Martial Arts Magazine Budo International 312 May 2 fortnight 2016 by Budo International Martial Arts Magazine

The Pukulan Pencak Silat Serak is a system based on both weapons and empty hands at the same time. It incorporates many of the new-generation weapons, swords, knives, circular kerambits, bars, batons of different lengths and other more particular weapons. Even in our empty hand training methods we face an opponent who attacks us with weapons in both hands, as well as several opponents at once. This type of training makes us more aware of everything that happens during an altercation and what do and not do when facing one or more armed aggressors. In this second DVD, Maha Guru Horacio Rodrigues, heir to the lineage of Pendekar Pak Victor De Thouars, of Pukulan Pencak Silat Serak, addresses its particular way to train and use the different weapons, laying the foundations for more advanced future plans of study and the application of technique. This video includes the principles of work, angulation, Sambuts, Jurus and drills with the short sword "Pedang", short knife "Pissau", short stick "Tonkat Matjan", Sarong, and applications of selfdefense with empty hands.

REF.: â&#x20AC;˘ DVD/SERAK-2

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ORDERS: Budo international.com

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Personal evolution

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Acceleration

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Crisis and change

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The reverse side of intelligence is arrogance

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“Personal evolution is such a great mystery! We change everything without changing our essence, because what we really change, in essence, is only the fitting.” táíÜ=~å~äçÖóI=ëí~êíáåÖ=Ñêçã=ëçãÉíÜáåÖ=âåçïåI=ïÉ=ã~å~ÖÉÇ=íç=áåÑÉê=Äó ëáãáä~êáíó=ÅçåÅäìëáçåë=íç=êÉëéçåÇ=íç=íÜÉ=ìåâåçïåK=qÜÉå=ïÉ=~ééäó=êÉ~ëçåáåÖ íç=îÉêáÑó=íÜÉ=ÇáëÅçîÉêó=~åÇ=é~ëë=áí=íç=íÜÉ=åÉñí=ÖÉåÉê~íáçåK=^=ÖêÉ~í=ëóëíÉãI=åç ÇçìÄíK=eçïÉîÉêI=íÜáë=éçëáíáîÉ=~ëéÉÅí=çÑ=çìê=éÉÅìäá~ê=ï~ó=çÑ=ÄÉáåÖ=íÜáåâáåÖ=~åáJ ã~äëI=ÄÉ~êë=ÜáÇÇÉå=çå=íÜÉ=Äçííçã=çÑ=áíëÉäÑ=~=íÉêêáÄäÉ=êÉîÉêëÉ=ëáÇÉI=ïÜáÅÜ=áë=íÜÉ=êççí çÑ=~êêçÖ~åÅÉK cçêÅÉÇ=Äó=íÜÉ=áãéÉê~íáîÉ=çÑ=åÉÉÇI=íÜÉ=~ÄçîÉ=ãÉåíáçåÉÇ=éêçÅÉëë=çÑ=íêóáåÖ íç= âåçï= ïÜ~í= ïÉ= áÖåçêÉ= Äó= ãÉ~åë= çÑ= Åçãé~êáëçåI= ïÜáÅÜ= í~âÉë= ìë= íç éçëáíáçå=çìêëÉäîÉë=Åçåëí~åíäó=ÄÉÑçêÉ=íÜÉ=ìåâåçïå=íÜêçìÖÜ=ÅÜ~ääÉåJ ÖÉëI=Å~êêáÉë=áãéäáÅáíäó=áå=áíë=~ÄìëÉ=~=íÉêêáÄäÉ=íêÉåÇ=íç=ÄÉäáÉîÉ=íÜ~í ïÉ=~êÉ=íÜÉ=ÉñÅäìëáîÉ=ÄÉ~êÉêë=çÑ=íÜÉ=íêìíÜI=~åÇ=ÇÉÑáåáíáîÉäó=íÜÉ çïåÉêë=çÑ=~=íÜêçåÉ=íÜ~í=ÇçÉëåDí=Ñáí=ìëI=ÄÉÅ~ìëÉ=áí=ïáää=~äï~óë ÄÉ=ãçêÉ=ïÜ~í=ïÉ=ÇçåDí=âåçïI=íÜ~å=ïÜ~í=ïÉ=âåçïK ^ë= íÜÉ= êÉ~ä= ÅÜ~ääÉåÖÉë= ~êÉ= äÉëë= íÜ~å= íÜÉ= áã~Öáå~êó çåÉëI=áíDë=É~ëó=íç=êÉîÉêëÉ=íÜÉ=éçëáíáîÉ=çÑ=íÜ~í=éêçÅÉJ ÇìêÉ= ~åÇ= Ñ~ää= áåíç= áíë= Ç~êâ= ÅçìåíÉêé~êíK= qÜ~íDë= ïÜó íÜÉ= ãçëí= éêçíÉÅíÉÇ= ÖÉåÉê~íáçåëI= äÉëë= Åçåíê~ëíÉÇ ïáíÜ= ÇáÑÑáÅìäíáÉëI= ~ÅÅìëÉ= ãìÅÜ= ãçêÉ= íÜáë= ÇÉÑÉÅíK ^åÇ= íÜ~í= áë= ~äëç= ïÜó= ÅÉêí~áåíáÉë= ~åÇ= ëÉÅìêáíó= áå íÜÉ=éÉêëçå~ä=Üáëíçêó=~êÉ=ÑêÉèìÉåíäó=ëíêçåÖ=éçáåíë çÑ= ~= íÉãéÉê= áå= ïÜáÅÜ= ~êêçÖ~åÅÉ= Ü~ë= áåëí~ääÉÇ áíëÉäÑK låäó=íÜÉ=çåÉ=ïÜç=Ü~ë=Ñ~ääÉå=âåçïë=~Äçìí=Üáë äáãáíëI=ãÉ~ëìêÉë=Üáë=ëã~ääåÉëëX=~äíÜçìÖÜ=íÜÉêÉ áë=åç=ÄÉííÉê=~åíáÇçíÉ=íç=~êêçÖ~åÅÉ=íÜ~å=ÇÉÑÉ~íI äÉ~êåáåÖ=Ñêçã=áí=áë=èìáíÉ=~åçíÜÉê=íÜáåÖK qÜçëÉ=çÑ=ìë=ïÜç=Ü~îÉ=~=íÉåÇÉåÅó=íç=~êêçJ https://www.facebook.com/alfredo.tucci.5 Ö~åÅÉI= éÉêÅÉáîÉ= íÜÉ= ÅÜ~åÖÉ= ïÜÉå= óÉ~êë ã~íìêÉ=ìëI=ÄÉÅ~ìëÉ=ïÉ=ÄÉÅçãÉ=íÉãéÉê~íÉ Eåçí= äìâÉï~êãFI= ~åÇ= ïÉ= äççâ= ~í= íÜÉ= ïçêäÇ ~åÇ= çìê= êÉ~Åíáçåë= ïáíÜ= éÉêëéÉÅíáîÉK qçäÉê~åÅÉ= áë= ~= Ñáêëí= ëóãéíçãI= ìåÇÉêëí~åJ ÇáåÖ=áë=çåÉ=ÉîÉå=ÄÉííÉêI=~åÇ=Åçãé~ëëáçå áë=íÜÉ=Ñáå~ä=çåÉK=qÜÉëÉ=~êÉ=íÜÉ=ìåãáëJ í~â~ÄäÉ= ëáÖåë= íÜ~í= ëçãÉíÜáåÖ= Ü~ë ÅÜ~åÖÉÇ=~åÇ=ãçÇìä~íÉÇ=çìê=å~íìJ êÉI= Äìí= ïáíÜçìí= ÑçêÖÉííáåÖ= íÜ~í= ïÉ ~êÉ=ïÜ~í=ïÉ=~êÉK ^í=íÜÉ=ÉåÇI=~=Öç~í=ïáää=~äï~óë=ÄÉ Çê~ïå=íç=íÜÉ=ãçìåí~áåI=çêI=~ë=íÜÉó ë~óI= ~= äÉçé~êÇ= åÉîÉê= ÅÜ~åÖÉë= áíë ëéçíëK

Last December 24 it was released in Asia "Ip Man 3"; a f e w d a y s l a t e r, i n January, it arrived in US theaters on a limited basis. Again, and like the preceding installments, the film was directed by Wilson Yip Wai-Shun and starred by Donnie Yen. Production has been sheltered by an excellent cast of actors and stuntmen, including most notably Mike Tyson, who broke a finger during filming; Danny Chan, who plays Bruce Lee, a role that is familiar because he embodied the king of

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Martial Arts in the series "The Legend of Bruce Lee" (2008) and he also mimicked him in "Shaolin Soccer"; Liang Chia-Jen, well known to Hong Kong movie lovers with 139 films in his filmography; Kent Cheng with 132 films and Max Zheng ("The Grandmaster"), among others. The choreography has been done by the possibly best choreographer of Hong Kong, Yuen Woo-ping, who r ocketed Jackie Chan to fame with "Snake in the Eagle's Shadow" and "Drunken Master in the Eye of the Tiger", and recognized worldwide for his work in the saga of "Matrix" and "Cr ouching Tiger, Hidden Dragon". Given the attention that the film is awakening everywhere, and the interest itself of Grandmaster Ip Man's life story, Budo International brings you this month a biographical article on this extraordinary Sifu. Under his unmistakable look of amiable old man, always smiling, tall, thin and bald, hides an extraordinary man whose legendar y biography has enshrined him as one of the "immortals" of the Martial Ar ts. Most people know him as "the master of Bruce Lee", but Yip Man was much more than that. He was an exceptional martial artist, master of masters and, indisputably, the diffuser of Wing Chun at a global level. he figure of Yip Man (Ye Wen Ip Man &) is unquestionable. The master wouldn't enjoy the international projection that currently has if not for the fact that he was Bruce Lee's master and mentor.

Great Masters

Great Masters Despite what has been written and disseminated, Bruce Lee was just "one more student's" of Yip Man. The Little Dragon never got to have a high level within the style. When Bruce Lee set off for America, within the school there were many students far more advanced than him. In addition, and contrary to what has been reported, he hardly had any contact or trained with Yip Man. Sifu was very traditionalist and he taught according to the Chinese customs. As the school "Patriarch", he only trained directly with the most advanced students (the "Big Brothers"), who, in turn, taught other students. This makes clear that Bruce had learned most of his Wing Chun from the hand of other pupils, such as William Cheung or Wong Shun Leung. Contact between Bruce Lee and Yip Man was therefore ephemeral and very sporadic. Yip Man’s life, however, has the necessary ingredients to become a legend in its own right; but before getting into the story of his troubled experiences, it would be convenient knowing some historical background relating his art and his masters. Legend has it that Wing Chun was created back in the Fourteenth Century by a Buddhist nun named Ng Mui, who devised such a peculiar combat system after observing the fight of a crane with a fox. The art was passed down throughout centuries in secret, as tradition demanded. In the early Nineteenth Century, the 5∞ Guardian of the Style was Leung Jee, an herbalist fond of Martial Arts. He lived in Fatshan, a town in the province of Kawantung, in southern China. Across the province this peaceful herbalist was known for his unusual combat effectiveness. Those who dared challenge him (who were quite a few) came out invariably defeated by his devilish way of moving and by his favorite technique, the Iron Palm. Leung Jee was actually very peaceful, but as his reputation grew fighters who challenged him to discover his secrets multiplied. Chan Wah Sun, another outstanding master and fighter back then, fervently wished to learn under the tutelage of Leung Jee; but the latter, faithful to the traditional hermeticism of Martial Arts at the time, refused to share his knowledge with Wah. Leung was reserving his most precious teachings for his son, Leung Bik, who was destined to become the 6∞ Guardian of the Style. When he reached a certain advanced age, he decided to teach Bik his art in private. Every night the two met in the herbal store to train. Chan Wah Sun, decided to move his money exchange office (that was the way he earned his living), to a site

Great Masters adjacent to Leung's herbal store, so that he could spy on the master and learn his secrets. In this way, night after night Wah, hidden in the darkness, Chan assimilated gradually all the teachings of Leung. But the teacher, who although old man had lost none of his lucidity, soon realize the presence of inopportune spectator; however he pretended not to have discovered him and began to teach all concepts and movements erroneously to confuse Wah. Then, during the day, and while Wah was at work, Leung Jee devoted to rectify his teachings to his son so that he learned the true Wing Chun. So Wah studied a totally adulterated version, with scarce displacements and full of misconceptions Nevertheless Chan Wah Sun, being a very shrewd person and particularly gifted for the fight, was progressing in fits and starts, modifying what he learned and adapting it to the reality of combat. The result is that he didn't learned genuine Wing Chun, but he modified all the absurdities that Leung Jee was "teaching" him, to the point of making them really effective in combat. The proof is that, after the death of Leung Jee, Wah challenged Leung Bik to bet the Guardian succession of the Style in a duel, and he won the battle. Wah was convinced that he had won thanks to the Wing Chun techniques learned in secret, when in fact he won despite them. Leung Bik was certainly still very inexperienced to successfully face a fighter forged in a thousand battles, like Chan Wah Sun. Bik, with the his honor trampled underfoot, and his soul mortified, disappeared from the region and Wah became the new head of the Wing Chun style, an art that he didn't really know! He also continued investigating other Martial Arts on his own. Wah's victory and his new status as Guardian of the Style, conferred upon him such a reputation that he could finally open a Martial Arts school and say good bye to the money exchange trade he hated so much. He buried the nickname, "Wah, the forex trader", and started to be known as the "wood man", following an exhibition he made in which he destroyed with his fists a solid wooden training dummy. However, the "business" of Martial Arts was not yet too lucrative in those days, because only small groups of disciples were instructed. Therefore, Chan Wah Sun sought the protection of a "Maecenas" who yielded him a part of his house for free to open his school. It was precisely the Yip family, one of the wealthiest families of Fatshan city, which hosted him at

â&#x20AC;&#x153;In 1968, Yip Man, with 70 years of age, underwent surgery for stomach cancer, after which he announced his retirement from teaching. This decision was a hard blow to the Wing Chun community as Yip Man had retired without having taught all the secrets of his art.â&#x20AC;?

their mansion. The patriarch of the Yip clan, Yip Oi Do, decided to accommodate such renowned martial artist to ensure the protection of his home and his properties. Among the children of the Yip family, there was a delicate and sickly young boy named Yip Man, who was born on October 14, 1893. From a very young age, he received the traditional education that was reserved to the offspring of the Chinese haute bourgeoisie: study of the philosophy, literature and classic poetry, both Chinese and Western, as well as certain noble arts like calligraphy and painting. Yip Man's destiny seemed to be mapped out from the start: do Business Studies and then participate in the family affaires. Nevertheless, they didn't bear in mind that their squalid son had a will of his own, and a very strong one, in addition. Since childhood, as soon as he had the slightest chance, he slipped out from his tutors' watch to go to see how the disciples of his father's protĂŠgĂŠ were training Wing Chun; this was something that seemed to fascinate him. At the age of nine, he finally decided to go to talk to old master Wah (which already was 60 years old) and ask him to be accepted into his classes. Wah didn't take the proposal too seriously: he was just a kid thought the master -, besides he was of noble birth, so most probably he'd be whimsical and inconstant. The situation was not simple. On the one hand, Wah wouldn't have had any objection to accept him if he were not facing serious problems because of space with the 16 disciples he already had. On the other hand, he couldn't reject Yip Man so lightly, because he was one of the sons of his "protector", of the person that was hosting him. To get out of the problem, Wah decided to accept Yip Man with one condition: in exchange for three hundred silver coins. This represented a very large sum, so the master assumed that Yip Man, with just nine years of age, would not be able to gather that sum in years. Wah believed to have solved the dilemma when the very next day Yip Man came with the demanded sum. He had spent years saving every allowance that his parents had given him. The old master had no choice but to admit him as a student, but he didn't accept the money, of course. As for Yip Man's father, he was not too keen on seeing his son get started in Wing Chun. The future that he had reserved for him was very different; besides, Martial Arts were not well looked upon among the Chinese bourgeois classes ever since the

Great Masters

Great Masters Boxer Rebellion. But Yip Oi Do made the same mistake as Chan Wah Sun; he took it as a sudden whim of Yip Man, convinced that his son would abandon his martial pretensions as soon as he started suffering the harsh training in his own flesh. On the other hand, he also considered the tremendous physical benefits that Martial Arts could bring to his feeble child. In this way, and with the skepticism of those around him, Yip Man was introduced in the Wing Chun world with just nine years of age. If anything characterized the young Yip Man was his extraordinary will and determination. Wah, who hadn't taken him too seriously from the start, imposed an extremely rigorous training discipline on the bourgeois youngster in order to discourage him. But the harder the training, the more he devoted to it. After some grueling months of test, the master, amazed by the exceptional determination of his youngest pupil, decided to accept him as the baby of the Wing Chun family. Over the years, Yip Man earned the respect of his Master and "Big Brothers" to such an extent that Wah came to seriously consider whether to train him so that he could become his future successor. In 1911, Master Chan Wah Sun died suddenly. Yip Man was only 13 years old and he had been practicing Wing Chun for four years. He continued to train for three more years under the tutelage of the advanced students of the school, or "Big Brothers". When he turned 16, his father sent him as boarder at St. Stephen College, a Catholic institution in Hong Kong, to learn English and add the Western knowledge to his education. There, the hard institutional living and competitiveness of his peers forged an iron character in Yip Man and let him put for the first time to test their martial skills in numerous fights among students. His effectiveness in combat reached such heights that he soon ran out of opponents, neither in the school nor in the neighborhood However, the impulsive Yip Man was constantly seeking clashes in order to improve his martial effectiveness. One of his friends told him about an eccentric Gung Fu practitioner who worked in a silk factory in the port and was reputed to be invincible in combat. One evening Yip Man went to the port in search of the fishing boat where they had told him that lived and slept the renowned fighter. When he finally found it, he challenged him loudly from the pier. He didn't get any reply, so, outraged, threw a stone against the boat. Then a deep voice quietly asked him what was he looking for. Yip Man responded curtly and defiantly: "They say you're invincible in combat. I'd like to fight with you..." A man who was about fifty peered over board, looked at Man up and down and said: "You are too young and skinny. I don't want to waste my time, but I'll give it a try. Execute a Tao (a Gung Fu form or kata) and let's see if you are worth it." Yip Man was not intimidated by the fighter's arrogant disdain and executed the Sil Lum Tao form of Wing Chun, with agility and force. "All right - said the challenged with a smile - I'll give you a try, but the fight will be on my boat ..." Yip Man boarded the fishing boat and both contenders got on guard. Suddenly, Man pounced on his opponent like an exhalation throwing a brilliant

succession of punches. However, the man blocked all his punches with astonishing naturalness and sent the youngster to the water. Man swam back to the boat, climbed over the board and again attacked his opponent with redoubled fury, but he nullified all his attacks with a devilish ease and again Man was tossed overboard into the cold waters of the port. Yip Man finally realized that he was in front of an exceptional master of Gung Fu so, soaked to the skin, he asked him humbly to be accepted as his student. The man, without answering a word, turned his back and began to prepare dinner. Thereafter, Yip Man started to go every night to the master's boat with offerings and presents, he even used to wash his clothes and cook dinner for him; despite all that, the man hardly addressed a single word toward him. But after over two months, and at the respectful insistence of young Yip Man, the master finally opened his mouth to ask, "Who taught you Martial Arts?" "Master Chan Wah Sun, of the Wing Chun style." Given the response, the master's gentle features betrayed an intense emotion that Yip Man was unable to interpret. The enigmatic fighter remained staring at the horizon for a long time and when he turned around he looked Yip Man directly in the eyes and said. "Okay, I'll show you my art. I'll teach the true art of Wing Chun." Yip Man was stunned: what did that mean? He thought that there was only one Wing Chun style, which he had learned directly from the hand of the Keeper of the School. Seeing the astonished expression of the young, the master continued: "My name is Leung Bik and I am the son of the one who taught your master. Besides, I am the 6â&#x2C6;&#x17E; Guardian of the Style and the only practitioner of true Wing Chun still alive." Bik explained to Yip Man why and how his father had deceived Wah, who never learned the original Wing Chun. Up to that moment, what Yip Man had practiced was just a peculiar amalgam of Wing Chun totally adulterated and mixed with many other Martial Arts in which Chan Wah Sun had been investigating throughout his hectic existence. Although such a hybrid was certainly effective in combat, it was not the original Wing Chun: this had only survived in the person of

Great Masters Leung Bik, who had never taught anyone nor had had any intention ever of doing it. In this sense, we can say that true Wing Chun would had been lost forever after the death of Leung Bik had it not been because, as luck and good fortune would have it, coincidentally, a stubborn young man called Yip Man got in the way of Bik and he became the depositary of this extraordinary Martial Art. Yip Man thus became the disciple of Bik and learned the genuine Wing Chun in full, i.e., with secret techniques included. Leung Bik died a few years later, but that time was enough so that Yip Man, with determination and dedication, could learn everything his Sifu knew. Yip Man returned to Fatshan, his hometown where, as the official successor to the original Wing Chun began teaching at 4 or 5 students in the early 40’s. He didn't stalled however in his study of Martial Arts, but he continued to exchange techniques and knowledge with their former fellow practitioners, students of Chan Wah Sun. He still was a young man, so he didn't like the rigid hierarchy that characterized the Gung Fu schools of the time. From the outset, he established as a general rule authentic friendly relations with his students. He didn't want them to call him "Patriarch"; he preferred the nickname "Man-Sok", i.e., "Uncle Man". Over the years, however, Yip Man would become much more rigid and traditionalist, and gradually implanted at his school the typical hierarchical scheme Patriarch-Big Brothers-Beginners. But in the 40's he established another rule that, unlike the first, he never would break until the end of his days: he never charged for his classes, he taught for pleasure and did not want that monetary matters would muddy his school. At that time he began working, for pure pleasure, as chief of the Fatshan police station. His fame started to precede him, everyone knew his uncanny ability to reduce and arrest "outlaws". His exploits became famous in the region. These include, having reduced on his own a band of eight dangerous criminals. Also, he faced many Gung Fu experts, many of which were real "troublemakers". When in 1949, the Chinese People's Revolution succeeded, Yip Man fled to Macao; but he didn't get to take "roots" in this place. After a short time, he moved to Hong Kong, where he settled for the rest of his life. Upon arrival to the British colony, Lee Man, who was secretary of the union of restaurant workers, allowed him to use the facilities to implant his teaching. In this place, Yip Man began to train his first group of students. His teachings started in July 1950. He quickly became the leading exponent of Wing Chun in Hong Kong, ear ning a reputation for extraordinary teacher, although somewhat eccentric. The latter was due to the fact that he didn't do any publicity for his school (and, in spite of this, it was very well known), he didn't charge for his classes and he never accepted students easily (it is said that when someone wanted to enter his school, Yip Man used to investigate the candidate for months before accept him definitely). If, for whatever reason, he decided to reject an applicant or expel a student, nothing could make him change his mind.

“In 1955 there were already about 30 students, although most of them stopped attending classes when Yip Man moved the Kwoon (dojo) to Lee Tat Street, in Kowloon.” It was in the fifties when they began to excel in the school of Yip Man a series of extraordinary martial artists. Names like Tsui Sheung Tin, Ho Kam Ming or Wong Shun Leung are already inscribed in golden letters in the history of Wing Chun and Martial Arts. They were formed under the tutelage of the "smiling Sifu". The best known of these, Wong Shun Leung, first came to Man's school one afternoon in 1954 asking for a demonstration of the effectiveness of Wing Chun against boxing, discipline in which he was an expert at the time. The test was so convincing that from that day he got fully integrated into the Yip man "family". Shortly after he became one of the most outstanding students of the school, and he was known by practitioners of other styles of Gung Fu as "Quarrels", because any excuse was a reason good enough to challenge almost all relevant martial artists in Hong Kong. In fact, the fame that the Wing Chun stylists soon acquired in general was that of being genuine "rude boys", rough and quarrelsome people that kept challenging everyone and fighting to test and refine their skills and publicize the style and the school. In 1955 there were already about 30 students, although most of them stopped attending classes when Yip Man moved the Kwoon (dojo) to Lee Tat Street, in Kowloon. The new site was placed in the heart of the Hong Kong slums and Yip Man was compelled to deny access to many applicants, somewhat disturbing and suspicious; but he also hosted some gems from the likes

Great Masters of William Cheung or Bruce Lee. These were two real slum-dweller hooligans; however, they showed much more passion and enthusiasm that many veterans. Bruce, who at that time was a totally irreverent and indomitable cocky lad, showed nevertheless a tremendous respect for Yip Man. As Jesse Glover, Bruce Lee's first student recalls: "Bruce always talked about Yip Man with great respect and I think he was very proud of being one of his students. I remember he used to say that Yip Man, although he didn't weigh even 50 kilos, had a strike power far bigger than any of his students, superior even to that of William Cheung, who measured almost 5'9” and weighed more than 176 lb. He also said that Yip Man, at 65 years of age, still had such a skill that no one could touch him in combat. Shortly after starting the classes, Bruce heard a story according to which Yip Man would have recently killed another Gun Fu master of only one blow, because he had refused to leave the school after insulting the Wing Chun and the Sifu himself. Bruce Lee believed in the authenticity of the story because he knew the extraordinary effectiveness of his teacher. The Little Dragon was a promising figure in the school, but he left prematurely to immigrate to the United States. During the first years of his "American adventure", Bruce kept a periodical correspondence with Yip Man, commenting his progress and explaining to him that he was teaching Wing Chun to several American students. Actually, he asked him to accept within the family of Wing Chun his most advanced student, the African American Jesse Glover. It seems that Yip Man got very angry a lot because at that time, he thought that Wing Chun should be taught only to Chinese race people; it was like having an advantage over the West. But in 1965, he radically changed his mind admitting publicly that Wing Chun should be taught regardless of race or nationality. In 1968, Yip Man, with 70 years of age, underwent surgery for stomach cancer, after which he announced his retirement from teaching. This decision was a hard blow to the Wing Chun community as Yip Man had retired without having taught all the secrets of his art. For this reason one of his students named Kwok Keung went to see him while he still was recovering from the operation, to convince him to teach in "closed-door sessions" to a very promising student of his named Leung Ting. Unexpectedly, Man accepted and, bypassing all the hierarchy rules (many Big Brothers or even his own children should have been a priority in the succession), he taught to young Leung Ting the Wing Chun that only he knew in its entirety. Yip Man died on December 1, 1972, at the age of 79 years. Leung Ting became the leading exponent of Wing Chun and the successor of the "Smiling Sifu". Currently, Wing Chun is one of the most practiced Martial Arts worldwide and Yip man has become in his own right, one of the most emblematic Martial Arts masters, to the point that his life has been brought to the big screen.

“Legend has it that Wing Chun was created back in the Fourteenth Century by a Buddhist nun named Ng Mui, who devised such a peculiar combat system after observing the fight of a crane with a fox.”

The traditional and the representative! "The point about education is the knowledge, but not of the facts, but of the values." (Dean William R. Inge) It would be foolish wanting to equate the needs that stimulated the Martial Arts of the Sengoku period to an evolution and growth of their forms, with the real needs of our days. Common sense, that suggests a historical view of the parts that always exemplify through the "Kata" or previously established forms, possesses a special search; however, in modern times, it's possible - and that depends on each one - that the superficial view could highlight some lack of knowledge of those who establish a comparison in a naked and raw way.

he world today is full of innovative ideas, systems, forms, examples that in ancient times would have made a difference in the battlefields. Then, the very idea of time, tradition, conservation, etc., refers us to the idea of "art". Such a concept can only be measured by the mind that contemplates, the mind that

feels itself called by the images that are transmitted to it... Getting lost in comparisons is the same as going to see a play by Shakespeare and compare it with the film Matrix! Nevertheless, the conflict is normal for those who are accustomed to a simple and moder n vision of the Martial Arts in general. The conflict supposes, without any doubt,

contradiction: contradiction in the feeling, in the thought and in the behavior. There is contradiction when we want to do something and we are forced to do the opposite. For most of us, where there is admiration there are also jealousy and hatred; and that's contradiction as well. In the addiction there is anguish and pain, hence, contradiction,

Bugei

conflict. The observation, beyond the possibilities of yes and no, of truth and falsehood, is no doubt a sound way to get to the bottom of things. We could say that, within the habitual etiquette, position is paramount: back straight, chin up... but common sense is the best way to avoid commit exaggerations. It's quite unpleasant that someone who attends an exhibition tries to speak about his or her master, or shows his or her personal impressions publicly, speaks about how they do it in his or her school, and things like that... Most of the times, we are in a determined place to admire and not to do publicity of another person. The traditional arts possess a historical factor of incalculable value; this is what determines which ones are and which ones aren't. As Louis Bonald said: " The culture forms wise persons; the education forms people". Let me explain: Different mental regimes, or who knows, daily habits, reveal themselves in some cases as fictitious pleasures which exclude the possibility of stagnation. Culture, no doubt, is one of these wonderful points that lead man to permit himself being inserted in other worlds created by other people. Closely analyzed, this form of vision usurps, in different patterns, that which feeds ignorance. It's simple, the small fact of permitting that the idea of the other person penetrates and catches my attention, or takes my gaze, is in itself a point of expansion of our individual measures of observation. Given the fact that the life we observe in an exterior scenery reacts and develops in the form with which we allow it to be evident, the mind, in communion with the factor "integration", undoubtedly explores new universes in more utilitarian versions - whether in spiritual or material levels. During my days as a student of the Catholic University, I got to understand, through a dear teacher, that the reasons that we use in different instants, are no more than certain projections of truths previously sowed. Within so many perspectives that I discovered across the habit of reading (and I expect to be able to continue relying on the tools that offers maintaining this habit with books, magazines, periodic, etc., to

Bugei â&#x20AC;&#x153;Learning, wanting to learn, yields way to the ease of "reinventing" oneself through a "Facebook", social networks, etc. There's no turning back! We are destined to have to respect this inexorable law, at the cost of minor damage and with the greatest advantage, if it is still possible...â&#x20AC;?

alternate with the boredom that consumes and ill-treats us of our daily work), one of them called my attention: the I (myself) and the OTHER! How to establish a type of observation measure, when in our inner reality already exist proportions acquired through other experiences? What's happening, or will it happen, in the mind of each one of us, when, for example, we are listening to Bach? I remember a youngster who, upon listening to a Bach composition, his first reaction was: "This is horrible!" Today's generation, more technological, is transiting along rhythms and sounds adjacent to the tribes that divide a whole mutant society - to the chagrin of many "dinosaurs" of earlier times. Still, and at such a fast speed, let's get organized ourselves in a new adaptation process that, through a normal way, seeks to stylize our ideas, no matter how avant-garde they might be. Perhaps, in the case of the young man I mentioned before, his first impression had been a cry for his ears, so attuned to the current "Tum... Tum... Tum..." which is a remnant of the "Disco" days, of the many sounds of the discotheques, like the "house" style or even Hip Hop ... the reality is that in every mind commands a type of culture, which is identified with some type of outside panorama. If we look at it deeply, we can see that is the being who must find by himself his meaning and his sublimation; it's he

Bugei

who establishes for himself the measure of "liking" or not what society presents. On the other hand, since everything passes and everything changes, I agree with Franรงois La Rochefoucauld, when he says: "The absence deletes the small passions and strengthens the big ones". A student asks me: "... But what if reflection was only imagination, illusion?" We are part of a reality that obeys principles that can't withstand ascension. Blaise Pascal said: "Imagination has all the powers: it provides beauty, justice and happiness, which are the greatest powers in the world". We are all in a time of transit, of internal and external changes. Technology seems to offer a panel of virtual realities which, for their sharp interest already irreversible, "presupposes" that within a very few years, we'll be nothing more than an image built through our traumas and complexes. Learning, wanting to learn, yields way to the ease of "reinventing" oneself through a "Facebook", social networks, etc. There's no turning back! We are destined to have to respect this inexorable law, at the cost of minor damage and with the greatest advantage, if it is still possible...

Bugei â&#x20AC;&#x153;he world today is full of innovative ideas, systems, forms, examples that in ancient times would have made a difference in the battlefields.â&#x20AC;?

The Philippines has a long history of life and death combat. From ancient times to the modern day, the fighting arts of the Filipino archipelago have proven themselves time and again to be efficient, effective and extremely deadly forms of fighting. There are countless systems of Filipino martial arts spread throughout the thousands of islands in this region. Many are family arts and no â&#x20AC;&#x153;outsiderâ&#x20AC;? will likely ever learn them. Fortunately, many have also been made available to the rest of the world. From the Kyusho perspective the study begins with learning revival and restorations, but then develops mobile arm targeting as its Martial foundation. When you dissect an attack, besides a kicking action, all other attacks start with the arms, but the challenge is that the arms are the fastest moving parts of the body with the greatest range of motion and directional attack capability. So it is a very challenging section of training that should be integrated into every session, in so many variations. There are other ways to make this level a bit easier and one is in the skill of Arm Trapping. Kali Master Raffi Derderian and Kyusho Practitioner Evan Pantazi - a collaborative film

REF.: â&#x20AC;˘ DVD/KYUSHO 24

ORDERS: Budo international.com

MORE HIGHS & LOWS OF KICKING by Grandmaster John Pellegrini

A few months ago, I got the chance to spend a little time with my good friend Grandmaster Bill “Superfoot” Wallace. I have known Bill for almost 30 years. We became friends after he sat on the examining board for my Chang Moo Kwan TaeKwonDo 6th Dan test (he even signed my cer tificate!). Over the years, we have conducted many joint seminars and training camps. We even traveled to Ireland and Finland together. We have also been VIP guests at many Martial Arts events and Hall of Fame celebrations. In 2006, Bill joined the Board of Directors of The Independent TaeKwonDo Association, an organization I founded over 25 years ago. So, when I recently watched him teach one of his kicking seminars, I should not have been at all surprised at his ability to kick anyone to the head effortlessly and with blinding speed. I had seen him do that thousands of times. But what got me this time to reflect on his exceptional skill was the fact that, just 2 months before, I had called Bill to wish him a happy birthday. “Superfoot” had just tuned 70 years old!

Combat Hapkido “Even when I was at the top of my TaeKwonDo skills, (about 25 years ago) I was never able to kick nearly as good as Bill (who was?).”

ven when I was at the top of my TaeKwonDo skills, (about 25 years ago) I was never able to kick nearly as good as Bill (who was?). However, I was respected as an excellent kicking technician and could routinely kick the average student to the head, break multiple wooden boards with powerful jumping kicks and deliver accurate, very fast, high spinning kicks. So, now you may want to know if I still can do that and the answer isâ&#x20AC;Ś.no. Over the last 10 years, I have lost a great deal of my flexibility and my joints (knees & hips) have stiffened with mild arthritic discomfort. Part of the reason is also the fact that I no longer spend 2 hours a day stretching as I used to do when I was teaching 15 TaeKwonDo classes a week. Once I shifted the focus of my martial arts career to realistic Self-Defense, I felt that the ability to kick to the head was not necessary and that, even if able, attempting to deliver such kicks in a street fight, would actually be a dangerous tactic. Therefore, when I started structuring the syllabus of my Combat Hapkido System, I decided to include a limited but powerful arsenal of kicks that would be effective in a real self-defense situation and, just as important, kicks that most people, men and women of all ages, would be able to deliver relatively easily. After months of research and experimentation, I selected a dozen kicks to become part of our technical requirements. I believe that the kicks we selected for our system are more than sufficient to deal with most situations.

Combat Hapkido So, how did we arrive to the foundation of our Combat Hapkido kicking philosophy? First we had to analyze some of the realities of everyday life: • People wear regular clothes and shoes, not designed for acrobatic kicks (unlike most martial arts or athletic uniforms). • Most people are naturally not very flexible and do not start the day with stretching exercises before they leave the house. • The terrain where an attack may happen could be slippery with ice or rain,uneven, rocky, muddy, etc.. Not ideal for fancy kicks. • High kicks take longer to reach their destination and are easier to block or evade. • High kicks leave the body exposed and more vulnerable to counter-attack. • High kicks and spinning kicks cause the body to lose balance. • Mature and older people and those with physical limitations (past injuries, surgery, illness, accident, etc..), are not able to deliver high kicks. So, after considering and evaluating those factors and other relevant observations, we made a few, simple technical decisions for our system: • We eliminated all jumping (and flying) kicks.

Combat Hapkido • We eliminated all spinning kicks. • All kicks are directed to the lower part of the body (below the navel). By now you may be wondering: That’s all well and good for Combat Hapkido, an art that focuses exclusively on self-defense, but what about the ITA, your TaeKwonDo organization, do you apply the same kicking philosophy? And the answer is…no. TaeKwonDo is primarily a kicking art and you cannot take out or modify 80% of its kicks and still call it TaeKwonDo! It attracts a large number of children (who are much more flexible!) and it is an important player in martial arts sports. High kicks, spinning kicks, jumping kicks, flying kicks and all kinds of acrobatic, gravity-defying kicks, are part of the challenge, the excitement and the enduring appeal of this beautiful art. And that’s why my friend Bill is still in such high demand and is booked for seminars a year in advance! But so am I…only with a different crowd. And our joint seminars have always been successful because we bring together both groups of students and instructors, those looking for great kicking techniques and those interested in practical self-defense. We compliment each other. And for those of you who think I envy Superfoot’ s kicking skills and the fact that he does not seem to change with age, I will simply say: you are right! And even after all these years, I still try to convince myself that it all comes down to…genetics. High or low…keep on kicking!

What happens when two people practice Chi-Sao, what is the meaning of their practice and what the objectives? In this 3rd DVD, "Chi Sao from the base to an advanced level," Sifu Salvador SĂĄnchez addresses perhaps the most important aspect of Wing Chun: ChiSao, the soul of the system itself, which provides the practitioner with some special characteristics which are completely different from others, and gives him great virtues. This role deals with some aspects quite basic in principle, but as you delve into them, they'll be surprising to you. It is a very clear feature traditional Chinese culture; what it's very obvious at first glance, it nevertheless contains a second or third reading, which will surely change your approach, practice and understanding. We will discuss how to practice Chi Sao through our working drills and how to apply those drills, that ability in a sparring, linking certain concepts, perhaps not so much tied to traditional Kung Fu, such as biomechanics, structures, knowledge of physics, etc., in order to obtain better results in our practice.

REF.: â&#x20AC;˘ DVD/TAOWS3 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

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

REF.: • DVD/LARRY4

ORDERS: Budo international.com

A gr eat thinker of Jeet Kune Do, extraor dinar y benchmark, indispensable teacher, Tim Tackett wrote this book, paragon of intelligent reflections on the revolution that the Little Dragon opened and left unclosed in his short passage through this world. An essential book for understanding that legacy. Today we offer an excerpt of this work, now available on download at very low cost. Donâ&#x20AC;&#x2122;t miss it! Alfredo Tucci The last few years I've read many statements that suggest that Jeet Kune Do is no longer relevant. I've heard it said that learning JKD was like driving a 40-year-old car when you should be driving a brand new one. The strange thing is that the arts they claim that you should be taking, like silat, Thai boxing, or some form of Jiu Jitsu, are actually much older that JKD. They say that to get along in this modern world of no holds barred, ring type of fighting, you must cross train in both stand up as well as be well versed in some form of grappling. How true is this? Is knowing JKD enough? I have to admit that if you are planning to fight in a UFC type of match just knowing JKD will probably not be enough to get you through to the end of the fight. JKD is after all a stand up art with no rules. I feel that is one of the most it not

the most effective stand up arts that exists. There's always the chance that when your opponent charges you and attempts to take you down that you do a perfect interception with a straight lead punch and knock him out, but there's also a good chance that your distance and timing will be off and you'll be on the ground before you know it. To learn to survive in the ring, you also need to learn to survive on the ground. While footwork, hitting on the move and kicking can get you out of a lot of trouble, it may not always work. When watching the UFC notice how many times one fighter starts throwing punches only to have his opponent shoot under them and take him to the ground. It seems logical that any stand up fighter who wants to go into the ring should learn to avoid the take down. He must also learn to ground and pound, work

Jeet Kune Do

for a submission, or get back on his feet if he does land on his back. If you want to fight in the ring, knowing JKD will not be enough. You will need to cross train. How about on the street? I've heard some JKD'ers say that no one can ever get them on the ground. I'm not sure that they are correct. While it is easier to use JKD in the street, you may still end up on the ground. One advantage that JKD may have in the street is that there are no rules. Two of JKD's main tools are not allowed in the ring. They are the finger jab to the eyes and the shin knee side kick. I've never seen anyone take a hard finger jab to the eyes and keep fighting. JKD is also very much a shoe art. A lot of our kicking is based on wearing shoes. A shin knee side kick in the ring while barefooted won't get you very far, while in the street wearing heavy shoes should finish the fight if you know how to kick. While 90% of all fights do not necessarily end up on the ground, enough of them do that you better learn how to deal with going to the ground. To learn to survive in the street you will also have to cross train. You will have to learn grappling, but if you're not planning to go into the ring with rules, the focus of your grappling training will be different. You will need to learn what Bert Poe called combat grappling. Combat grappling's basic idea is that you don't want to grapple. It believes that while being on the ground may not be too bad in the ring, it can be fatal in a

Jeet Kune Do â&#x20AC;&#x153;If you ask 10 different Bruce Lee students you are likely to get 10 different, although similar, answers.â&#x20AC;?

street fight. Rolling around on the ground with some thug while his friends are kicking your head in is not a good strategy for survival. Bert Poe always told us that if you are on the ground with someone who wants to do you harm, break something and get back to your feet as fast as possible. Our idea of cross training is to work on your JKD so you can stay on your feet. Your opponent will have to get by your shin/knee side kick, and then your leg obstruction, and then your finger jab to be able to grab you. Then there's biting, gouging, knees and elbows. If he gets through all of that then he still has to get you on the ground. This is where some from of cross training will come in. Since there are no rules in the street, we take most of our techniques from Bert Poe. We've also been lucky to work with and pick up stuff from such great grapplers like Mark McFann, Jim McCann, Richie Carrion, Eric Paulson and Lloyd Kennedy. We w o r k o n n o t g o i n g t o t h e ground, but if we do end up there, we try to â&#x20AC;&#x153;break something and get back on our feetâ&#x20AC;? as soon as possible.

WHAT JEET KUNE DO ARE YOU DOING? Ever since the tragic and untimely death of Bruce Lee there has been a controversy about just what Jeet Kune Do is. If you ask 10 different Bruce Lee students you are likely to get 10 different, although similar, answers. This causes a lot of confusion about just what Jeet Kune Do really is. Because there are so many versions of JKD out there it's easy to be come confused. To really understand JKD we need to have an understanding of its evolution. Before Bruce Lee's untimely death few people knew much about Jeet Kune Do. It was always taught to a select few. After Bruce passed away there was never any intention to commercialize JKD. There was no thought to having seminars on JKD or of writing books on the subject. But it wasn't long after Lee's death that we noticed a lot of Jeet Kune Do schools springing up around the world. Bruce Lee was now famous and unscrupulous people were taking advantage of his fame for commercial purposes. The one thing these spurious schools had in common was that what they taught had more to do

with the techniques that Bruce did in the movies than real JKD. While there are elements of JKD in Bruce's movies, what is shown is a far cry from what Bruce taught. One of the main reasons for starting to give JKD seminars was to educate the public as to what authentic Jeet Kune Do really was. While this ended the misunderstanding between movie JKD and real JKD, some confusion still remained. This is because some of the people giving seminars called what was being taught Jeet Kune Do, or Jeet Kune Do concepts, while others preferred to call it Jun Fan Gung Fu. Because of this, many questions about JKD remain. These are many and varied. For example: What is Jeet Kune Do? Was it merely Bruce Lee's expression of himself in combat? Is it a style? Is it a system? Is it a process? Is it a product? Can it be taught? And is it merely an amalgamation of other martial arts techniques? When I was studying with Dan Inosanto in the early 1970's, there was no confusion. Bruce Lee was in Hong Kong making his first movie. At that time there were only 12 students who met twice a week in Sifu

Jeet Kune Do â&#x20AC;&#x153;After working with or observing all of the people who are recognized as JKD teachers, it's clear to me that no one instructor has the entire art that Bruce created.â&#x20AC;?

Inosanto's backyard guy. What we learned in that backyard school was called Jeet Kune Do. The name of the school was the Jun Fan Gung Fu Institute. Jun Fan was part of Bruce's Chinese name. The name really meant “Bruce Lee's School”. At that time it was one of the few places in the world where you could learn Jeet Kune Do. Because of this we felt that it was a special art and should not be taught to just anybody who walked in the door. We were told that if knowledge was power then we should pass it out discriminately. There were certain things that we were told not to share with anybody else. Most instructors of JKD seem to feel that they are teaching the “real” Jeet Kune Do. After working with or observing all of the people who are recognized as JKD teachers, it's clear to me that no one instructor has the entire art that Bruce created. All anyone has is a piece of the puzzle. Some have a larger piece than others, but no one has it all. This is because Bruce taught different things to different people at different times and different places. We can divide the JKD that is taught into 2 different, basic types. These are commonly called Jeet Kune Do Concepts and Original Jeet Kune Do. Jeet Kune Do Concepts started with Dan Inosanto. He made a promise to Bruce Lee not teach JKD to the general public. After Bruce left for Hong Kong to do “The Big Boss” movie the school in Chinatown was closed, and

Dan Inosanto took a select group and started a small JKD group in his backyard. After Bruce passed away Dan started getting invitations to teach at summer camps. Since Dan did not want anyone at the camps to get a certificate that said Jeet Kune Do on it, he insisted that all the students who attended have the name Jun Fan Gung Fu on their certificates of participation. This was because Dan felt that you couldn't really learn JKD at a weeklong camp and didn't want anyone leaving the camp thinking that they could teach JKD. Even though Dan Inosanto didn't want his hosts to advertise that he would be teaching Jeet Kune Do, they insisted on using Jeet Kune Do in their advertising. Dan wanted Jun Fan Gung Fu used, but since few people knew what that was they kept using Jeet Kune Do. Dan then started saying that he wasn't really teaching Jeet Kune Do but rather Jeet Kune Do Concepts. He defined that as using JKD principles in his teaching, but what these principles were never really defined. Most of the JKD concept people seem to view Jeet Kune Do not as a system or style. They view it as more of a philosophical approach where each practitioner develops a personal expression of Lee's art. They regard JKD as merely a starting point to their own personal expression of fighting. They use a quote of Bruce Lee that states that everyone should, “Research their own experience, absorb what is useful, reject what is useless, and add what is their own.” Concepts proponents encourage martial artists to look at as many martial arts as possible and chose from those arts what works for them. Using the concepts approach a student may learn when attacked to enter with a move from kali, follow up with a silat move and finish up with a move from Jiu Jitsu.

Jeet Kune Do

â&#x20AC;&#x153;Bruce was interested in constant experimentation, but it was not just experimentation for its own sake.â&#x20AC;?

The proponents of what is called original JKD feel that JKD concepts proponents have confused the general public as to just what aspects of JKD they are using. They feel that JKD is more than just “doing your own thing”. To the original proponent JKD has a definite structure that must be taught and used to be “real” JKD, but even then there is confusion as Bruce Lee taught different things to different people at different times. You can divide Bruce's art into four basic eras. One of the major reasons for forming what was called The Bruce Lee Educational Foundation was to promote unity and comradeship between the four phases of the evolution of Bruce Lee's martial art. Unfortunately this may not always be the case. The reason may be a misunderstanding of what Bruce Lee was attempting to do with his personal evolution. Bruce was interested in constant experimentation, but it was not just experimentation for its own sake. Bruce's intense study of other martial arts, and the passionate analysis of various modern training methods were for one purpose and one purpose only, and that was to make himself a better martial artist. With this end in mind Bruce Lee used his schools

as a sort of living laboratory. For example, a technique could be tested in the crucible of full contact sparring. Then an analysis could be made as to its efficiency. The various instructors who came together to form what was called the Nucleus decided to call Bruce's art Jun Fan Jeet Kune Do. This would define Bruce's art as to only what he taught during his lifetime. Many of Bruce's students learned for him before he created Jeet Kune Do. Some call their art Jun Fan. Some call it Wing Chun Do. While others call what they do Core JKD. So we can see that even among “original “ practitioners there is confusion. The yearly JFJDK seminar gave participants a chance to experience all four eras of Bruce's martial art. As James Demile said, during an interview about the late and great Ed Hart who was Bruce's second student, he was glad that people got to see all four stages of Bruce's development as it was important to see how A became B, and B became C, and finally C became D. If you were at the Seattle seminar it was obvious that there are vast differences in the way the four eras approach Bruce Lee's martial art. I think that James Demile said it best during his portion of the third seminar in Seattle Washington.

Referring to the differences he observed between that of first era, which he was an important part of, and the forth (Chinatown) era, he said that it was as if we had different teachers. At first glance it does look like the first era and the last are two totally different martial arts with the only thing in common is that they were taught by the same person, Bruce Lee. But if we look at a brief history of Bruce Lee's martial art growth we can see that instead looking at it as four separate arts, we should look at it as merely stages in one extraordinary man's desire to become the greatest martial artist in the world. It must be remembered that when Bruce Lee came to the U.S. in 1959 he was only 18 years old. His main martial art was Wing Chun, which he had studied since the age of 13. His first student was Jesse Glover who went to Edison High School in Seattle with him. Through Jesse Bruce started training his second student, Ed Hart. Later he started teaching James Demile and then Taky Kimura. At that time Bruce Lee mainly taught a modified version of wing chun with some techniques from other gung fu systems. After about a year, Bruce, tired of being a bus boy at Ruby Chow's restaurant, opened a school with Taky as his assistant instructor.

Jeet Kune Do Jesse Glover, Ed Hart and James Demile, not wanting to start all over, dropped out. In 1962 Bruce started teaching James Lee and Alan Jo. In 1963 he moved his family to Oakland, leaving the Seattle school in Taky Kimura's capable hands. In Oakland Bruce started a process of shedding some of his old techniques and adding some new elements to his personal martial art. He added a major emphasis on physical conditioning. Bruce also added Western boxing footwork to add mobility to his art, and Western boxing punching to add variety and angles to his punching reparatory. At this time Jun Fan Gung Fu, which is what Bruce Lee called his art, consisted of Wing Chun trapping and straight punches with four corner simultaneous blocking and hitting, a

mixture of Northern and Southern Chinese kicking techniques with angle punching and footwork from boxing. In 1964 Bruce made his move to Los Angeles to co-star in the Green Hornet television show, and left James Lee in charge of the Oakland school. While in Los Angeles, Bruce made many trips to both Oakland and Seattle to work with James and Taky. In 1967 Bruce opened the Chinatown school with Dan Inosanto as the head instructor. At this time Bruce started adding fencing theory to his martial art. His front hand finger jab was used in a similar way to a Western fencing foil. He adapted fencing attacks into the five ways of

attack. But most important of all he took the most efficient defensive technique, which is to intercept your opponent's attack with a stop hit. Bruce Lee felt that being able to stop hit is so important that he named his art Jeet Kune Do which means â&#x20AC;&#x153;the way of the intercepting fistâ&#x20AC;?. With all of the above in mind, how should someone from let's say the Taky era look at a technique from the Chinatown era which seems to contradict the way Bruce taught them to do it? First of all we must get over the concept of what is right and wrong. It is my opinion that techniques from all the eras have value and are, in there own way, correct. We must also keep in mind that the four eras were not totality separate as they flowed from one to another. Having studied with various students of Bruce Lee from the Chinatown era, I can state unequivocally that there are even variances in the way Bruce taught them a particular technique. A careful study of Bruce's notes from the Chinatown era shows that while he seemed to teach the same things to different people, he made sure they worked on what would be better for their body type. It is clear from working with different Chinatown students that Bruce Lee tailored his instruction to the individual so that they would do what worked best for them. This can be a small difference punching with a diagonal fist instead of a vertical fist, or a large difference as the stop kick with its most common follow-up. He seemed to teach people of smaller stature to do a shin-knee side kick followed by a finger jab. For people of larger stature, like Bob Bremer, for whom it would be more efficient to crash the line, he taught a leg obstruction followed by snapping diagonal punch. In the above case neither technique is right or wrong. They're just different. One thing I know for sure is that Bruce Lee was not looking for an inferior way to do something. The idea that a

technique from the Chinatown era is inferior to a technique from an earlier era would opposite of all we know about Bruce Lee. After all he was audacious enough to write in a magazine article an invitation to anyone reading it to drop by the Chinatown school and full contact spar. Bob Bremer told me that more than one person showed up to spar, watched the training for a while, then changed their mind and left. One example of a change between Bruce Lee's first era and the Chinatown school is the straight blast. Bruce told Bob Bremer that there are really two straight blasts. He told Bob to use the wing chun shoulder square blast when your opponent is right in your face to get him off of you and stun him. This gives you the proper distance for the one-inch penetration-snapping punch. Once you get the proper distance you finish your opponent off with a straight blast that uses the weight of your body by throwing your shoulders into the punches as well as your entire body. This is what Bruce lee would call a non-crispy attack which can also use boxing hook punches as well as straight line punches. But this should only be used after your opponent is injured and would be unable to counter attack effectively. An example of this can be seen in a video taken in Bruce Lee's backyard where his is punching the heavy bag with heavy hooks. He, of course would never have attacked someone with this method unless it was safe to do so. If you want to see this type of straight blast in action look at Jack Dempsey attacking Jess Willard in their title fight. I know Bruce Lee watched it. I feel that all of Bruce Lee's students should make an effort to learn as much as possible, or at least experience, the techniques and drills of all the phases of Bruce Lee's martial arts. We should try to understand why Bruce threw away what he did; why he changed certain things and why he added certain things. We need to know, for example, if his not focusing on the wooden dummy in Chinatown was because he had already got the value out of it, or if he found training method that he felt was more productive. We can't know only guess.

If by some miracle Bruce Lee could come back for a short visit, I would ask him, “Sifu, of all the techniques you learned, of all the drills you did, and of all the exercises you went through, which ones were the most important? Which ones do you feel were a total waste of time? And which ones were essential for turning you in the great martial artist you became?” Although we cannot know the answer, I feel that students from all the phases of Bruce Lee's life should get together in the spirit of mutual cooperation and love for the legacy that Bruce Lee left us and try to the best of our ability to answer these questions. I know that we would all become better martial artists and teachers if we could do this. Unless we do this no one will really “know” what Jeet Kune Do is, and ten years from

now if we ask ten different JKD teachers, “Just what JKD are you doing?” we will get ten different answers. After all we can't really know what JKD would look like if Bruce Lee were still around to look into the most efficient ways to use the human body for combat. Probably a student of Bruce's would look at what we were doing in 1973 and say that it looks as if we had different teachers. What we need to do is look at the core curriculum and use it as a guide into our own investigation into the most efficient way to use the human body for combat. I feel that by sticking to Bruce Lee's principles of combat while at the same time learning and developing our own JKD we will honor Bruce's memory in a way that he would approve of.

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

REF.: • DVD/SYSWEITZEL1

ORDERS: Budo international.com

In this DVD, Master Marco Morabito, with exclusive rights for Budo International, presents a preview of the Israeli Krav Maga Survival System. In this colossal work, the basic method and techniques of this discipline are illustrated in a clear and transparent manner. That is, no secrets, but in an extraordinary job that will take you to the very core of self-defense. The techniques are illustrated so that they are easily understood by all. A truly unique opportunity to approach selfdefense or improve your knowledge on the subject. The author is one of todayâ&#x20AC;&#x2122;s top self-defense exponents worldwide and has to his credit an extensive experience both in the military field and in security companies; awarded several times in various countries and acclaimed by his courses and seminars around the world, he has become an international spokesperson for different combat and self-defense systems, little known but highly effective. He has learned and studied all over the world, from Japan to the US, via Poland, Spain, Cape Verde, Germany, Israel, France and Russia, a continued research in remote areas of the world, such as Siberia or the desert of Texas, without stopping at any point in his tireless search for new knowledge without ever stop asking questions. The Israeli Krav Maga Survival System is not a discipline or a set of rigid rules, but a method, a process of continuous and constant evolution. This makes it adaptable to any situation and circumstance and permeable to any changes, and then be able to take stock of its mistakes and use the experience as an opportunity to improve.

REF.: â&#x20AC;˘ KMISS-1

ORDERS: Budo international.com

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"Perhaps one of the best theatrical performances regarding Martial topics "

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The RaĂşl GutiĂŠrrez Column

During the past months we have been studying the various physical exercises previous to the performance of the kicks that are developed in Martial Arts in general. From now on we begin to undertake a study and research around the fight. To that purpose, first of all I must point out the modalities which are studied in Fu-Shih Kenpo.

The RaĂşl GutiĂŠrrez Column irst there is the Kenpo Traditional Combat, that permits the use of fists in all their angles and modalities, as well as the attacks of opened hand, such as: Seiken Tsuki, Uraken, Tettsui, Tatte Tsuki, Shuto, Teisho, Haito, etc., and the different leg techniques: front kick, side kick, roundhouse kick, leg snapping wave block, descending kick, back kick (Mae Geri, Yoko Geri, Mawashi Geri, Name Ashi Geri, Ura Mikazuki Geri, Ushiro Geri and other maneuvers). Low kicks, the various sweeping movements and even takedowns would also be allowed. The Fu-Shih Kenpo Traditional Combat is not limited by categories of weight or degree. It's also a contact sport in which the one and only prohibition is that of hitting on vital points, namely: Eyes, Ears, Nose, Vertebral Column, groin and joints. In

addition, fights are carried out without any protection in hands or feet. Being too dangerous, it is only practiced in the own Dojo and with a reduction and control in the excess contact. It's spectacular and therefore it requires a high level of physical, technical and psychological preparation of both competitors. And talking about physical preparation, all those articles that I have been offering you previously through my monthly column, should be studied and constantly carried out, since general physical fitness is essential in order to dispose of the appropriate technique and strategy in possible street clashes, tournaments, championships and even to pass degree exams or exhibitions. In other words, we must pay close attention and dedicate enough time to our physical preparation in general, given that Martial Arts are considered

complete sports. And this is very easy to understand; no other sport - even if many of them also demand great efforts and perseverance -, requires from us having to cover so many elements in order to carry it out successfully. Martial Arts demand a great deal of strength, coordination, speed, Aesthetics, Balance, etc. Then each technique must be performed on both sides (right / left). That is why they are called ARTS. I often compare them with the musical art, because in music we must feel and express each note, then come the chords, the melody, etc., and each element must be in its right place, time and duration. Without all this, simply there is no melody that sounds in tune. Similarly, a martial artist must get to feel the movement, do it with elegance, strength, speed and precision. Otherwise, like a bad musician, he would also be unable to communicate his style or art.

Kenpo â&#x20AC;&#x153;The Fu-Shih Kenpo Traditional Combat is not limited by categories of weight or degree. It's also a contact sport in which the one and only prohibition is that of hitting on vital points, namely: Eyes, Ears, Nose, Vertebral Column, groin and joints.â&#x20AC;?

The current modality of the Fu-Shih Kenpo Combat can be likened to KickBoxing, in which, being a Contact style in all its manifestations, it advocates for the demonstrated victory on the basis of seeking the adversary's K.O. And to protect themselves mutually, they use protections in feet, hands, groin and sometimes also in the head. Then, fist techniques, kicks, low-kicks and sweeps will be permitted. In honor to K e n p o Grandmaster Choki Motobu (1923), in FuShih Kenpo we seek to approach as much as possible to the "reality" of the combat and therefore combat effectiveness is pursued. My own father (R.I.P.) was a boxer and from very early age I got started in gloves. But simultaneously I always felt very attracted by the spectacular handling of the legs, in such a way that throughout my career, already demonstrated and registered in the annals of the history of Martial Arts, I always was near those great masters, specialists or professionals with whom I came across in my path. My prestigious friend and martial fellow, the Karate and Kobudo Master Sergio Hernández Beltrán, said one time that: Personally, my first contact with the Kenpo was through Master Raúl Gutiérrez in 1986, who introduced me into a very different vision of selfdefense and, obviously, of combat. Master Raúl Gutiérrez, in his presentations of the self-defense techniques of his style, as well as in combat, considers and treats real

"contact" with some degree of control, but without avoiding showing the realism of the art. Because of his traditional background in the Kenpo system, he was one of the first Masters that, at the end of the seventies in Spain, approached an emerging combat sport known as Full-Contact. Putting on the gloves in order to bring the fight to a contact situation closer to reality always had been the most natural thing for Master Gutiérrez, an important research field, so he trained full contact sparring with Masters from the likes of Dominique Valera, Bill Wallace, Joe Lewis, James Sisco, Tony Palmore, Johan Vos, Jan Plas, Benny Urquidez, José Vicente Eguzkiza, Danny Lane, Chuck Norris, Pepe Legrá, Evangelista, etc. From the sports point of view, the subsequent "boom" of the contact sports systems, especially Kick Boxing, and the approach to contact combat from some "traditional" system, first known in Spain, like the Koshiki Karate-Do, led him to be the founder and president of the "World Karate Koshiki and Kick Boxing Assn", WKA, and the "Koshiki Spanish Association", AEKO. In 1987, Raúl Gutiérrez traveled to Irvine, California, to participate with his Spanish Team for the first time in the Koshiki Karate-Do World Championships, organized by the late Grandmaster Robert A. Trias and Masayuki Kukan Hisataka. In the event, Gutiérrez and his team managed to win several individual titles, Champions in Amateur and Third Place in Professional. In 1994, from 3 to 9 November, it was held the 9th World Koshiki Karate Championship in Japan, where a delegation headed by the Master Gutiérrez, participated with very good results as well. The meeting between

the President and Founder of the Koshiki combat system, Master Masayuki Kukan Hisataka, 9th Dan, and Master Raúl Gutiérrez, resulted in the recognition of the latter as 6th Dan of Koshiki Karate-do, given publicly in Tokyo, during the World Championship. He also received high positions in the World Federation (Member of the Inter national Committee and Representative for

The RaĂşl GutiĂŠrrez Column

Spain, along with Luis PĂŠrez Santiago, direct pupil (Spanish) of Isataka Sensei. Tactically and strategically, after assuring a good physical and technical preparation, the aspects that begin to become important are: dance in front of the opponent, both to break and win angles of escape or attack; distances, the technical arsenal we have; analyze the behavior of the opponent before our feints, dodges or actual attacks; take time to study the adversary, especially during the first round, find out what kind of competitor he is: pressing, circular, strong, agile, puncher, etc. The goal, after these considerations is that of being effective. And this should be attained through a job that allows progress without causing serious injury. A good competitor will be clean and prudent. For his own benefit, and also for the protection of his opponent, he will not lose control. The different exercises must provide the competitor the maximum technical and tactical resources, and the appropriate sensations that allow him to control the distance of the target and the mobility it has. Without apparent aggressiveness, he should let drop his power in each impact with an effective and, if possible, final technique. He must be capable of combining adequately his technical arsenal with serenity and coldness. This will impress his opponent. He should also

try to carry out his own game or strategy and not let himself be dragged by the strategy of his opponent. Also, he should avoid all those techniques in which he doesn't fully trust and those that make him squander his energy, or throw punches simply for the sake of punching. He must try to hide the possible weariness, edginess or pain for the received impacts, and learn to strike chaining his techniques at two or more levels simultaneously. It's important to ensure not "to telegraph" the attack to the opponent, by making it faster than the human eye, which will prevent his defense. Work with ease, agility and throw impacts as directly as possible. It must be kept in mind that we are facing an adversary probably as well trained as we are, perhaps even better, who is also trying to attain the victory in the bout. There are various Combat modalities with different rules, such as Sport Karate, LightContact, Semi-Contact, Full-Contact, KickBoxing, Muay-Thai, MMA, World Tae-KwonDo, Traditional Tae-Kwon-Do, etc. All of these disciplines require high physical and technical preparation. But it is also vital to have full knowledge and mastery of the rules governing the tournament or event in question. To know the rules and to fight

The RaĂşl GutiĂŠrrez Column making the most of the combination of technique, tactics and punctuation values can save a lot of unpleasantness or disappointments. There are competitors who limit themselves to perform their favorite techniques and tactics to ensure their success. And this may be not too attractive or spectacular, but for them it's simply not to risk with other techniques that are

less safe, or even dangerous. When Full-Contact emerged, it was compulsory to execute a minimum of kicks in every round. Otherwise, competitors limited themselves to "Boxing" and even many of them in a bad way. The use of kicks, although they are more effective in relation to the weight and forcefulness, by contrast is much more tiring to the competitor.

Kenpo In other tournaments, where Low-Kicks are allowed, many of them focus on this effective kick with the tibia against the thigh. With such rules, tournaments are closed to all showiness and then turn out to be very boring. But there are also magnificent professionals with a high technical range, great visual impact, spectacularity, forcefulness and clean execution in all their maneuvers. In Kyokushinkai Karate, K1, Sabaki Karate, for example, I've

enjoyed great sporting events that make your hair stand on end. Two professionals facing each other provide an amazing show, and despite the apparent hardness, their high level of preparation makes the injuries are minor, because they are skilled enough to hit and receive with elegance and aesthetics. In the next chapter we will delve into fists training and other concepts highly relevant for COMBAT.

Keysi

WHEN PEOPLE REACH THE TWILIGHT OF THEIR LIFE... "...They don't regret not having fulfilled their dreams; they regret not having had the courage to fight for them". Budo International: What is Instinct? Instinct is our heritage of millions of years of evolution, it's our animal past, a long journey to get to what we know today as mankind, an intellectual humanity; all the science, business, professions, everything that happens in the political world, religion, philosophy, is based on the intellect; Instinct is something older, is the root of evolution, is the before, during and after mankind. B.I.: How does the brain work? Understanding the basic brain function is essential to know ourselves and comprehend our reactions and behavior to certain stimuli or situations, but I don't have any intention of boring you with complicated explanations; our Instinct is the legacy of millions of years of evolution and we have needed all that time so that it could developed to what it is these days; simply put, something tremendously wonderful yet incomprehensible; at first our brain developed in its most primitive state, like that of a reptile, which takes care of the basic functions that keep us alive; when humans evolved, the reptilian brain evolved to the limbic system, which is governed by emotions, memories; it's fast, instinctive, it reacts immediately to danger and acts without effort. But the big jump, which distinguishes us from animals, was the development of the cerebral cortex (the neo prefrontal cortex); this

Keysi

third part is what distinguishes us humans from animals, because thanks to it we can speak; it's our rational brain, which is much slower, Logical, calculating and aware. B.I.: Can humans live without Instinct? Without our Instinct, we wouldn't survive not even one single minute; this experience of millions of years is primitive, but infallible; it makes no mistakes and produces in human beings miracles of which science and all the intellect of the world are not aware, nor will ever be able to understand; for instance, Instinct makes that anything we eat - and don't refer just to natural food, because today that would be practically a miracle -, turns into blood, and without going into detail, how is it possible that whatever we eat our body transforms it into blood? How does it separate oxygen from nitrogen? How does it distribute to each body part whatever they need? How can our body know the amount of oxygen needed by the brain while eliminates all the amount of garbage we put into our bodies? Well, all this is carried out by the Instinct. B.I.: Instinct and meditation? The great scientific discoveries are always the result of meditation, not of the intellect,

Keysi

from Archimedes to Einstein. Relaxation is the basis of meditation; Albert Einstein used to spend hours in the bathtub meditating, playing with the soap bubbles; when you relax you leave all the tensions; meditating is to focus on the present forgetting about the past and the future; it consists of practicing the attention to become more aware of our feelings. B.I.: Keysi, Technique and Instinct. Instinct will never be eradicated, it's by Instinct that the man Survives and Evolves; the social stress causes that our minds are Limited and make us seek our references in the Limitation; analyzing the technique, I have observed that it allows us to carry out an

Keysi

action in the shortest possible time and with the minor expense of energy, making the movement most effective; but I have also observed that technique is the exterior thing, what we physically show, and this, applied in a real situation is not functional. This is where the term "technical concept" disappears, and appear the "Principles", in search of what for me it is the most important thing: the Instinct; through technique it's possible to come to develop a great skill; technique can be taught, but not the Instinct, which is born with each person and the primary cunning must be reawaken in each person. Technique and knowledge are needed to have a real control of our physical power, but to have an immediate response in a real situation we need to have a direct perception with reality without having any interference of the prejudices and ideology of our mind: in Keysi we strive to wake up and recognize that state. It is a "knowledge that transcends logic", creating scenarios where through meditation and action we transcend the limitations of logic and the analysis, to respond in an instinctive and creative way to the spontaneous and changing circumstances in every situation. If Technology, Knowledge and Theory consist of knowing something, the Instinct consists of doing it. The Instinct allows us to carry out something while others are still wondering if it would be possible to do it. When it is obtained, it is known and felt.

Comprehensive or Integral Vovinam is simply going back to the Founder's true Vovinam. The goal of the founder was clearly and openly declared: "Harvesting effective techniques, assimilate their essence and transform them into Vovinam techniques", and indeed this concept still remains in force and is mandatory for all Vovinam Masters in the world. Vovinam is then a research concept to achieve a super effective style. However, today 90% of Vovinam teachers forget it and bend to a program too loaded, too fixed, too aesthetic and sometimes completely ineffective in numerous techniques. Comprehensive Vovinam is simply rediscovering the original essence of Master Nguyen Loc's art. For that, we have the principles, the basic techniques, and we just have to go back to work out the effective way of every technique and apply the founding principle. In this DVD, by the hand of Master Patrick Levet, we will study the basis of Integral Vovinam, threats and knife attacks, integral counterattacks, and defense against Dam Thang (direct fist) Dam Moc (hook punch), Dam Lao (javelin punch) as well as basic leg levers.

REF.: â&#x20AC;˘ DVD/VIET6

ORDERS: Budo international.com

Wing Tsun The Yip Manâ&#x20AC;&#x2122;s Legacy I've been practicing Martial Arts most of my life. I started at the age of 5 years and I have never stopped practicing until today. I have devoted the last 20 years to the study and practice of the Wing Tsun Kuen style, and I can say without deceiving myself that the day I met my master of Wing Tsun, everything changed in my life (profession, passion, friends, studies, spare time...). Whichever way I look at it, in one or another way, everything ends up in the same place: passion for Wing Tsun and for Martial Arts. In addition to my professional work teaching and promoting Martial Arts, Wing Tsun Kuen and everything around this fantastic Kungfu style has

Wing Tsun transformed my way to see, understand and walk in life. During all these years, and as it can be easily imagined, I have met thousands of Wing Chun practitioners all over the world. Especially in recent years, in which I hold the post of Technical Director of the Wing Tsun Department in the Spanish Federation of Olympic Wrestling and Associated Disciplines (Federación Española de Luchas Olímpicas y Disciplinas Asociadas), I've had the opportunity to coexist and interact with very different families and masters of different lineages. Many were complete strangers to me. Today I call "friends" to some of them. This is my "testimony", my experience, but I'm sure that many of you who are reading this article or follow our activities will find these words quite familiar. We could change the name of the person who is telling his experience and I'm sure that it would be very similar. Please allow me launching this personal reflection to introduce you in this month's article, which we have titled: "The Yip Man's Legacy."

Wing Tsun Why Wing Tsun? First: It's a teaching progression perfectly designed, step by step, so that any normal person can reach the top if he or she perseveres and works. I think this is the most attractive point of this system. As a machine perfectly meshed, each exercise develops a capacity to a certain level, and in the next grade, new exercises (especially the relevant Chi Sao sections), take you up to another level gradually, step by step. This is hard to explain with words, it takes a few years of practice and it requires having progressed to the technical degree to appreciate it. Personally, the more I study, the more I practice and teach the more admiration produces me to see how wisely designed are the diverse degrees up to the 3rd Technical Grade. Capabilities such as relaxation, training, learning to yield, explosive power, elastic energy, adaptability and many others are skillfully developed in a graduated way so that all those that follow its teachings manage to obtain their results This intelligent design attracts the attention of those students who have practiced other fighting systems, especially the inner styles, because they find clear and very precise instructions, and quick and verifiable results. Second: A healthy method with a very low risk of injury. In Martial Arts training, injuries can happen for three reasons: 1. Accidents. A fall, a stumble, a slip, etc., this type of injuries are accidental and occur both outside and inside the training hall. 2. Traumatism during free fighting. That is, by a blow or a lever made during a free exchange (either with full contact, semi-contact, etc.), basically, black eyes, broken nose, broken teeth, rib cracks, bruises and sprains.

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Wing Tsun In WT, these type of injuries are fairly rare (provided that students don't train on their own without any direction or control) because normally, free combat is not practiced until the student reaches a certain level. The great distance between technical work and free fighting, is solved in a fairly intelligent and logical way, by means of an intermediate step that we call Da Lat Sao, in which we try to apply our technical arsenal, displacement, angulation, etc., on an opponent who keeps moving (unlike many other styles that practice their techniques on unmovable opponents who collaborate "excessively"). In the practice of free Chi Sao, thanks to the control of the blows that this type of exercise provides, serious traumas are quite rare.

Most likely, the detractors of our system will think that you can't get to do combat unless you practice at full contact. My experience in the world of Martial Arts tells me that it is precisely that "soft" and flexible way of training what attracts a larger number of practitioners, and especially, what makes those practitioners to "perpetuate" in their personal training. In the end, effectiveness, with proper training, appears as a result of practice and, quite curious, there are advanced practitioners with an incredible combat level and an astonishing impact power, although they never practiced full contact blows in free combat during their learning. It is another of the great virtues that this training system has achieved over the years and through its constant evolution.

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â&#x20AC;&#x153;In the practice of free Chi Sao, thanks to the control of the blows that this type of exercise provides, serious traumas are quite rare.â&#x20AC;?

Wing Tsun Third: A deep style that excites and fascinates everyone. Something I have been able to verify is that WT creates real fans, not to say "addicts". Many people start by chance and, as time goes by, they get more and more interested in the art until it becomes a major aspect of their life. That is for me a fundamental aspect. WingTsun generates enthusiasm in people who had never thought of dedicating more than a couple of hours a week to an activity like this, and turns them into true martial artists seeking the mastery and knowledge of this exciting style. Fourth: In the WT there are many aspects to cover: Martial Art, philosophy (Confucianism, Buddhism,

Taoism), education, applications for health, psychology, Chinese culture, etc. One life seems too short to master everything, but that doesn't discourage us, quite the contrary. Anyway, enthusiasm can be conflicting. Our family probably won't understand and so we have to organize ourselves well and be smart not to neglect other aspects of life (family, work, friends, etc.), and especially not become a boring "Wing Tsun nut" who speaks all the time about the same topic or has no other interests.

improve ourselves. The higher his level the higher will be also ours. This interdependence is very beneficial, since it permits eliminating competitivity and creates a climate of mutual collaboration and good humor. Of course, that doesn't prevent to consider who is better, but the question is neutralized by the desire of progressing. Rather than seeing who the number 1 is, we seek to advance continuously. Vanity does not fit well with our development in WT, at least during training.

Fifth: A noncompetitive activity that promotes collaboration among persons. In WT, the fact of helping our companion to improve, help us to

Sixth: A skill that stays long even if you stop training. This is a curious and very telling aspect of the art. I have contrasted

Wing Tsun with students who because of family, professional or geographical reasons had quitted entirely training for 4 or 5 years, and upon returning to practice with them I noticed that they hadn't lost virtually any of the skills developed earlier. Some have compared this with the ability to ride a bike. Even if don't ride for years, as soon as you mount on a bike again, you can start pedaling without fear of falling. Perhaps it is a type of neuromuscular memory, though I don't really know. The fact is that it's highly motivating to know

that you don't lose what you have acquired, unlike other sports or activities. Seventh: A capability that can be applied unconsciously. Another remarkably feature of the arte is the fact that when you have reached a high level, it seems that it can operate on its own. Someone pushes you or grabs you, even if it's playing, and your body reacts seeking the gap before you realize what's happening. I know about colleagues who, if

Column “Vanity does not fit well with our development in WT, at least during training.” “A deep style that excites and fascinates everyone”

you move their arms while they are sleeping, they react as if they were doing Chi Sao. This is a very important skill for real combat, in which you have no time to think or prepare yourself. Eighth: WingTsun is also an interesting tool to understand Chinese culture. With a history of over 300 years, WT developed over one of the most turbulent and critical periods of Chinese history: the Manchu invasion, the birth of the Triads, the Taiping Rebellion, the pressure of foreign powers, the fall of the Empire, the Republic, the Japanese Invasion, World War II, the coming to power of Mao, communism and the subsequent opening.

Wing Tsun When we study the history of WT, we are contemplating sidelong the path followed by the Chinese civilization. Chinese cinema has also echoed the lineage of WT masters. Thus we find films whose protagonists are: Ng Mui, Yim WingTsun, Wong Wah Bo, Leung Yee Tai, Leung Jan, Bruce Lee; several films about Yip Man (with significant exaggerations) have also been recently produced. WingTsun is also an excellent way to access the Chinese Traditional Culture, with its numerous Taoist, Buddhist and Confucian elements, that are found in its theory and terminology, in the familiar relationships of pupils and masters, in strategies and technical principles, etc. It is an interesting coincidence: in my opinion, the good things - and the others "not so good" of WingTsun are the same that Chinese culture has. In other words, we can see the idiosyncrasy of the Chinese people and their culture, accurately reflected in WingTsun and vice versa. We've talked before about the shortcomings of our system, but I personally would like to stay with the virtues: respect, patience, humility and perseverance. I am convinced that Kungfu is without a doubt one of the best - if not THE best - instruments to learn Chinese culture: a culture that is called to become a world leader in the XXI century for its wealth, its influence, its population and its vitality. And after all this, I think it will be very easy to understand the relevance of the Legacy of Grand Master Yip Man! Perhaps you haven't thought about it, but you, dear reader, are now reading the Wing Tsun column in the Budo International magazine because you are driven by a passion, the same one that is driving me and many other people around the world: Wing Tsun / Ving Tsun / Wing Chun (write it the way you prefer)

Wing Tsun

Column “I am convinced that Kungfu is without a doubt one of the best if not THE best instruments to learn Chinese culture.”

It is necessary to look back and see how from Yip Man's arrival to Hong Kong and the education to students (up to that moment it only existed the school of his master Cham WA Shum in Dothan), the growth of the system in the whole world has been simply spectacular. Of approximately 20 practitioners in the mid-20th century, we have gone on to over half a million in the whole world in only a few years. If we can judge the legacy of a master for what he has left his successors, that is, those who have "inherited" his bequest, then we can say that Yip Man is one of the most important persons in the history of Martial Arts. From these pages I wish to recognize his GREATNESS and claim the maximum RESPECT for his figure and what his work has meant in our lives. Today I have friends on every continent, people who live and practice the noble art of Wing Tsun and to whom probably I would have never met if not for this exciting style of Kungfu. Wouldn't you agree? Sifu Salvador Sánchez TAOWS Academy Founder

"What beautifies the desert is that it hides a well of water somewhere." Antoine de Saint-Exupery "What we know is a water drop; what we ignore is the ocean.â&#x20AC;? Isaac Newton Flow doesn't mean being sloppy; definitely, water is not so, for it doesn't leave any corner uncovered... it reaches everywhere! As asturian people say, "water has a very fine snout". Unhurried, coupling to the circumstances, water is a metaphor for the persistence and extreme adaptability. It's the paradigm of changing in the form without transforming the essence. Water catalyzes life; without water, the land dries and gets barren; and the fire, without a controller, spreads everywhere and the air, turned into a sandstorm, cannot carry the fertility of the clouds, or the force of the changes. Even iron is wrought by the use of fire in the forges! Water is the cradle of all life, the primary livelihood of both inanimate and animate beings, all of them "bags" of hotter and hotter waters, according to their degree of evolution, and adapted to a change that we accompany, of which we are part, and not guilty, as some would have us believe. The "terminal sin" is the JudeoChristian guilt of environmentalism. Water comforts us, cleanses us, and blesses us. Wet in the rivers of the moment, we swim, fight, wreck... Flowing, adapting to the barriers, going down, not opposing anything, water is the perfect analogy of humility, adaptation and not conflict. The water wins aimlessly; following its nature, it surrounds any obstacle and teaches us how to overcome, but with wisdom, free from wear and tear, without losing sight of the goal. What is a rock on the road, a mountainâ&#x20AC;Ś? Even trapped in between cliffs and narrow passages, water filters, or evaporates if such a thing is not possible; nothing stops its destination. It's been the river of life that has left in my shores these texts, which today I share in book format. And I say "it left" because all authorship is at least confusing, since we are all debtors of those before us, those who inspired and keep inspiring us, of the floating clouds of the collective unconscious, and even, who knows!, of the spirits and the consciousness around us. I can't teach anything because I don't know anything, but for those who wish to hear my poems, here I leave my sincere and truly felt thoughts, every time more felt and less thought, because mind is a deceptive device that sees what it wants to see and Iâ&#x20AC;&#x2122;ve learned to be suspicious about it.

REF.: • DVD/SERAK-1

Pukulan Pencak Silat Serak is a very brutal and devastating Art. The Arts concept its to dominate and take over battleground and space, fast dominating space and engulfing opponents to prevent them from being able to use their weapons or body. Once space is acquired, the base and angle are taken to control opponents rotation or projection, rooting or uprooting is produced from the smallest expression of touch or angle and base position, this we call “Lengket” or sticky. Keeping very close to opponents when striking or using a weapon and putting opponents on “Slywa” or weightless stage of spinal and muscle misalignment. Once rooting takes place, the strike makes massive contact in the body that has no muscle or skeletal protection. “Sambuts” are finishes meaning something very hard to walk away from especially when compression of neck or spine, so finishing means its a done deal. The opposite of that is a “Buang” that stands for throws less devastating in the beginner levels but taught to learn mechanics that in later phases of development of the student or practioner can be modified to “Sambuts” for devastating throws. Compressing skeletal structure, weapons and body structures or striking, grapping defense and offence are all played and studied in our platforms. In this video there's a beginner “Pantjar” platform, also the “Jurus”, which are the playbooks of the system of Pukulan Pencak Silat Serak, are played here. This platform teaches where to be in position to attacker, the platform is 3 dimensional and teaches where opponents body's alignments are the weakest to point of contact the platform. It also teaches how to deal with multiple opponents and space needed, base angle and levers are all play here. Hope you enjoy my small offering into a vast large Art. “Hormat Terima Kasi”.

ORDERS: Budo international.com

WTF Taekwondo

We are pleased to present the second work of the KMRED group. This video bearing the name "Concept and Education" aims to make you discover a part of the concept Krav Maga Research, Evolution and Development, as well as the pedagogy developed within our group. The different exercises that you will discover here are not intended to "feast your eyes" or demonstrate our combative attitudes, because our priority here is that of explaining how we prepare our students so that they become "warriors", capable of "adapting" to the different evolutions of street fighting.

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

ORDERS: Budo international.com