Martial Arts. Bruce Lee was a highly productive person, I mean, he was always doing something positive. And above all, I think he was
the greatest martial artists who ever existed." On the causes of Bruce Lee's death, he declared: "Well, I think it is far from clear. It's possible that he killed himself because as his friend I can say it: I think he had a lot of problems. It could also be that the Chinese mafia had killed him for revealing the secrets of the Kung fu fighting system. What is certain is that Bruce Lee didn't die, as some say, during the filming of a scene." Kelly had very clear ideas of what to do with his life and his time. On this issue he commented: "For me, the most important thing is to live the moment without thinking or worrying about the white or the black power, but just the green power (money). That's what everybody is doing nowadays. I don't even think of the past, since it is a dead thing, or the future, because I might not arrive to it" In declarations made in our country, the actor referred to the black or white power because in his youth he sympathized with some extremist groups of the "Black Panthers". He was very interested primarily in the black liberation movements; in fact, he joined the Black Karate Federation (BKF), founded by Steve Sanders, who defended and supported these ideals. The school logo can be seen in the bottom of Jim Kelly's dojo, at the beginning of "Enter the Dragon". So, when he achieved fame, being aware of what he represented for African Americans, he got in contact with many of his supporters, including Cassius Clay, for whom he had a great respect for what he symbolized to his race. "He represents everything for the black people. He is a symbol, a hero, a leader that instills great respect. But he is also a person who only stirs up extreme feelings: there are people who love him and people who hate him. There's no middle term." Spanish reporters were impressed by the statements and martial skills of that 6,6 ft tall and 179 lb weight fighter, whose appearance - all agreed - had everything it takes to become an idol of the masses. In "Take a Hard Ride" he worked again with Jim Brown and Fred Williamson, stars of the film, along with Lee Van Clief. In this movie, Kelly
played a secondary role in which he represented a skilled fighter mestizo. His role was not very long nonetheless intense. Although the role was not too long, yet it was quite intense. In his next film, he worked again with Jim Brown and Fred Williamson. That new production was entitled "A dangerous Bet" or, depending on the countries, "Final Fight" ("One Down, Two to Go"), a hybrid that did not reach the category of Blaxploitation. Again, the weight of the film devolved upon his companions, relegating him to the background... Later he got involved in a new filming with Fred Weintraub, one of the producers of "Enter the Dragon". The film, entitled "Hot potato", was rolled in Thailand, directed by Oscar Williams and distributed by Warner Bros. A mixture of comedy and action movie that nobody liked, not even its protagonists - as Kelly declared: "We all make mistakes, and the script was interesting, but as for the film..." "Black Samurai" didn't fare much better than its predecessors. His career didn't seem to "take off" in North America, so Jim decided to accept an offer to make a film in Hong Kong. The production, "The tattoo connection", in which he'd work with Tan Tao Liang, a famous Southeast Asian actor, noted for his kicking skills. It was directed by the overrated Lee Tso Nam. Bolo Yeung also participated in the movie. For a production of the colony, the film was quite interesting; however, it passed "almost" unnoticed in Asia and in the West. Undeniably, the actor was going from film to film in a clear regression ... Kelly accepted to share the starring role in a film with George Lazenby, who would replace Sean Connery when the latter stopped filming the James Bond saga. The film was entitled "Death Dimension", a "B" class production that suffered the same fate as the former ones. Disappointed, he decided to accept only roles that were really interesting... Meanwhile, he would devote his time and attention to play tennis and he kept his word... Kelly started practicing this sport in 1975 and soon tur ned pro, reaching number two in the ranking of California in the category of men's d oub l es and at t ai ni ng t o figure among the Top 10 of the state in the
individual men's category. Later on he opened a tennis club in the San Diego area, where besides managing it he also instructed players. Among his students there were some town celebrities. From then on, while still practicing Martial Arts, he definitely stuck to the "racket" and practically disappeared for years of the fighting arts world, showing up sporadically only in magazines or in some sports event. On this subject, Kelly commented: "It's amazing that many people still remember me for 'Enter the Dragon'. Years have passed and they haven't still forgotten about me." Since the opening of his tennis club, Jim Kelly virtually withdrew from the cinema. He made a cameo appearance in "Mr. No Legs "(1979), participated as a guest star in an episode of "Highway to Heaven" (1985) and, because of a commitment, he turned to stand in front of the cameras in "Afro Ninja" (2009), where his role was very short, but important in the story. In all his interviews he repeated the same: "If I am offered a good role, a solid project, I'll be back to the screen..." But that project never came. Should Jim Kelly had had a good direction and also an experienced and talented choreographer, he would probably have become an actor in martial arts films from the likes of Chuck Norris or Steven Seagal. However, his only and great success is owed to his participation in the film "Enter the Dragon" and Bruce Lee. Aware of this fact, he recognized it and talked about it throughout his entire life.
Curiously enough, the first time Kelly saw Bruce Lee in action was not in "The Green Hornet": "I heard about of Bruce for the first time when he was doing the series. Everyone was talking about the "The Green Hornet" and I had always wanted to see the program, but the truth is I never had the chance to do it because of the hours it was usually broadcasted on television. Prior to meeting Lee, I had already read some articles about him in different issues of the 'Black Belt magazine'. Apart from that, I had also heard a lot of people talking about him and his high qualities. "Good Heavens!" - I said -. "If this guy is as good as they say all these people and everyone speaks so highly of him, he must be really magnificent". Finally I managed to see him one day in a film entitled "Marlowe". I had attended the screening by chance, since I did not know that Lee had a small role in the film. I got impressed by what I saw: Lee seemed to be very cold - I made myself a preconceived idea of Bruce long before knowing him personally". At that time, the martial community was very small and it wasn't difficult for everybody to coincide in a championship or event - Kelly was no exception -. "Lee knew me before I knew him in person, in a Karate competition in which I participated. It had been announced that he would be among the spectators and, in fact, I saw him there, but I didn't get a chance to meet him personally. The first time I ever talked to him was on the set of Enter the Dragon." Kelly had heard many stories about him. Apart from what he had seen in the movies, he had created an image of Bruce Lee that was far from reality... "When I had the chance to meet him, actually I didn't realize that Bruce was not as I had imagined,
Reportage and I recognized in him a certain charisma, something that surrounded him but I didn't attain to decipher. During filming I had the opportunity to treat him and know him. At that time he was Bruce Lee, the "superstar", but despite all that fame that accompanied him, I realized he was a very natural person, a true and honest man, a loyal man, and I thought he was really superb. The very day we met, we had lunch
together and talked about different things. I developed a theory of which he could talk all day and all night. It dealt with Martial Arts and it was about trying to select different techniques from other martial systems, so that everyone could make up his own fighting style. It was an issue that really moved him. He also spoke about himself, but on this point the truth is that I have very little to say; every time I heard him talking
I couldn't help thinking that he looked very much like Muhammad Ali (Cassius Clay) in his behavior. Broadly speaking, both of them were the same. So I can say that I really enjoyed hearing him talk. He was the kind of person that just had to be doing something all the time: if, for example, he was talking, even if it was about himself, he had to gesticulate, explain things with gestures of hands, head, etc. I
Martial Cinema greatly enjoyed being with him, he was a very interesting person, in addition, his conversations were quite deep." On several occasions, Kelly talked about the similarities of character between Mohamed Ali and the Little Dragon: "To me, Bruce Lee was much like Muhammad Ali; he had that same kind of charisma that attracted the masses."
Kelly was surprised with Bruce Lee's ability to analyze everything and extract the essential and, interestingly, it was due to Muhammad Ali: "Once I was reading an article by Mohamed Ali and Bruce immediately took it from me, read it, reread it and dissected it to the point to 'extract the wheat from the chaff'. Lee was like that with everything; in the Martial Arts, on the subject of reading, in training. He always came
to the point, to the center and marrow of all things. On more than one occasion, Kelly compared them in front of the reporters: "Lee had an ego as large as that of Muhamed Ali's. Most people couldn't get to him, but I could appreciate what he had done for himself, for his family and for his people. Those Chinese Kung Fu movies have done more for the Chinese people than what persons like Henry Kissinger might have done." Like Bruce Lee, Jim Kelly suffered many humiliations and contempt for racial issues; both wanted to break certain "barriers" to help their people and open ways for them. On this issue, Kelly stated: "I remember that to carry out the Kung Fu series, they presented the script to Bruce, since it was written for him, and he loved it; but the producers refused to give the role to a Chinese, for they wanted a white man performing the project, so at the end they called on David Carradine. It was then when Bruce Lee went to Hong Kong. " Knowing this and some more details, Kelly told Bruce Lee: "I want you to know that I respect you very much for what you've done with your personality and your own knowledge of life, and for what you're doing for your people and your folk. This type of image you have given them, offering them someone they can look and see at the top, someone to be proud of, is truly admirable". Kelly goes on: "I said that seriously and with a certain air of solemnity. He knew about the great responsibility he had and he told me: 'Jim, I hope someday you can do the same for your people and for your own good!' Both Bruce and I had suffered in our flesh the great racial contempt that existed in the United States toward people who were not Caucasian. He knew that what he had done for his people was something big, and behind him there were always lots of people who wanted to see what he did, and then criticize or praise his exploits. Lee was under great stress and he knew it. It was too much pressure for such small shoulders! I think it was harder for him to enter the world of cinema than it was for me. Admittedly, Lee had a terrible struggle to achieve respect for him and his person, and above all for his dignity as an Oriental. He was Chinese and before everything I must
Reportage say that I do not know any Chinese star in the United States; Lee was the first and so far the number one. To start with, Lee was the first Oriental to break the barriers that existed against Chinese actors in Hollywood and this is something his countrymen should thank him. In my own race there were people who broke those barriers before me; color actors like Sidney Poitier, Jim Browm, Fred Williamson and others... They were the first to walk the path and open the doors. Instead, Bruce had no one to do it. His compatriots should be grateful not only for the respect toward the Chinese people that Bruce managed to instill in the whole world, but also for paving the way in the West for other actors of the same ethnic group." They not only agreed in the fight against racial problems, but they also shared the same ideas and martial concepts: "Lee and I were alike in some ways. We both knew what we wanted to do and we did it . We both had different ideas about Karate and the path to take, because my techniques differ very much from the traditional system, I mean the type of blocks, punches, footwork, etc. I thought of all these things when I got the Black Belt and then I began to analyze it. So I said to myself: 'O.K. I must study Muhammad Ali's Boxing, I'll try to copy his footwork. Also I will study all the different types of Martial Arts existing today in order to combine them into one unique fighting system. By doing this I will be happy, because nobody has done it before and I'll be an innovator'. But I found that Lee was doing the same and he had started before I had the idea. Whenever we had the opportunity to discuss the various martial arts and fighting systems, we often became entangled in lengthy discussions for hours. The path that in Lee's opinion was the most correct was the same one that I was thinking to follow. It was like when you need something and nobody can understand you. Your whole being has to find the steps to reach that goal and then you can do it, no matter if you're black, white, oriental or whatever race. That's what Lee thought and I share that same opinion. Lee died young, but he was only 30 when he achieved what many people haven't been able to obtain over a lifetime. Lee knew what he wanted and how to get it. He fought and reached his goal. Therefore, although he left us soon, I think somewhere he will feel proud, because he didn't pass through this world as a simple vegetable or someone mediocre; he left an indelible mark on many people and as long as Martial Arts continue to exist, Bruce Lee will live in the hearts of all." Obviously, because of all this, among other reasons, a great friendship was born; during filming, Bruce Lee even invited Jim Kelly to his house to train together in his gym on numerous occasions. About those workouts Kelly recalls: "When I trained with Lee, he taught me some techniques, since I was used to work with Karate movements and not with those of Kung fu. However, I didn't have any problem of adaptation. I remember he once told me: 'Jim, attack me with your right hand'. I did it a couple of times and then he said: 'Hey!, you really have a quick and efficient hand. Now let me attack you with mine.' I was prepared for his attack and I managed to block him. Lee was really impressed and with his typical sense of he told me that no one to date had done before. He really made me feel proud because I believed in his words. Thereafter, our relationship became ever closer and so, at the same time that I found a teacher, I also
gained a good friend. During the filming of 'Enter the Dragon' in Hong Kong, I had the opportunity to deal a lot with him and watch him work and train outside the hours of shooting. Thus I developed a great respect for him, especially as a martial artist. He never ever imposed me anything in a fight scene. He knew my level of Karate; nevertheless he let me work with total freedom, provided I didn't separate from the contingency. He was undoubtedly a great coworker. I owe him so much. He was a great master of only thirty years of age". Bruce Lee not only had fans, he also had (and still has) detractors. Kelly got very nervous with that: "Today it is very easy for me to find work because of what Lee did for all martial artists. People who never knew him personally had a great respect for him. He was a great leader for many other marginalized ethnic groups, especially for black people. For many of them, after seeing his films three or four times Bruce turned into their idol. One day, a teacher who had a Karate training hall came to my gym and said: 'Hey, Jim, how good is Bruce Lee?' I said: 'You're into Karate. You're supposed to have a knowledge of martial arts, and therefore you should be able to see by yourself how good he is'. But he told me: 'Many people say that he is not that good, he's just good on the screen'. So I replied: 'Many people are envious and jealous of the successes of others. You should take into account that it takes a very strong mind like his to ignore such people. They talk like that because they are just trying to bring down the great myth that is becoming Bruce Lee. There are many martial artists who envy him for the simple reason that their students join their gyms because of Bruce Lee and once there, they keep admiring him more than they admire their own teacher. This, sometimes, can be very annoying; hence the weapon of teachers is to discredit him, in the belief that the admiration their students feel for Bruce will turn against them ... But I think they are wrong, because Lee was actually made out of a special stuff that only the great myths have, and you can't fight against that. I think that every gym in the world and all Martial Arts instructors who are trying to discredit Bruce Lee, should recognize that thanks to him, they can eat. In other words, it's undeniable that Martial Arts teachers have a job today thanks to Bruce Lee's films and every time that any of those movies is projected, people jump for joy and euphoria and many viewers, on leaving the theater, will seek out a gym. That's why they will never appreciate it nor recognize it."
Bruce Lee never participated in any tournament, so many masters and experts, often branded him as a "paper hero" or a "film champion". Obviously, this issue was often posed to Kelly: "There are many things that people who knew him would never mention about the ability he had. It is a way to protect their students, their reputation, their associations and their egos. They prefer to keep silent ... even if they know it. As an actor he had everything: soul, skill, magnetism. He had style. Nobody could match him today. I don't mean they are not good, but Lee was really unbelievable. However, people ask me: In your opinion, who's been the best tournament fighter in history? I would like to say: Bruce Lee. But I can't... because he never participated in any tour nament. Lee practiced fighting, but competition is different. Some people don't work in the same way on a competition tatami. Some people are better in tournaments than in practice, for the simple reason that "there is something to gain." What I am sure about is that Lee would have been good in championships, very good ... and I could bet my life. In fact, I much doubt that anyone could beat him." About this he highlighted and underlined: "In my opinion, there has not been nor there is absolutely anyone so incredible..."
"Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool. Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy". - General Choi Hong Hi (___), ENCYCLOPEDIA OF TAEKWONDO, Volume II, page 88. Taekwon-Do is one of the largest and most professional martial arts in the world today, (founded on April 11, 1955, by General Choi Hong Hi (___)), and continues to flourish even after the passing of its founder in June of 2002. Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso" (__ or Kyusho), as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The focus of this series is to investigate the Patterns (teul), which are performed in accordance with the founders precepts in "The Encyclopedia of Taekwon-Do" (an astounding 15 volumes written by General Choi Hong Hi, including his "Vital Spots"). It is through this structure that Kyusho will be initially integrated back into Taekwon-Do. Kyusho International is proud to assist in this monumental and historic collaborative undertaking.
REF.: • KYUSHO20
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international. net
Hung Gar
I
t is no secret that the man who works hard and does a lot, will be rewarded sooner or later also for its services. Sometimes it is hard to recognize when the time of wages comes, because you mostly like to see only the arduous things. However, it is precisely those moments that test our perseverance and they show how much you really want to achieve something. An experience, that Grand Master Martin Sewer knows very well. As he already felt at a young age, that the content of his life is in the learning and teaching of martial arts, he meets resistance . Kung Fu teacher? You will not be a Kung Fu teacher. That's how you would say as a young boy, that you wants to be a pilot or a firefighter. But with Martin Sewer, it was much more than a phrase. He first meet his true master at a seminar in Zurich, when he already was deep in the martial arts world and learned a lot about arts such as Judo, Karate, Kung Fu and western boxing. Until that day, Martin Sewer had to attend many seminars to find the art he was searching for. With the meet of the seminar leader Chiu Chi Ling, he joined not only to his dream martial arts, the original Shaolin Hung Gar Kung Fu, but also on its current Sifu (teacher, master ) and head of this martial art style. However, Chiu Chi Ling, then already an icon in the world of martial arts and melee expert on the Hong Kong Police Department and the U.S. Army, did not waited for Martin Sewer. On the contrary, Martin was a western student, more of a fan than a student like many others. Martin Sewer knew nothing of the challenges ahead, as he wrote letters to Chiu Chi Ling, in which he asked him to take Martin Sewer as a disciple. He also announced several times to travel to Chiu Chi Ling in Hong Kong - although there was no answer every time. One day, Martin had saved all the money for the trip to Hong Kong, he rang the bell at the door of Hong Kong School of Chiu Chi Ling. After various linguistic and organizational obstacles it actually came to teaching with the already world-famous master Chiu. Martin Sewer certainly had by his previous resume good knowledge in martial arts and yet it would be the hardest lessons of his life. After weeks of hard lessons and a long journey home, it depends by the will of Martin Sewer to think about the newly learned lessons and again, to save money for another trip. Like this way, he had to prove himself for years as a foreign student from Chiu Chi Ling and take the long way to Hong Kong over and over again. Martin Sewer invited his master to Switzerland (one of the few Invitations, which Chiu Chi Ling actually took) and asked him for lessons and seminars for his students. For real, traditional martial artists among the readers is clear who paid for the flight and accommodation of Chiu Chi Ling. Early on, Martin Sewer earned under severe tests, the right to teach in the name of his master, when Chiu Chi Ling raised him to the status of Sifu (master).
Hung Gar But not only that learning under a traditional master was a great effort. Even the raising of a Kung Fu school in Switzerland, at that times still a ruthless empty Kung Fu desert, was associated with various difficulties. Not only the experience that Sifu Martin Sewer was cheated of business partners, he saw himself also repeatedly confronted a new with Western-minded students, whom he had not only to teach the ancient art Hung Gar, but also the associated traditions. But he did not give up. It is now 20 years ago, since he founded in a new start the KUNG FU SCHOOL MARTIN SEWER and
brought this school with new power to succeed. The first 10 years the school was from a single branch at Frรถbelstrasse in Zurich. But then Sifu Martin Sewer had enough money and students in the classroom to devote himself to the development of his school and founded gradually more branches. Of course, this constant growth of Sifu Martin Sewers school and his expertise has not gone unnoticed. Even then, Sifu Martin Sewer regularly received awards and honors, and received an honorary doctorate from various institutions as a martial artist and doctor. This he graduated with his master Chiu Chi Ling until today successfully to the 8 Dan (Master degree), of which there are total 10 (1 to 10 masters degrees). As with other Kung Fu styles, even the style-head is in possession of 10 Master degree. A major milestone in the confirmation of Grandmaster Martin Sewers competence, also took place again this year - more than ever. An invitation from the World Martial Art Institute brought Grand Master Martin Sewer to Malaysia, Kuching on the "World Black Belt Hall of Fame". An event and meeting only for the biggest and best masters. While maintaining a strictly organized schedule the eventful weekend started on Friday evening with an elegant dinner and the grand opening ceremony, at which there was even a spontaneous demonstration by Grand Master Martin Sewer for the guests present. So it went on and on the following days. Where Martin Sewer, as "Grand Master of the Year" had also won the previous year 2012, the honor fell to the nomination for the "Grand Master Instructor of the Year" in this year even bigger. Especially since he also received this title. But this should be only the tip of the iceberg: In addition, he was the "senior advisor" appointed by the International Martial Arts Institute,
accompanied by an award from the World Federation Kuoshu Bangladesh for VIP Guest. Of course, Martin Sewer took part in the demonstration on Saturday tournament, and started like in 2012, in the category of Grand Masters. He decided, as already greatgrandmaster Chiu Kow at the Chinese national championship, for the wellknown Tiger Crane From - The Hook Seung Yin Fu Kuen. During his student waited at home in Switzerland curious about the result, Martin Sewer could give a seminar for all students, masters and grandmasters present in Malaysia. An event that all participants replied in deep astonishment. Then made a comfortable sight-seeing through Kuching City for a worthy conclusion of Saturday evening. Sunday started with the full anticipation anticipated reopening of the "Nanyang Wushu Centre of Excellence", which was burned down several years ago. By a generous donation from the KUNG FU SCHOOL MARTIN SEWER the reconstruction of the school was made possible. To the delight of all was shortly afterwards announced that Grand Master Martin Sewer decided on the eve of the tournament and had thus gained as early as 2012, the "Grand Master's Trophy" - a honoring with which one does not need further confirmation as a teacher. But the greatest honor Grand Master Martin Sewer should achieve at the end of the three day event. The award of the 9 Master degree by the World Martial Arts Institute, with the commentary of the responsible organizer Dr. Song: "This is the least which we can distinguish you." And so left Grand Master Martin Sewer the occasion finally with more awards than he could bear, and proved that hard work pays and correct in the long run. Of course, his students were happy home in Switzerland over the enormous success of their teacher and have been even more motivated to train hard and pursue their personal goals. Finally saw this at the recent European Championships in NeuUlm, Germany. With over 50 participants Grandmaster Martin Sewers delegation stormed the tour nament and the school took almost 30 podiums in shapes, light and full contact categories.
Combat Hapkido
Autodefensa THE GROUND IS NOT YOUR FRIEND! Just like many other martial artists, I became interested in ground fighting after having watched the first Ultimate Fighting Championship and seeing how Royce Gracie defeated his opponents without much effort and quickly immobilized them, unable to continue to fight. I then resolved to better my selfdefense skills and began to research all the information that I could find about ground fighting. I want to make absolutely clear that I do not like to be on the ground, nor (unlike many of the grappling styles) do I want to take a fight to the ground on purpose! That is why I undertook an extensive study of those systems to better understand what their strengths and weaknesses were, and to learn how to apply that knowledge in street self-defense scenarios. During the several years of my research, I was able to get hands on
training by attending seminars with many ground fighting experts and grapplers in disciplines such as wrestling, Judo, Brazilian Jiu Jitsu, Sambo and Submission fighting. I also purchased every video, DVD and book on the subject that I could find to research this topic thoroughly. Almost immediately, it became apparent to me that most of the techniques that I studied were either strictly sport oriented, or would only work if the person executing them was very athletic and flexible. Additionally, virtually every technique was designed for a “one-on-one” fight with no consideration to multiple attacker situations. And finally, they mostly seem to want to keep the fight on the ground, which is where I really did not want to be for any length of time. When it comes to street selfdefense I believe that the ground is not your friend! And, fortunately, that was also the philosophy of my
Teacher, Combat Hapkido founder, Grandmaster John Pellegrini. After reviewing my research in 2002, we decided to structure a new program to deal with ground fighting from an exclusively “survival & get back up” mindset. No grappling, no submission, no sport techniques, no lingering on the ground one second more than absolutely necessary. Our goal was to put together an additional ground component that utilized most of the concepts that we use in our Combat Hapkido stand-up syllabus, including the pressure points of our Combat Hapkido “Tactical Pressure Points” program, to make the techniques easier and more effective. We were also determined to make the techniques not too athletic (or acrobatic) in nature due to the fact that our system focuses on practical selfdefense for “everyone”. I had to ensure that the techniques that I would teach would be not only easy to
Combat Hapkido learn and realistic but could be taught to children and adults of all ages and body type, including individuals with physical disabilities, seniors, and non-martial artist. Our ground program would be for everyone and not just for experienced martial artists or the “physically fit”. The task completed (a 2 year process), we introduced our new “Ground Survival” Program to our students and the Martial Arts community around the World. It was an instant success and, since then, I have been fortunate to have traveled internationally teaching seminars, on my own or with GM Pellegrini in exciting “Double Impact” format. Recently also, our unique “Triple Impact” seminar (with Master Gridley teaching Tactical Pressure Points) in Valencia, Spain was our most successful seminar in that country in the past 10 years. To facilitate the learning (and teaching!) of the program, we produced, in collaboration with Budo International Magazine, a series of 5 instructional DVDs which has also become a best seller in the Martial Arts world. Over the years, since the launching of the Combat Hapkido Ground Survival, I have had the honor and privilege of teaching thousands of students from very different backgrounds. For handicapped students in my classes I have structured variations to the techniques based on their specific abilities. Because this program is also fun and safe to learn, it has become a success with children and their parents, who, because of the escalating incidence of violent bullying, want them to learn practical self-defense. When teaching women, I emphasize the fact that the ground is not their friend when the assailant is trying to rape, hurt, or kill them, and that the more time that they are there, the worse it gets. They must regain the standing position as soon as possible! But the same is also true for men. And I stress that even though they may know a bit of ground fighting or wrestling, they have to take into consideration that the attacker may not be alone, or that,
having been injured during the initial attack that brought them to the ground, they may not be fighting with their full physical capacities. I also point out the obvious, but often overlooked, fact the in training, most of the time, we are on mats which are safe and comfortable, but in the street you have rocks, broken glass, garbage, etc. and that is not where you want to wrestle and roll around. Combat Hapkido has separate branches to train Police / Security and military personnel. Training these units requires an in-depth understanding of how they operate in different environments and with different missions from civilians. They are also equipped and dressed differently. Teaching those groups techniques that were meant for sport is a waste of time and places them in danger! Instead they need effective, easy-to-lear n techniques that are adaptable to the specific needs of their duties. For instance, a Police officer's primary mission is to control and restrain individuals from causing injury to others, the police officer (or even themselves) while ensuring all along that the individual does not gain access to their weapons (i.e. firearm, tazer, pepper spray, etc.). Another example may be a soldier whose mission is to ensure that a town, village, or building is secure from enemy personnel wanting to ambush or harm them, while wearing about 70 pounds of equipment, weapons and protective gear. As you can see in both of these scenarios that, if the person ends up on the ground, it is imperative to have the skills to survive the initial attack and get back to the dominant position: standing up! I hope that I have given you an informative overview of the Combat Hapkido “Ground Survival” philosophy and to have sparked your interest in learning more. In future articles I will share with you some of the technical aspects of our program. Stay safe and remember: The ground is not your friend, so Don't Grapple…SURVIVE!
HOW IS THE "FU-SHIH KENPO" OUTLINED (Part Two) In contact techniques, when blocking an attack, sometimes we must advance forward one of our legs (left or right) in order to obstruct our opponent's front leg movements. By doing this we block his line of attack. Then we hit hard and vigorously on the opponent's attacking limb (arm or leg) to override his reacting capability by the pain or momentary numbness caused by the blow. At other times we'll hit directly on the opponent's knee, hip or attacking limb. Once the defense has been broken and the arm or leg with which he's attacked us is also disabled, we can close in on the opponent's body and hit him with no danger as much as we want and wherever we want. Depending on the technique and how dangerous our opponent is, at times we don't even defend the attack; rather, but rather, we move into him counterattacking by the attack's opposite angle. This must be done cautiously though, because if you haven't first nullified the opponent's front arm, then you must disable his attack, preferably with a low kick to the shin or knee, thus preventing that the opponent might follow the withdrawal line and then attack again from another angle. Dodging, checking and hit to the body or face, or counter-attack nullifying blow. There are three basic types of strokes in this system: whip, penetration and depth.
Whip strokes This is a standard type of blows, which is practiced in almost all styles of Martial Arts. The movement can be compared to a whip stroke with a towel, or to a serpent's tongue; a reverse flick from the outside in, percussing frontally, or in close combat (ura zuki, ura ken, kin geri, etc.). There's no penetration or power intended in this blow. Its goal is speed (be spontaneous and instinctive) and is primarily used against surface points of the bones, nose, eyes, lips, clavicle, genitals, groin, meniscus, armpits, biceps, traps, solar plexus, floating ribs, neck, and certain vital points. It is mainly used to deflect the opponent's vision and so avoid a counter, or as a forestalling technique. The discharge rate will vary according to the ability of the practitioner in terms of speed and the focus point.
Penetrating strokes This blow is a single explosive outward movement, in which an estimated penetration of 7.5 cm is practiced. The accomplishment of this movement is relatively easy, although it takes precision. The main points are: temples, jaw, both sides of the neck, heart, sternum, pancreas, and any part of the body that requires a certain degree of penetration depth in the blow. There is therefore a greater discharge (Tiger) at the moment of impact.
Depth strokes This type of blow, common to all the so-called hard Martial Arts, needs about 15 cm of penetration. Its goal is to reach deeper points in the body, or it can be used when you have the opponent against a wall or any other structure. Depth strokes usually finish a combination of techniques. Being the most powerful blows, they shouldn't be performed until the opponent has been reduced or is seriously hurt. If used too early, that is, as the initial technique in a combination, the opponent loses the opportunity to continue and then you need to start the attack all over again. Direct response to an ongoing attack. Reflected reaction in the defensive / offensive action
PROGRESSIVE ADVANCE - PROGRESSIVE REPLY Advancing is used in a constructive way for the following purposes: • To add impetus to an attack of arm or leg. • To obstruct an offensive line. • To break internally and externally in an offensive or defensive series. • To stop or avoid an aggressive move. • To restore or realign an offensive combination or a defensive counterattack. • To blind the opponent in a chain reaction of offensive or defensive moves attacking at various angles and applied to different areas of the body. So it is almost impossible to stop the avalanche of blows.
LINE OF WITHDRAWAL In order to withdraw successfully it's necessary to hit the opponent's
lead leg or his lower body parts. Tearing or compressing the nerves, tendons or pressure points, is a common use technique in Fu-Shih Kenpo, because it causes so much pain that overrides every intend of aggression in the opponent and discourages him from undertaking any further offensive movement. Of course, hands, and very especially fingers, must be thoroughly trained to mark, penetrate and grip. The claw is a short and long trajectory weapon in the Fu-Shih Kenpo. The degree of pain and wound when gripped by the claw is severe and sometimes its consequences turn out to be fatal. This technique is preferred by many Martial Arts practitioners, because it is as quick as a punch and provides more control over the adversary in a situation of attack or defense.
BASIS FOR A POSITIVE DEFENSE 1) Stop or block the offensive line, preferably in the outer circle (it doesn't require so much speed and is safer). 2) Isolate or destroy the attacking arm or leg while obstructing or paralyzing any possible aggression. 3) Counter-attack to the body or head, depending on the body position and the chances of reaching the objective. • To nullify in the close combat (approach) the penetration and / or depth of a possible second attack of the opponent. • To nullify the continuity of the adversary, establishing a defensiveoffensive simultaneous reaction. • To anticipate next offensive techniques of the opponent. • To trigger or activate our own inter nal energy, by means of a penetrating gaze and a determined and focused mindset. Generally, in the Fu-Shih Kenpo, and especially when our enemy offers danger, there's no withdrawal; always forward. Going backwards allows the enemy to dominate and control our reactions, giving him time to build up his maneuvers. "IF YOU'VE BEEN WELL TRAINED AND YOUR SPIRIT IS STRONG, ADVANCE ALWAYS. IT IS PROGRESSIVE."
“There are three basic types of strokes in this system: WHIP, PENETRATION AND DEPTH”
By labeling Jeet Kune Do as "just a philosophy" with no curriculum or progression of techniques, we rob it of the technical merits of the material taught by its founder, Bruce Lee. On the other hand, by crystallizing the art as "only what Bruce Lee taught", we deprive ourselves of the free expression and naturalness (or natural-unnaturalness!) advocated so strongly by Sijo Lee.
Elbow-Strike-Photos
Our group does not believe that either approach is wholly correct. The Original JKD material (so-called) combined with the philosophical elements contained within Bruce Lee's notes and writings provide a foundation upon which we build our own personal martial art. In our case, this is the origin of "Old School JKD". Using the principles laid out by Bruce Lee along with an understanding of the foundation and function of Jeet Kune Do, we can investigate other arts and draw out their essence. We call this the "JKD Filter".
The JKD Filter A JKD Wednesday Night Group Article Jack Of All Trades or Master of Some? Many will say that the only way to be a true martial artist is to train everything. Boxing, Wrestling, JiuJitsu, and Judo for competition. Kali for weapons, Reality-based martial arts for self defense, and so on. All have been pressure tested and proven effective. No doubt. However, there are two significant questions that I feel every martial artist who cross-trains in this manner should ask himself: 1) Is it more efficient to flow from one art to another (and one delivery system to another) than to have a single platform from which I can utilize all of my attacks and defenses? 2) Does an accumulation of techniques make me a better fighter or would I benefit from limiting the amount of tools I train in order to hone each one to a very high level? Time is every human beings most valuable asset. When taking into account that fighting arts like Boxing, Wrestling, or JKD require athletic ability which often begins to disappear as we reach middle age, efficient use of training time becomes critical. This is one of the reasons why daily decrease is such an important JKD principle. How can I perform the required repetitions to "master" any given technique if I'm spending my training time adding new techniques or practicing many different arts using different structures?
Applying the JKD Filter We are always looking for a better way, trying to find more efficient tools and examining our own weaknesses. and Constant research experimentation are necessary. However, in order to get maximum benefit from our training time we must have some way of filtering a vast amount of material without having to train everything. In simple terms, this is how we analyze new material: • Necessity - Does it add something that is lacking from our game? • Structure - Do we have to change our delivery system to accommodate the new technique or does it fit in with what we're already doing? A basic example of this would be a technique
which doesn't work well from an unmatched stance (i.e. Right lead vs left lead) forcing us to change leads in order to use it and thereby negating the advantage of the dominant side forward structure and telegraphing our intent. • Adaptability - How limited is its application? Will it work against different types of fighters? Against different methods of defense? Under less than ideal conditions? • Vulnerability - Does it leave us exposed to counterattacks which may be more damaging than the initial attack we're defending against? "It's not what you can learn, it's what you can throw away." Bruce Lee (to Bob Bremer)
Example 1 Some of the first techniques we added to our expression of Jeet Kune Do were elbow strikes from Muay Thai. This is the most basic example
JKD Stance Photo 2
of tools which meet all of the above criteria. For demonstration purposes we will discuss only how these strikes fit into the JKD structure. Technical explanations of how to perform each technique are not necessary here. It's worth noting that elbow strikes are close range tools that will most often be executed from a "compressed" Ready Stance. Naturally, as range is decreased hand position must be adjusted to provide defense against the opponents close range attacks. Without the distance and time required to intercept it no longer makes sense to extend the lead arm as far as we would in the typical Bai Jong. (See JKD Stance Photo 1 vs JKD Stance Photo 2) Diagonal Down Elbow (See Elbow Strike Photo 1 & Elbow Strike Photo 2) Horizontal Elbow
JKD Stance Photo 1
(See Elbow Strike Photo 1 & Elbow Strike Photo 3) Diagonal Up Elbow (See Elbow Strike Photo 1 & Elbow Strike Photo 4) Vertical Elbow (See Elbow Strike Photo 1 & Elbow Strike Photo 5) (Note: Some JKD practitioners may prefer to use the diagonal, downward, and horizontal elbow strikes of the Wing Chun system instead.)
Palm Hook (See Heavy Palm Photos 1 - 2) Palm Smash (See Heavy Palm Photos 3 - 4 - 5) Willow Leaf (See Heavy Palm Photos 6 - 7 - 8 - 9) Side Palm (See Heavy Palm Photo 10)
Example 2
Example 3
"Heavy" palm strikes generate tremendous power while reducing the risk of injuring your hands. Sifu Tim Tackett learned some of these techniques in Taiwan, while others came from an instructor in our group named Bert Poe.
On the street, we want to avoid going to the ground at all costs. Should we end up there, the objective is to damage the opponent and get back to our feet as quickly as possible. That said, it is still highly desirable for us to take
"Spend 80% of your time on what you will use 80% of the time." Tim Tackett
About the Author: Mike Blesch is a member of the JKD Wednesday Night Group and co-founder of the Chinatown JKD Association. For more information visit JKDWedNite.com and JKDLessons.com. Photos by Angelico Tolentino AngelicoT.com. Demonstrations by Tim Tackett, D.M. Blue, Jeremy Lynch, and Steven Resell. Edited by Brent Lance BrentLanceJKD.com
the opponent to the ground and finish him while we remain standing and in the best possible position to deal with multiple attackers and ultimately to escape the situation altogether. Let's look at a takedown that is often successful in MMA. (See Tackle & Hook Photos 1 - 2 - 3 - 4 - 5 - 6a - 6b) (Note: 6a & 6b are 2 angles of the same position) Any fighter who often throws fully committed lead hand strikes (like the JKD'er) needs to be aware of his or her own vulnerability to the type of entry used here. Jeremy Lynch uses Steven Resell's commitment against him by shooting under the punch, applying a body lock, and hooking the lead leg to execute a takedown. (This is a good example of why stop kicks are so important for bridging the gap) When looking at this technique as a potential offensive tool we can quickly determine that it violates our structural principles (see the final photo of the sequence). Jeremy ends up on the ground along with Steven and does not have dominant position (half guard). In a no-rules environment this can be very dangerous due to the likelihood of Steven having a weapon, not to mention Jeremy being in a very bad position if there are multiple attackers to deal with. There are times when it may be necessary to take an opponent to the ground in order to neutralize a striking advantage for example (faster, longer reach, more skilled, etc.), but for us there are more efficient ways.
Discard, De-emphasize, or Replace? Sometimes a technique that we really like may not pass through the filter. The question then becomes do we need to keep the technique if only to train against it? Even when the answer is no, we have still gained some experience from the process and will, at the very least, be more familiar with a technique which may be used against us.
Here's how we handled the 3 examples above:
"Spend 80% of your time on what you will use 80% of the time." Tim Tackett
The 80/20 Rule Also known as the "Pareto principle", the 80/20 rule states that quite often 80% of your results will come from 20% of your efforts. Therefore, to achieve maximum results, you should spend 80% of your time on the 20% that matters. This is a very useful idea which has been applied successfully to numerous disciplines. For our group, it essentially functions as a 2nd level to the JKD filter by reminding us to focus on the core techniques and principles of JKD. The trick is figuring out exactly which techniques make up the vital 20% that will deliver 80% of the results. When it comes to combat sports like MMA and Boxing the task is somewhat simpler because of the detailed statistics available. We can discern that for a lightweight MMA fighter more fights are finished by submission than KO, so the fighters training habits need to reflect that. The opposite becomes true for the Welterweight class and above. Admittedly, there is more than one way to interpret the data (ie. Smaller fighters need to work on their punching power and larger fighters need to work on their submissions) but that isn't relevant to the current discussion. In Boxing we find that the fighter that throws the most jabs usually wins. The trouble with a "street fighting" art like Jeet Kune Do is that there is no accurate way to obtain those types of statistics. Then how do we decide which techniques will be our primary responses (the vital 20%)? The solution for us has been threefold: 1. Following JKD principles - Particularly "economy of motion" 2. Individualization - Accounting for strengths, weaknesses, and temperament 3. Testing - Learn from successes and failures in sparring and scenario training, as well as in the ring/cage. Our final analysis of the 3 examples looks like this:
Conclusion The JKD Filter and the principle of Daily Decrease can be applied to any martial artist's training regimen, regardless of style. Whether your base art is Muay Thai, Judo, or Karate, and you train for self-defense, competition, or both; strong fundamentals will force your opponents to respect and prepare for your most basic tools, making all of your secondary responses more effective and maximizing your training time.
"The purpose of this group is to preserve and promote Bruce Lee’s art of Jeet Kune Do, to help define and teach the core curriculum, not to confine us but to liberate us, and to discover our personal expression of Bruce’s art." - Tim Tackett
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
www.shop.crca.de One Volume SingleWeapon DVD Biu Jitsu DVD DVD Set (all 5)
€ 49,90 € 39,90 € 25,90 € 149,90
The shipping & handling costs are not included for more information please contact us: Copyright © 1989 CRCA Enterprises Publisher CRCA-Lopez / Mario Lopez, Atroper Str. 56, 47226 Duisburg, Germany E-Mail: info@crca.de
“Look Deem Boon” Gwun Volume 2 (60 min.) Heavybag Drills, Dummy Drills, Two Man Drills, Form overview, Pole vs. Knife