Martial Arts Magazine Budo International 291 June 2 fortnight 2015

"I hope that martial artists are more interested in the roots of Martial Arts than in their different and ornamental branches, flowers or leaves."

Bruce Lee

L

eaving aside the thousands of lies and liars who populate the martial world, there exist many interesting Masters and traditions, which have the power, the interest and the necessary strength to guide the next generation of students who must pass on the message, the knowledge, traditions and ways that enrich and make big the warrior paths.

We all have shortcomings and flaws, nobody's perfect. Even the greatest Masters have their own limitations! Be that as it may, each student should strive to improve what he's received without betraying its essence. This is especially true in the oldest schools, because everything that surrounds them has been formed around powerful egregors, buried in the intense and profound roots that fit firmly in the depths of time.

But even some of these schools had their own transgressors, special people who gave a new direction to what they had received from their tradition. Jigoro Kano did it with Ju Jutsu and Judo, Funakoshi with the Tote Jutsu and Karate, Ueshiba with Aiki Jujutsu and Aikido... In Chinese tradition it was no different, nor was in the Korean custom....

Nevertheless, today many people have confused liberty with licentiousness, tradition, with treason, knowledge with wisdom. Masters, so called, who always go their own sweet way for their own glory, or for the very mundane reason of succeeding in the pursuit of "filthy lucre".

I won't name names, but intelligent observers know who they are.

Do I mean that everyone who doesn't do something that has more than 300 years of history is a charlatan?

No! Of course not! It would be like condemning with a smallholder view many great figures that were revolutionary at their time and brought a new rich, positive and worthy outlook for many people.

When the argument that “any time past”, as Les Luthier said, “was only earlier”, what elements of judgment must lead our criteria?

Where is the dividing line that makes some people cyclopean transgressors and others boastful charlatans?

Is it perhaps good intention enough? Honesty, ethics, or sticking to a moral law?

Each of us has different criteria, differentiated values ??that are the result of our education, our needs and

"What we leave behind us and what lies before us are nothing compared to what we have inside."

Emerson

experiences. It would be presumptuous of me wanting to set that boundary, marking a clear line on the ground.

Things are never white or black, there is always an infinite range of gray, blurring those boundaries in a complex amalgam, in which stories and multiple realities melt in spiritual and physical planes.

Judging the value of one style or another only by the prism of success or diffusion, would be almost to agree with the quantitative ... million flies love fecal matter (not to use a ruder word), yet it continues to be just that ... fecal matter. With regard to the qualitative values, things complicate even more, since it depends on the approach and look of every person, the personal judgment and lucidity. Those who judge through the prism of efficiency as the supreme raison d'être of the martial, will see one thing; if priority is given to realism, they will see another thing; those in which the dividing point is health, will judge in a different way; if the importance lies in the love and devotion to that tradition... it will be quite another.

The ceremony of confusion is served, there is no "one size fits all" approach for framing almost nothing and yet, within the inner feeling of each, there exists everything mixed in our relevant doses, driving us forward in one direction or another, and choosing consciously or unconsciously where to take our steps.

Things are not good or bad in themselves, but by the way we live in them and how they transform us in the direction that drives our deepest longing, our last and strongest internal appreciation.

Some will pass by a style like a comet, others will get to it like someone returning home; some will present as transgressors themselves, others as champions of tradition. There will be those who will merely scratch its surface while others will get to the very core.

The richness and variety of the martial world and of its proposals is so big and has such entity that has withstood the onslaught of the centuries. Its power is eternal, because it is contextualized in the primary forces that also touch human existence; therefore its need no advocates, it will only find interpreters in each one of us. I surrender to its greatness that I see unfold each day before my eyes, showing all its immense variety of powers, now frightening, destructive and cruel, then noble, just and temperate.

The world of the martial is great! From what angle do you look at it?

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

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3

The upcoming tradition The wind and its legacy “Experience is not what happens to you, but what you do with what happens to you.”

Aldous Huxley

Time passes by and realities mutate according to the rhythm of life. Sitting today to observe in retrospect, I can see far back in time the "I" who began studying Bugei under the direct guidance of Shidoshi Jordan Augusto.

Now I don’t measure any more that time in terms of years or months, but for the experiences that have changed me, transformed me. I remember, with strength and importance, in the words of my master, the introductory phrase: “The boat you are boarding today is the one I left long ago.” And in my paddling I realized that the pupil is the only rower and the master is just a guide, an experienced helmsman pointing the peculiarities of the river, a river whose streams change over time.

Text: Shidoshi Luis Nogueira

T

here's no doubt that these are different times than those that made him a master, and the masters who preceded him. Immediacy and superficiality oppose patience and commitment, moder nity against traditionalism. For the nostalgic, something common among traditionalists, the ever changing and frantic realities of this century have no interest, and the lack of values ??and traditional sensibility generates revulsion. Nowadays, Bugei, the heritage of the Kaze no Ryu (school of wind), as well as many other ancient schools, is stuck in a tug-of-war between a vast cultural treasure, based on classical virtues, and the voracious will of modern man, who acts with his muscles rather than his head, i.e., more passion than reflection. These are times that determine, as the river, the starting point of those who undertake a traditional way of values and selfdevelopment., more passion than reflection. These are times that determine, as the river, the starting point of those who undertake a traditional way of values ??and self-development.

Despite the strong handicap that represents (and has represented over time) being the heir to a tradition, perseverance has always been the common denominator.

In the past, anyone who aspired to become the pupil of a master, had first to pass through a phase that was called Kyûdôshin, the personal search on the Way, in which he would strive to carry out tasks commissioned by the master, sometimes nonsensically, in order to show his true will and desire. This was his first big test of fire; the tempering of his perseverance (Keizoku åp ë±) and full acceptance (Shouchi è≥ ím) of his apprentice condition.

Without this raw material there wasn't much that the master could do, just as the forger of katanas can do

nothing on the tamahagane ã ç| (steel for the forging of swords) if the tatara Ëm (oven) is not hot enough.

People of great value In a not too distant past, in order to become a pupil, the candidate would spend some time learning to take care of the school, its environment and his peers. His practice was restricted to clean the dojo, wash and prepare the costumes of the more advanced students, etc. This process, no longer used, besides teaching the applicant to carry out day-to-day activities, gave him a vision of humility and respect for his senpai, more advantaged students, because when he exceeded that stage, he knew that they too had gone through that same period. In this way, they learnt the value of small things; simple but valuable sacrifices.

In the XXI century, these practices have become mere stories but their values remain. Today’s difficulties are different. The student doesn't need to clean a garden of leaves every day or learn to wash dishes to forge his spirit, since maintaining his iron will of learning in a society with so many shortcuts is sufficient evidence. And it is now when guiding successfully seems to be more complex.

“In a not too distant past, in order to become a pupil, the candidate would spend some time learning to take care of the school, its environment and his peers. His practice was restricted to clean the dojo, wash and prepare the costumes of the more advanced students, etc.”

At the other end of the scale, some styles still retain many customs from the past that guide the students on a path of self development and responsibility. By way of example, even today, students are invited to leave the school when they fail to overcome a test. This requirement, far from irrational, offers great benefits, since it encourages the student to put his heart and soul into the apprenticeship and be a worthy recipient of the teachings he is receiving, moving away from the common mediocrity and showing his true value...

And there's if one thing I can highlight of the people surrounding me, from our Honbu-cho, head of the school, Shidooshi Jordan Augusto, and the rest of qualified people like Shidooshi Juliana Galende or Shidooshi Thiago Finotti, among others, to our most advanced students who are formally walking through the students way in our accredited schools (Brazil and Spain) or international program, it is the profound value of them all, a value forged through daily effort, hard work, dedication, commitment study, simplicity and humility.

And there's if one thing I should like to highlight of the people surrounding me, from our Honbu-cho, head of the school, Shidooshi Jordan Augusto, and the rest of qualified people like Shidooshi Juliana Galende or Shidooshi Thiago Finotti, among others, to our most advanced students who are formally walking along the path of apprenticeship in our accredited schools (Brazil and Spain) or international program, is the profound value of them all, forged through daily effort, hard work, dedication, commitment study, simplicity and humility.

The Way of the Kokeisha (successor) In the Kaze no Ryu Ogawa ha tradition, every master can name up to 10 Kokeisha in his life. Many can be suitable for the post, but only a few will be confirmed.

“In the Kaze no Ryu Ogawa ha tradition, every master can name up to 10 Kokeisha in his life.

Many can be suitable for the post, but only a few will be confirmed.�

Being named successor represents a great responsibility. His appointment is not a conquest but an obligation, that of being worthy of inheriting the history of his master. All the life work of a teacher will be exposed and maintained by his successor.

In a tradition that considers honor so valuable, as the Japanese or the Shizen people, failure in this feat is the greatest of misfortunes. After all, it will the heir with his attitudes and decisions the one to do a worthy demonstration or, conversely, will give a bad example of a legitimate teacher and a tradition that survived for centuries.

Kaze no Ryu in the XXI century Currently our school has an outstanding male trident, the three pillars that ensure a healthy and successful future to the Bugei worldwide. Shidooshi Jordan Augusto, one of the leading exponents (Hiroshi Ogawa formed personally 64 Shidooshi) and intangible treasure of a vast tradition, with decades of permanent effort and dedication to keep intact and spread the tradition that was handed down to him by Ogawa Sensei himself.

Under his direct command are the most responsible heads, the Kokeisha, Shidooshi Thiago Finotti and myself, your humble servant, Shidooshi Luis Nogueira.

Shidooshi Thiago Finotti is now President of the SulAmericana Bugei Society and master in charge at the Headquarters in Uberlandia, Brazil. He is the technical referent in this century, and a deep connoisseur of our tradition. Since his inception in the Bugei, Shidooshi Thiago Finotti has dedicated long periods of his life to be trained and instructed by Shidooshi Jordan, so that his technique, knowledge and character could be purely defined.

Finally, Shidooshi Luis Nogueira is President of the European Bugei Society and head of the H.Q. in Valencia, Spain. He studies and works daily with Shidooshi Jordan in the maintenance of the school and its dissemination, studying in depth all its dimensions.

The three of us carry out the task of maintaining in a legitimate and professional way the huge historical legacy that precedes us, with all our might and great dedication.

The DVD "Krav Maga Research and Development" comes from the will of four experts in Krav Maga and combat sports, Christian Wilmouth and Faustino Hernandez, Dan Zahdour and Jerome Lidoyne. To date, they lead several clubs and a group of twenty instructors and monitors from multiple disciplines, from Krav Maga or Boxing to the MMA, Mixed Martial Arts. This work is not intended to highlight a new method or a specific branch of Krav Maga, it simply aims to present a Krav Maga program that focuses on the importance of the "content" and share their experi

REF.: KMRED1

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

ORDERS: Budo international.com

the Sinawali: progressions of weaving Sinawali is commonly known as weaving ones arms or the patterns of weaving one's arms in the Filipino Martial Arts. Every style of FMA has their own patterns some with simple versions of single had to single hand others with multiple repeats and intricate patterns that must be memorized.

Sinawali means to weave and it's based on the woven roofs of the Philippines: the WALI. But more importantly Sinawali can also be the ability to weave one's self through space, the use of distance and timing woven together and the weaving of cadence and rhythm of one's attack or defense. Sinawali can be the ability to weave one's body over a distance to accentuate the actual clear zone of one's arms while using double weapons or double tools.

Sinawali: \Sin-a-wal-i: to weave by set pattern, to weave the arms in one arm or double arm. To use the idea of the arms in the ability to open and close. The arms in motion, the layers or changing positions is similar to the weaving of the huts roofs in the Philippines giving it the name..

Sinawali is important because it teaches a way to move ones arms within a space without bumping into one's own tools or arms. Unfortunately many in the Filipino arts don't understand body motion and body shifting and the “art of sinawali� has become the way of twisting ones arms around themselves a high speed without regard to hitting one's own arms or hands and without regard to how any times one may have cut one's own hands, arms or elbows if one is using an edged tool like a knife, bolo or sword. Typically the arms go faster and faster to prove one understands Sinawali, the body stays square and rooted

and all sorts of acrobatic and gyrations are needed to make one's arms open and close in sequence without becoming a tangled mess. Some in the Filipino martial arts add upper body rotation to move their shoulders forward to try to untangle their arms and then they declare that this is the missing piece in

Weapons Masters

“Bram, you must step AND body shift.

It is the body shifting that is important.

You are no longer there!�

Professor Presas

weaving or the art of Sinawali. The idea of actually moving one's body and body shifting has never entered their thoughts or ideas. Professor Presas used to tell me all the time “Bram, you must step AND body shift. It is the body shifting that is important. You are no longer there!� Weave: \ wev: to form by interlacing, to interlace forms, to make as if by weaving together parts, to move in

a winding or zigzag course especially to avoid obstacles. A pattern or method of weaving Sinawali, the conceptual structured weaving of the arms is usually perceived as a single entity known as the Heaven and Earth 6 count or High Low High. It is sometimes the only version or the most common version learned, taught and used by the majority of Filipino martial artists. Most people get

confused because the generic meaning to most of the people learning Sinawali is not only Heaven earth 6 but it is a Double Sinawali with both arms in synchronous motion. Because HLH or Heaven 6 is based on the simplest gross motor skill of weaving both of one's arms it becomes the most commonly referred to way of expressing Sinawali. Heaven and Earth starts out with a High line attack, (Open to close), a low line attack (close to open) and a High line attack (close to open with retraction movement). The initial attack is a highline motion with nothing in its way. Because the low line attack is from under the initial attack it's easy to accomplish without bumping or running into one's own arms. The final attack comes over the low line following the line of the retracting arm and again there is nothing in the way of the attack.

This by default becomes the standard of definition of Sinawali.

Sinawali actually exists in a multitude of versions and skill sets.

The fundamental conceptual use or root motion of all Sinawali is of course the ability to open and close one's arms.

The base version of weaving one's arms is really Single Sinawali not Double Sinawali. All the versions of Single Sinawali make use of one arm at a time; each making High -Low rotation before the other arm replicates that motion, alternating arms after each full rotation.

The actual base or foundation set of Single Sinawali is called Simple Single Sinawali or a two count motion.

The arms make an outside to inside High line attack and then a close to open Low line attack with a final retraction back to the open position. The next progression is Simple Sinawali which is a three count motion.

Most people have this confused with Simple Single Sinawali but it exists as subtly different separate skill set.

Single Sinawali is a three count movement preparing the user for double Sinawali. The set consists of a High line attack (open to close) a low line attack (close to open) and a follow up High line attack (close to open) with a retraction of the final attack. What follows next in the progression is a return to Simple Single Sinawali but this time with a fold: High line attack (open to close) and a low line attack (close to open) and the subtle difference here is that the next High line attack

Weapons Masters comes over the non retracted low line attack, which as the body rotates, folds under the new high line attack.

As one turns to strike the second high line attack forces bio mechanically a retraction of one's low line strike to one's hip.

This forces an understanding of body shifting and positioning of one's arms in relation to one's body.

Since the Low line arm is folded under the High line attack alongside the body, one is forced to learn to clear and retract the Low line arm as the alternate arm forms its own low line attack, and the folded arm moves from being the previous Low line to the current High line.

Cadence: ca-dence\ kad-ns: the measure or beat of a rhythmical flow: rhythm: Measure: rhythmic structure or movement Cadence is important and usually that is the biggest problem with any Sinawali involving a fold or retraction. The usual cadence is as follows: Strike high then strike low, fold, then strike high, strike low and clear the low line arm to be ready for the next high line strike. Advanced students think they have accomplished a high level of expertise if they strike high then low and clear from the low line simultaneously as they strike low: it's a great scissoring effect. Unfortunately this combined simultaneous motion only looks cool and this is incorrect and even advanced students clang their sticks on their own sticks or into their partners or opponents.

The proper cadence is strike High, strike low, FOLD, Clear low line, Strike low line, FOLD, strike High line, clear low line, strike low line‌FOLD and start over. This is a subtle difference but it is important: if one clears one's own weapon from the low line position BEFORE striking low with the opposite hand, there is no possibility to run into one's own stick or one's partner or attacker. By clearing the low line strike before striking Low line with the opposite hand, one is also set up for any aborted motion, needed counter attack or insertion of one's stick within combative flow.

The clearing motion is always upon the high line attack because the low line path is clear. Just as there is a Simple Single Sinawali with a fold there is a Single Sinawali with a fold. The motion is High, Low, High, with a retraction of the last high line attack back to the closed position accompanying the clearing of the low line to the start position of high line. It is only a single step away from Double Sinawali. In Single Sinawali there are two High line positions so there is the possibility of

clearing the low line on either the first or second beat of the single Sinawali. With the first strike one is at a High position, then one strikes low and then one finishes with a high strike.

The act of rotation of one's body to clear the tool to strike with the other hand, hand linked to hip by motion of pulling: gives rise to the next stage of

actually folding within the motion of Single Sinawali. If one was folding then after the hip pulls ones strike into one's body and one strikes high over it: at this point one can clear the low zone, then strike low...or one could strike high, strike low and upon striking high clear the low line. The basic idea of one can always clear one's low strike

safely if ones other hand is in a high strike position; one cannot get bound up or trapped or run into one's own tools because as I like to say “the intersection is clear of traffic�.

At this point in weaving one is actually weaving through space, weaving one's body rather than ones arms. Sinawali is a multi leveled

concept: it exists in 3D. Sinawali forces a recognition and use of stepping, body rotation based on hip rotation and body shifting: all of which enable one to weave one's own arms without hitting one's own hands or arms and to meet and respond to a complex attack from other perspectives. Weaving through space is like bobbing and

weaving in boxing: the liner aspect of the use of one's hands are melded with the ability to cross and twist the center line of attack and this circular motion through space, the use on other planes of attack adds the 3D to boxing. Sinawali with body shifting and hip rotation adds the 3D to Sinawali and the use of one's hands.

“It's the art of body shifting as one weaves that actually allows for Sinawali to be used in combat without trapping one's self or cutting or hitting one's own arms and hands.

This is what all Filipino Martial Artists�

By actually moving one's hips and rotating as one does Sinawali, one is weaving one's own body through space: this weaving is actually clearing one's own weapons hand from the path of the next strike or motion.

Simple Single Sinawali and Single Sinawali both have a hand to hip relationship: if one pivots and one's hand follows ones hip the hand is automatically pulled through space to a clear zone: no need to wave or weave one's arms. One is constantly bringing one's body up to one's hand or one's body back away from one's hands rather than the act of weaving ones hands away from one's body NOTE: Single Sinawali with a fold is one hand doing Double Sinawali. In Double Sinawali we substitute one hand for the other in an alternating

flow patter n. But the conceptual striking is no different in Single arm sinawali or double arm Sinawali. We still have high line open, low line closed, High line open and then reset: whether it is one arm or two. Sinawali can be done from a Closed position rather than an Open position. The hip shift again as in Open sets up the "fold": which is easier as one brings one body through space to the hands rather than waving ones hands n space. Weaving / waving ones arms means at some point one's arms are crossed or in a trapped position, If the fold / and or under position is ONLY a point of perspective due to hip rotation rather than an actual placement, one cannot be trapped. It is because of this trapping or being trapped that many "fighters" refuse to deal with Sinawali:

Why put yourself in a tangled or trapped position where the bad guy can strike you without being countered because you put yourself into a knot.

In reality one moves around in space actually freeing the striking lines and actually keeps both hands on separate paths that never crash into each other or overlap.

It's the art of body shifting as one weaves that actually allows for Sinawali to be used in combat without trapping one's self or cutting or hitting one's own arms and hands. This is what all Filipino Martial Artists want to achieve is the seamless melding of body motion, stepping and the use of both arm and hands in a real combative application rather than the dry stilted drills commonly known as Sinawali.

Muay Boran

March 2015, first edition of IMBA World Day! Martial artists from Australia, Italy, Poland, Greece, Switzerland, Finland, Austria, England, USA, Mexico, Colombia, Brasil, Peru, Ecuador all united under the same banner joined hands virtually on the same day: 7th March 2015. They all belong to the same martial family, the International Muay Boran Academy, and they all practice an ancient fighting style created in Thailand: the traditional Art of Muay Thai Boran.

For the first time many of the schools that form the backbone of the International Academy from all over the world joined the same event, IMBA World Day 2015. Each academy chose a personal way to be part of that special day: a seminar on Combat Muay Boran core techniques (Chern Muay), a Thai Close Combat (IMBA Muay Lert Rit) master class, a competition (Muay Kard Chiek), a Khan grading session. Each Khru must be very proud of his students and his fellow teachers!

Hundreds of Muay Boran instructors and students sharing the same passion under the same flag on the very same day in four continents: IMBA World Day's first edition was a huge success that we all hope will become a custom for all Muay Boran enthusiasts.

Special thanks to the following IMBA Khru: Perez Hernandez, Ramos, Esparza, Duran, Bomfim, Texeira Santos, Vega, Sirignano, Antonelli, Crauso, Sansaro, Vallone, Queirolo, Frattini, Paolucci, Di Iennio, Cecchini, La Ratta, Savini, Farati, Saudino, Donato, Ferrise, Giganti, Petris, Cipriani, Bacchi, Macchi, Petracca, Palmieri, Cosimi, Minieri, Falaye, Dobler, Droux, Gkitsas, Danowski, Majander, Radulescu, Courtial, Quaglia.

This new work on Fu-Shih Kenpo by Soke Raul Gutierrez is centered on the traditional forms of the style, their applications and self defence. We will have a deeper insight into the form "The Tiger Defends Himself", with each of the corresponding technical applications, the form "Tiger Teeth", and a special work on weapons. Then the Master will explain in detail the extense series of advance techniques on self defence, indicating the whys of certain movements, the necesary precautions to take into account, possible angles and the variations that could be applied in each technical group.

The DVD completes itself with a series of combat techniques for competition and conditioning work. where Master Gutierrez explains how to prepare oneself physically with the use of weapons, arms and leg conditioning, self defence preparation and for combat. Without any doubt this work is rich in knowledge based on the exchange and coordination of different styles and how to learn to respect the differences from each source of works.

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

ORDERS: Budo international.com

Great Masters STUDIES ON COMBAT "The RaĂşl GutiĂŠrrez column" There are several forms and levels of combat. The simple fact of dealing with the problems and generally unexpected events of daily life, as well as the constant attempts to change for the b e t t e r, a r e a l s o a f o r m o f c o m b a t .

C u r r e n t l y, p r o f e s s i o n a l s , e x p e r t s o r specialists in the field of combat sports, martial arts and street fighting have developed through their own experience varied and different concepts, principles or studies on "the Combat".

On our day-to-day and throughout our lives, we all learn gradually to develop ourselves in all those aspects and ways that move us in our existence. So at the end, when we reach maturity, we will have gained a real understanding and sensitivity according to the realities of our own being.

Kenpo

So it's good to know how to educate both our children and our students. But this ability to educate will also be based on our own experiences, knowledge, education, age or genetic antiquity. It's not enough to just having acquired a degree or a title "X," or that we have become "fathers", to take for granted that we are already "EDUCATORS" or even simple trainers. It will be then necessary to have the due sensitivity and the appropriate experience to know how to direct the instruction that should be given individually, rather than in groups, to each child or student; or competitor.

Regarding the sports part, it has several nuances. On one side is the part of physical training, which also drags with it some mentalization about it. What does this mean? Well, like all sports, dedication to the physical aspects and their various training methods should be conducted thoroughly. Not enough to say, "I have the best coach", which is very important thing, of course. But "now", the one who must be equal to or even better than his coach, instructor or Master, is "oneself".

Physical effort, discipline, persistence and perseverance, implicitly carry with them a big deal of "mental" concentration, goal setting, will and self-sacrifice, making up one's mind to be, if not the best, one of the best. I have met and I keep meeting people from different parts of the world that often tell me: "How can you do so many things every day, week and month year after year? How can you keep moving around non-stop?" Many think I'm a millionaire. If they only knew that my true wealth is that my life has not been easy... And it was precisely this that turned me into what I am. In other words, and as the old saying goes: "Adversity is the best Master". With adversity you can become a person better or worse.

Fortunately, from my early childhood, I always wanted to become a good person. And I hope I’ll have succeeded in this before I die.

After preparing our body and our arsenal, we must be clear about which are our objectives and, and, in searching them,, analyze where we are failing and what we still have to improve. I am one of those who, even having won a street encounter or a sports event, I always think I could have done it better. Concerning the street, I could have prevented the fight, or at least caused less damage to the opponent. In sports I know I have better conditions and capacity. I can't forget or ignore that at the moment of truth, the nervous system can play us a trick and the least one can say is "I could have done it better." The worst, in the case of having been defeated, would be saying "I should have trained more".

We should be able to distinguish the different types of tournament fighters that exist today, in order to set our strategies and achieve victory, however difficult may our opponent be. That is, having a first-rate physical condition and a good arsenal of technical elements at our disposal is not enough, we must also analyze during the first 30 seconds "the way our opponent breathes". Many competitors get into the fighting area like a devastating tsunami in an attempt to wipe out their opponent in those first 30 seconds. If you manage to succeed, "BRAVO!", but most likely you will not and, what is worse, you will have exhausted your "physical" resources, which is paramount; from then on, your mind won't be able to keep telling you "Up, up, go ahead, you can!�,

because your nervous system and your physical waste will say "no".

This brings to my mind the old joke of the wrestler who, after 3 or 4 rounds receiving a severe punishment from his opponent, asks his coach: “Hey, what's the score...?� And the trainer, who has been trying to encourage him throughout the fight, replies: "Well, if you kill him, we get a draw."

There are competitors known as "Swarmers", with a great for physical endurance capacity to absorb punishment from their opponents. They can take increasing amounts of punishment and keep going ... They can get to wear down the opponent or even intimidate him when he feels his strength abandons him. Others are of linear character establishing a steady advance in a straight line and always withdraw when you attack. And others move in circles, i.e., they are always dancing around you.

They are always breaking angles and destabilizing your attacks. It's a good strategy to fight!

We also have those who expect our actions to carry out their reactions. They intercept us. Sometimes they recede, but, curiously enough, attacking.

And of course, there are those with a great experience, who know it all and provoke us making us believe what is not and thus lead us to their field. "Wisdom comes with age."

In any case, sparring is a type of training and it proves that, at moment of truth, it must be like chess ... In other words, we must use our head rather than our body, mainly because the physical and technical side is already at your command. As I say, if I want to show my abdominal muscles, I just train and once I have them developed, they are already mine to show them off, all I have to do is tensing them and there they are.

The Attack The objective in full contact meetings is to be effective; it must be achieved through a job that allows progress without causing serious injury.

Different exercises should provide the student the maximum of technical resources and the appropriate feeling that permits him grasp the distance of the target and its mobility, and develop the strength of the impact with an effective and, if possible, definite technique.

Other important aspects to be achieved are acquiring the ability to combine these techniques in the proper way, because the opponent not always will fall at the first blow.

Lear ning to hit on two levels, with simultaneous techniques of different trajectory, and even at three levels, which leads to open an attacking point.

Avoiding "telegraphing" the attack by making it faster than the human eye, which will prevent the defense. Nonetheless, telegraphing a blow can be sometimes a

Kenpo

“After preparing our body and our arsenal, we must be clear about which are our objectives.�

good tactic to fool the opponent, as well as the way we set our guard with the position of our feet and our hands. We can incite our rival with our guard, offering him flanks that we know in all likelihood he is going to attack. But our real intention is that he does that, because we'll be waiting for him.

Searching the opening of the essential point that will be decisive, "touching" other key points to divert attention... it is the great feature of the sublime and ultimate art of touching the vital points!

The Defense Concept It's necessary for the student to realize what a blow is and get the feel of being hit, without this representing real danger for his physical integrity, but allowing him to know what would be the effect and consequences of these impacts in combat. Not to talk about real life... in other words, street encounters!

He must also avoid the vice of the false security that provides a defense and a counterattack without the opponent reacting. That is, he has to know the feeling of being in front of an opponent that can react moving

Kenpo forcefully and aggressively and reach him if he doesn't do anything to stop him or he trusts excessively in that false security. This is very important.

Generally, we work out on a false basis in which our training partner will never really attack us and, as it's the case in most of the training sessions in schools and gyms, he won't even react.

He will just restrict himself to receive our techniques, and allow us to display our chains of attacks.

Another thing to be prevented is the sensation of running away or detaching from the opponent allowing a longer way for his movements which will greatly boost the power of his blows, that is, letting distances that allow his reaction in counterattack. If we give him space, we will also give him the opportunity to clearly see our points, rearrange himself and he will also have the distance to use his various weapons. If we get into his perimeter and we continue attacking forward, we'll force him to withdraw out of balance, thereby losing strength in his cons and lacking vision. Apart from the punishment that at the same time he may be receiving, we must keep his body and his mind busy.

It must be understood that the best defense is attacking, although this might seem to go against the principle of non-violence of the art of the empty hand.

Testing yourself There are three ways to test our efficiency. First the air, second the equipment and third the man. In the air we develop coordination, speed, fluidity, balance, accuracy, etc. The equipment can be bags, paos, mittens or protections. And finally, it will be your opponent, who moves, defends and counterattacks.

“Many competitors rush into the fight breaking and crushing in an attempt to wipe out their opponent in those first 30 seconds.

If you manage to succeed, "BRAVO!", but most likely you will not.�

REF.: • LEVI LEVI8

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Kyusho

As Modern Martial Arts has brought Grappling into the limelight, it is imperative that the Martial Artist also prepares for this eventuality. With any martial endeavor, maximizing your potential while minimizing output is the quintessential goal. Kyusho assists in this goal far faster, easier and more efficiently than other concepts. Again, knowing the weaker anatomical structures of the opponent and automatic responses to them not only gives the Kyusho practitioner an edge of surprise and efficiency, but also in strategical aspects as well.

From the standing clinch, the takedowns and controls‌ even to the submission work, every component of Grappling is prime territory for this knowledge and skill. With the wide placement of all the pressure points there is always a possible target available, so no matter what situation you have your opponent in, or worse, that they have you in, there is a solution to give you the advantage, and one that also does not give your opponent the capability to know what or where you will be targeting.

Text: Photos:

Evan Pantazi Š www.budointernational.com

Vital Points applied to Grappling

“The spontaneity and ability to flow with the opponent while seeking and targeting the nerves will take cooperation in the beginning, but eventually you will be able to succeed even while your training partner tries to resist your attempts�.

et’s take it to the clinch where many real fights as well as competitions start, where both fighters are standing and fighting for position, balance and advantage. As many people are aware (especially trained fighters) of throws, sweeps and sacrifice moves, they are maneuvering to feel and offset them. They have developed a natural feel for them and may even possess superior size, strength and/or endurance! The equalizer to all of these is proper knowledge and training in Kyusho.

While the opponent is feeling and moving with you, their mind and intention is to look for the opportunity where you are vulnerable in balance and/or position. They pay little attention to what or where your hands are as they seemingly pose no threat. They do not foresee that with a twist of the wrist you can target their elbows’ Golgi Tendon Body that will neurologically weaken their entire body as it moves in response to their own nervous system rather than with their control of mind and thoughts. Their body will automatically and instantly respond to you and not to them, and how valuable is that in conflict? By quickly and efficiently locking out their elbow and easily transferring their balance without their ability to control it, you have gained the entry, position or takedown‌ but this is only a beginning!

Once felled, you move into perhaps a side arm bar, but they are familiar with this from practice and able to work with it, that is, until you again press L-8 on their wrist weakening their arm, sending pain into them, which alters their mindset to withdrawal or throws it into protective mode rather than mounting a counter. Before they know it they are submitting, but not from the arm bar they were last thinking about, but from the pain and dysfunction from a body or head point you have also employed. Rolling from point to point, you have not only taken charge of the physical, but also the mental, and in doing so rendered their spirit confused. This is because the attacks not only come from you, but are felt inside, causing involuntary reactions to your initiatives.

The nerves of the body will yield predictable results and for the Martial Artist trained with them, it is not always the younger, faster, better conditioned individual that has an uneven advantage. They can flow from control to escape to submission by connecting a series of available targets that they can also make

L

1. When mounted, it is easy to pull the opponent in using the Kyusho points of the arms.

2/3. If the opponent then gets a tightly clenched position, body points are difficult to access, but head points like TW-17 can weaken their grip.

4/5. Kyusho targets always expose and weaken more points for use, like ST-9, to continue your escape or counter.

6/7. We can then gain control and pin them using other points like the Mental Nerve.

“The nerves of the body will yield predictable results and for the Martial Artist trained with them, it is not always the younger, faster, better conditioned individual that has an uneven advantage�.

“Taking the dysfunctional aspects of each point will especially need to be considered while the opponent is entangled with you.

This is because felling them with a point in such a way that they will drag you down with them needs to be avoided”.

available and predict. Or if the opponent was skilled enough to recover and mount a counter, you can easily offset this again and again. By merely knowing where these targets are vulnerable and how the opponent will react physically to each target, you can plan a strategy, maneuvering them from position to position without letting them regain their balance, base or composure.

We have studied several of the nerve targets so far, as well as the myriad of possibilities, now there are new skills to manage and realize and in effect bring us to new levels of skill and capability by training these concepts in regard to the targets. Taking the dysfunctional aspects of each point will especially need to be considered while the opponent is entangled with you. This is because felling them with a point in such a way that they will drag you down with them needs to be avoided. How and where they will fall, roll or jump will now need more scrutiny for your safety as well as advantage. It becomes far more important now to understand which points will cause the opponent to arch back and expand their limbs as well as which ones will contract and collapse them, as they are connected to you more intensely and are struggling to gain a balance or position.

This will also enable you to learn to open or close their body movements, but more importantly, how to open new targets for your use. If, for example, your opponent has a tight, two-handed hold on you, their arms and all their frontal body muscles are now condensed and bunched so that these nerve structures in them are hidden or buffered from attack. The back, head and in some cases the legs (depending on standing or ground position), will be the only accessible points. By attacking the possible targets correctly, it will open the frontal targets for further use. This concept is a dynamic and constantly changing challenge when grappling, especially on the ground. But by sufficiently training, it becomes easier and also improves the practitioner’s skills in all prior levels of understanding. From the recognition of open and viable targets, to the ever-changing dynamics of human motion, even target accessibility, especially under stress, makes this a very intense and demanding level in our studies.

This also brings another new skill very much into the forefront, that being the tactile sense and location of points. When grappling, you are not usually able to have a large window of sight—

90% of the opponent’s body will be hidden— and so it is that developing the tactile isolation of points is now brought to the forefront. As we know from prior study, the points are always in the valleys between body structures of bone, tendon and muscle. As you grapple and maintain contact with the opponent, your hands will naturally fall into these valleys. By now, learning to feel your way to the targets gives you an even more thorough knowledge and feel for them as well as improving all prior levels of study. Anytime you can enhance your understanding of any aspect in your training it will exponentially increase your capabilities and even future possibilities. Gaining this insight and skill will make all your current techniques better.

Now add to this the increased pain that is imparted to the opponent as a result of using the nerves (the pain receptors in the body) to attack the internal mechanisms. This escalation in pain that a person is not typically exposed to is very disarming and confusing due to its unfamiliarity.

This pain not only registers locally as a typical external attack, but a deeply penetrating and traveling type of pain that can even disperse to several areas inside the body. This is typical of single point manipulation, but as you get better with targeting in a grappling situation, multiple targets will also avail themselves. By utilizing multiple points, the painful feeling of electrical

“Escaping is by far one of the more important aspects of Kyusho in Grappling, when the opponent has the advantage, whether it is from a superior mounted position or from the side or rear, and strength, balance and basing are not always available�.

“Knowing key physical idiosyncrasies of the human body will add immeasurable value to your personal arsenal as well. Knowing, for example, that the more strength you use in the arms, the weaker the nerves in the head become, is invaluable”.

shock can also be sometimes induced, which can either travel in a direct path or else on some nerve combinations, shaking the entire body from within as if you stuck your finger in an electrical outlet.

Now, not only is there unfamiliar pain, but for most people experiencing this sensation, there is also disbelief and even fear.

When you employ these nerve attacks consistently and all over the opponent with every touch or maneuver, they begin to get apprehensive or begin to flinch at every move.

This will keep them on edge and on the defensive rather than clearly on the offensive and therefore less capable of employing their own strategy.

This adds to their already new ground of unfamiliar behavior and method, giving you the advantage of surprise and lingering apprehensions in your opponent. It can, in some cases, get the opponent into such a state that every move you make is perceived by them as a Kyusho attack. But, as we know, the human body can get used to virtually anything over time and adapt to preserve its stasis. If you do continue to attack with each move on a nerve, they will eventually get used to it and adapt, and you will lose your edge and possibly turn the surprise to their advantage. So keeping the Kyusho manipulations sporadic, with broken rhythm and intensity, will keep this edge in your favor. This is a valuable key in all endeavors that you should take to heart, as Miyamoto Musashi consistently stated in his classic on martial strategy, The Book of Five Rings, “Study this well.”

This technical ability to access the nerves and induce all of the previously mentioned maladies makes submissions not only quicker and easier, but is also useful in many more unexpected positions and places. You can achieve a submission quickly through pain and dysfunction on every area of the body, it all depends on what you can get or on what position you have maneuvered your opponent into. Kyusho skill will also allow you to counter any efforts to resist locks or submissions. For example, if you were applying an Achilles tendon ankle lock, an easy way to resist this is to simply flex your foot back to tighten and stiffen the tendon so that the Golgi body and underlying nerve are now protected.

However, this in turn can also be countered by attacking a point further up on the opponent’s leg causing a dysfunction and relaxation of the muscles and tendons in the entire leg, thus allowing you access to both the Golgi Body and underlying nerve… and consequentially the submission from pain.

Escaping is by far one of the more important aspects of Kyusho in Grappling, when the opponent has the advantage, whether it is from a superior mounted position or from the side or rear, and strength, balance and basing are not always available. But with Kyusho, by merely pressing, poking, rubbing and even tapping points you can force the opponent into a predictable and involuntary reaction giving you a second of opportunity to maneuver to a better position. Through a single or string of successive shocks with their temporary dysfunctional reactions, it is possible to keep the opponent defensive and thus gain your superior position or submission.

This is not to say that Kyusho is a perfect method, this will always lie in the skill and ability of the individual to use on their opponent.

If your skill is far less than your opponent, the chances of you getting to the nerve points will be diminished and therefore unusable.

It will always depend on the training of the individual as to whether or not they can use these new and sharper weapons.

In grappling, the quickness and surprise involved in properly activating a nerve is imperative. It is different having another person attached to you when activating the targets, rather than with prior levels where you were the attached person with vibration, ballistic or compression methods. The effects of grounding and energetics now become even more important than first shown in prior levels, because now when the opponent grabs you with intention, there is an additional transfer of their body energy into yours. This not only grounds their energy, but it goes through you as well, reducing your body’s functions and possibilities. But since strength and speed are not necessary you can reverse this intention with a single attack on an

“When you employ these nerve attacks consistently and all over the opponent with every touch or maneuver, they begin to get apprehensive or begin to flinch at every move”.

“When a person’s nerves are sharply manipulated, the impulse converges to the brain for analysis and then diverges for reflexive action to protect itself”.

available nerve. This occurs, for example, when a person’s nerves are sharply manipulated, the impulse converges to the brain for analysis and then diverges for reflexive action to protect itself. This causes all of the energy the opponent was transferring into you to be used in contraction or expansion of these reactionary motions.

Knowing key physical idiosyncrasies of the human body will add immeasurable value to your personal arsenal as well. Knowing, for example, that the more strength you use in the arms, the weaker the nerves in the head become, is invaluable. As when your opponent grabs you, they will most assuredly use strength to secure and overwhelm you, and this action will need a tightening of the arm, shoulder, chest and other supportive muscle groups.

This contraction of these muscles involves nerves to activate the muscle into this state, which in turn will weaken (making them more sensitive) the nerves of the head and neck since stretching and extra neurological activity is eminent. Now, in turn, everything has an equal and opposite reaction, so by attacking the nerves of the head, you in turn weaken the arms.

Taking a simple side arm bar as an example, if your opponent grabs his arm with his other to fight the arm bar, this will make the points of the head very sensitive. To quickly weaken their arm and break the grip, simply press your heel to the nerve behind the hinge of the jaw (TW-17), the pain is not only excruciating, but the arm will completely weaken and release the grip.

After getting comfortable with all your locks, submissions, escapes, etc., the practitioner must experience grappling to attune themselves and make the knowledge a real skill. The spontaneity and ability to flow with the opponent while seeking and targeting the nerves will take cooperation in the beginning, but eventually you will be able to succeed even while your training partner tries to resist your attempts.

Once you can comfortably get past even your expectant and resistant partners, you have honed your skills to a high degree, but as always there is more work to do.

If you think this is a lifetime of study involved you are right, but by proper training it all comes naturally. You must be patient in your quest as Kyusho Grappling will escalate you to new heights of point location, acquisition and manipulation, but also enable you to attack the opponent on not just a physical level, but mental, and even weaken their spirit… all with strategy.

Isn’t this the higher levels that all Martial “Artists” aspire to?

Kyusho

Text: Carlos J贸dar & Ingmar Johansson Transcript: Mamiko Onoda Photos 漏 www.budointernational.com

This was the first time that this Grand Master and living legend of Kenpo visited the studios of Budo International and recorded a video for us.

Huk Planas is a friendly and nice person with a quiet slyness. Speaking with him is a real pleasure. Generous in his talks, he granted us an exclusive interview in which he entered interesting details of the history of Kenpo and Ed Parker himself, which will surely delight the fans of the genre.

Ed Parker’s Kenpo “I was around Ed Parker and I was around Bruce Lee but never saw them together, at least not talking about Kenpo”.

Ed Parker’s Kenpo Budo International: How did you start martial arts and how did you get into Kenpo?

R.P: Back in the sixties I was working as a musician but one day my friend and I were driving around (Fresno, California, where I come from) and we passed by a karate school where they taught Kenpo. My friend decided to try it out but I refused to because I didn’t want to mess up my hands. After some time my friend asked me to go down to the school because he was going to have a graduation. I didn’t know where we were heading to, I knew very little about karate schools. He took me to a Kenpo school where I saw some friends of mine, who were also musicians, training and convinced me that my hands were not going to suffer any damage from Kenpo. So they talked me into it and that’s how I started.

B.I.: Who were the instructors in this school at the time?

R.P: Tom Kelly who was a first degree black belt and Steve Labounty who was a second degree black belt. They were the main instructors at the time.

B.I.: When did you first meet Ed Parker?

R.P: Every year, Tom and Steve would organize a tournament and would invite Mr. Parker. Ed Parker used to hand out certificates in promotional dinners and I first met him in one of these dinners.

B.I.: What’s Kenpo in a few words?

R.P: I always say Kenpo is a set of rules and principles of motion. You have to study them and you have to understand why we move this way or the other. We, as teachers, want questions even if in some school they don’t allow questions.

B.I.: What qualities do you think are important to be a good Kenpo instructor?

R.P: Understanding what Kenpo is, its rules, power principles and motion making sure you use them. It’s not magic, it takes a lot of effort to stop somebody in a fight that started in the first place, that’s why it’s called self-defense. You have to finish what you have You have to be a good student before you become a good instructor. All the people that teach say the same thing: “Your best

Ed Parker’s Kenpo students are the ones who will become the next teachers and the ones that carry the system on”.

B.I.: Can you recall any anecdote/episode with Ed Parker or one of his quotes that you like in particular?

R.P: What’s useless and what’s useful only comes with time, experience and logic. It takes time to come to a conclusion on your own.

What I tell people is that you’re going to change your mind many times; perhaps you think something is good and logical but with time you may realize you were wrong.

Interview B.I.: Did Bruce Lee have any influence on Ed Parker and therefore on Kenpo?

R.P: I can only presume, and I think so. The old man talked with Bruce and I see that some of the things Bruce did, we do too. I was around Ed Parker and I was around Bruce Lee but never saw them together, at least not talking about Kenpo.

B.I.: What’s the main problem today in Kenpo and what do you think about its future?

R.P: The main problems in Kenpo, I think, are qualified instructors. There are many people teaching or that were forced into it or that have been put in that situation and really they don’t know enough about Kenpo and they just teach what they are told to. It happens worldwide B.I.: What parts of the program are written but not needed/necessary?

R.P: What is not necessary is simple: what is not useful. Everything should be useful or be teaching you something. If it’s just “busy work” (things that you’re teaching but are not really useful and you’re just teaching them to keep the student busy) it’s not productive. With this I go back to what I said about being able to distinguish between something that is useful and useless and that only comes with time, experience and logic.

B.I.: Does that include the extensions, as useless material?

R.P: I don’t like extensions, never liked them. When we teach a technique with 7-10 moves and they ask you what they are supposed to do after that I don’t think that student has learned very much. A lot of these extensions we wrote (orange and up to half purple), originally, it was only category completion.

B.I.: What do you mean when you say category completion?

R.P: It’s really simple. We take a move, a strike pattern, anything and show you all possible ways to use it from different angles (vertical, horizontal, diagonal…). Once you do that, the category is complete B.I.: So, you wouldn’t spend much time on these extensions, right?

“There are many liars out there that claim to have trained with Mr. Parker. People have seen me with the old man working with him and writing down the system”.

Ed Parker’s Kenpo

R.P: Like I tell my students, make up your own extensions because when it comes to a fight and you’ve applied techniques you know but your opponent is still standing ready to fight again, it’s going to be only you and him so you’ll have to be ready to improvise and come out with something on your own and make it work. Mr. Parker used to tell everybody all the time that if a person knew long form four– and fully understood what’s in it, he would hang a black belt any day on that person.

There’s a lot of “busy work” in the system to keep people doing something and to keep them paying

for the karate school. People don’t want to accept that at the end of the day a karate school is also a business. Every system is “guilty” of that because people make a living out of it. .

B.I.: There are many different ways you can do one technique; do you think they are all acceptable?

R.P: In the old days there were many variations of a single technique and there was A, B, C, D, E, F and G and sometimes even up to H or I. However, like I said, Kenpo is a set of rules. All I do is go

Ed Parker’s Kenpo around the world correcting people because maybe the instructor didn’t learn the rules in the first place. Ed Parker only taught thirty-five black belts and very few of them are there still teaching. It takes a long time to train qualified instructors. But as long as those variations aren’t breaking any rule or/and principle of motion they are ok.

B.I.: Do you believe Kenpo has changed from the sixties to

the nineties? If so, how has it changed? Anything new added?

R.P: I don’t think anything of value has been added. There’s nothing new that wasn’t written down already. Perhaps some new extensions have been added.

B.I.: Who created long form 7 and 8 and what do you think about them?

R.P: It doesn’t matter who made it up. First of all, if extensions were really necessary they would have been written forty years ago like the rest of the stuff was.

Kenpo is not a weapon system. Weapons and weapons principles are different from empty hands rules and people who train in real weapon systems they look at the forms and laugh. What I tell people is that if they want to study weapon they should study weapon systems.

B.I.: In your opinion, what sets are important to teach and why?

R.P: Anything that has value is important to teach so if that set is legitimate

Ed Parker’s Kenpo and you can get something valuable out of it, then fine. Otherwise it’s just “busy work”.

B.I.: Why did Mr. Parker always refer to Kenpo as American Kenpo?

R.P: I don’t remember Ed Parker ever using the term “American Kenpo”. Both Kenpo and karate are oriental terms. Originally, it was called Hawaiian Kenpo or Polynesian Kenpo because it was put together in Hawaii and when Hawaii became a state of the United States it started been called “American Kenpo”. If China were made a state, kung-fu would be American too but it wouldn’t because it’s Chinese. But, like I said, I never heard Mr. Parker referring to Kenpo as American Kenpo.

Other people did because of those reasons.

B.I.: How did Kenpo started to be written with “n” and not “m” (as in Kempo)?

R.P: There are many different stories. I once heard that it was a mistyped word in an article in a Hawaiian newspaper and it was left like that. I also heard that it was to spell it differently from the Japanese (both karate and Kenpo are Japanese terms).

B.I.: A lot of people feel that “karate” should not be part of the name of our system as we don’t really do karate. Does that have any historical reason, background?

R.P: You’re using the term everybody knows and understands although when Mr. Parker first put up a sign of “karate” in the front of his school everybody thought it was a Mexican restaurant! It’s a generic term to use. if you’re speaking to someone who knows about Kenpo karate you just say Kenpo.

B.I.: After a student is examined to achieve the next belt, he receives the promotional kick from the instructor. What does that symbolize?

R.P: In English there are many expressions using the term to kick such as “to be kicked up in a job”, “to get kicked/booted up in a position”. I like what Mr. Parker used to say: “The instructor kicks the student to give him a little pain as pay back of all the pain he has caused the instructor throughout the time and training”. It was something representative as in the old days when a student was kicked hard, everyone nodded and thought: “Oh, he did a good job”. People used to get upset when Mr. Parker didn’t give them a good kick and think: “What did I do wrong?”

Ed Parker’s Kenpo B.I.: About forms, do we teach anything that we could say they are wrong?

R.P: Wrong isn’t the appropriate word. Different from how the technique is done is more correct.

This used to be done in many schools and I’ve seen people teaching some things instead of other things to hide and keep little “secrets”. However, the real reason behind that was to test the student to see whether he understood what he was been taught. If the student doesn’t realize he is violating principles or rules and doesn’t ask, then he’s not learning much. Also there are many people who learn by heart the principles but are useless on the mat.

B.I.: Have you changed anything from the original system?

R.P: I wouldn’t use the word “change” because when I explain Kenpo I do it like an upside down pyramid. To build a normal pyramid you’d have a wide base and then get to the top.

In Kenpo we start with one, and then build two on top, then three on top…that’s how we keep adding to.

I’ve added things and variations by the rules and principles but I haven’t eliminated anything.

Great Masters

Ed Parker’s Kenpo B.I.: Would you say weapons techniques in Kenpo are correct?

R.P: There’s correct or good. Anything can work if the timing is right but there’s an “if” in that statement and now days there are too many “ifs”. Weapon form is the last you learn because you have to be very good to take on weapons without getting hurt real bad or killed. You can get bruises and lumps fighting with empty hands but not killed. We show you to move from inside to outside and that’s always a good idea, to get away from his back-up weapon. But for category completion you move from outside to inside where the opponent can easily check you off and use the weapon in a blink of an eye but people don’t think about that. So we show you this category completion move at the worst possible time meaning that you shouldn’t move from outside where it’s safe to inside when there’s a weapon in between.

B.I.: Referring to what you just said, don’t you think some techniques should be updated since now days it’s more common to see people with different weapons?

R.P: That’s true and that’s what many of us have done. However, you’re talking about a situation in which you run into someone who is trained and you end up getting into a fight with him but it’s very unlikely that two people that know martial arts run into each other and fight. That’s not realistic. Besides, people who train martial arts are learning it for self-defense and from what I’ve seen they aren’t the trouble makers that go around fighting people.

B.I.: What do you think about the fact that there are so many high ranking black belts in Ed Parker’s Kenpo today?

R.P: Many people make comments about that and they wonder why Kenpo is the system with the highest number of black belts. Many of them have gotten it because of their ego. There are many people who are not qualified but had

Great Masters

Ed Parker’s Kenpo been given the black belt. The reason why Mr. Parker had black belt students is that, apart from the fact that they had earned it with time and training, he wanted to spread Kenpo and wanted to give some authority to these people who were going to be representative of Kenpo in their state or region or school.

B.I.: If Mr. Parker were still alive how do you think he’d react if he’d saw the development of the art?

R.P: I think he’d turned over in his grave. In my opinion, since Mr. Parker died Kenpo has not gone forward but it’s done a backsliding of ten to twenty years. Short after he died more than twenty organizations popped up. My friend counted over sixty and I found it hard to believe but I wouldn’t doubt it. There are too many unqualified instructors going around the world teaching Kenpo. What I try to do is show how messed up it is. They like to feel respected but that only happens when they are in that room teaching. Rank is no good unless it’s respected.

B.I.: Do you have any organization of Kenpo?

R.P: Many people think I do but I don’t have anything legitimate.

People talk about training Parker-Planas lineage and that’s how it may look like it’s an organization or federation but there’s nothing on paper that says people belong to this or to that. It’s just so that people know where they are at.

B.I.: What is exactly Parker-Planas lineage and how is it developing in the world today?

R.P: People know where I come from. There are many liars out there that claim to have trained with Mr. Parker. People have seen me with the old man working with him and writing down the system. That’s the reason why I have a busy schedule and travel around the world teaching and many of my old students are doing the same too. About the development, it’s not growing in leaps and bounds but it’s growing. Some people have been training forever but have learned nothing and some have achieved a lot in a very short time. Also I always say: “If you get your rank easy, you give it easy. If you get your rank hard, you give it hard”. I don’t give ranks, I give lessons.

B.I.: In 1993 you made videos on forms; will you be doing other videos with techniques?

R.P: I decided to do DVD on what I call “problem techniques” which are techniques that cannot be learned by reading the book and that’s basically all of them. There are common mistakes you see and I picked I think forty to sixty techniques out of the standard curriculum.

B.I.: After so many years teaching and travelling around the world spreading the art of Kenpo what is your motivation to keep on doing this?

R.P: I didn’t plan to be a karate instructor. As I said earlier, I was a musician at the time. It’s just something that happened. I started

Great Masters

Ed Parker’s Kenpo “The main problems in Kenpo, I think, are qualified instructors.

There are many people teaching or that were forced into it or that have been put in that situation and really they don’t know enough about Kenpo and they just teach what they are told to. It happens worldwide”.

teaching when I was orange belt. The art means a lot to me and that is why sometimes in my classes I yell and scream and howl but that is only because I care and I want things done properly and correctly. I’ve seen people teach with a cigarette in one hand and a can of beer in the other telling the students what to do just to keep them busy. You can tell these people don’t care much about the students or/and Kenpo.

B.I.: Are you optimistic about the future of Kenpo?

R.P: Getting everyone under the same roof will never happen. You pick your road and you go down it. We have to understand Kenpo is not made for everybody. Are you ever going to use Kenpo in a fight? I doubt it but it’s important that what you learn you learn it without blanks.

B.I.: What would be your advice to anyone who wants to start learning Kenpo?

R.P: My advice is that you have to know what you’re getting into. This is a martial art to save your butt in the street. If you don’t train hard and realistic it won’t be there to save you. It’s a lot of hard work, it’s not magic.

B.I.: Thank you Master Planas.

R.P: Thank you as well.

“I think he’d turned over in his grave. In my opinion, since Mr. Parker died Kenpo has not gone forward but it’s done a backsliding of ten to twenty years.

Short after he died more than twenty organizations popped up.

My friend counted over sixty and I found it hard to believe but I wouldn’t doubt it”.

DVD & Video

Ed Parker’s Kenpo

Great Masters

As every month, Grandmaster John Pellegrini, one of the most insightful Martial Arts feathers today, enchants us with his experience and knowledge.

Master Pellegrini possesses the unique virtue of combining his deep knowledge of the tradition, with his ability to couple it to pedagogical modernity, in a clear and orderly manner. For this magazine it is always a luxury and a pleasure to count on his articles year after year. Don't miss this "fairy tale"!

Alfredo Tucci

A MARTIAL FAIRY TALE

By Grandmaster John Pellegrini Once upon a time there was a Martial Arts school that was teaching children and adult men and women, a beautiful Art, developed hundreds of years ago, evolved by several generations of Masters, refined and moderately modernized to adapt to current laws and social climate. The students learned the traditions of the Art, its history and cultural origin.

They also learned its physical component and its technical attributes and how to apply them to real combat situations. But they learned much more than that. The Master of the academy took great pains to instill in his students a moral code that would shape their attitude in their everyday lives and govern their conduct when dealing with others. He did this by stressing and emphasizing the tenets of the Art, and by cultivating the character building qualities necessary to produce peaceful and honorable warriors. Respect, humility, confi-

dence, compassion, courage, generosity, honesty, loyalty‌.every desirable human attribute, the Master, by example, strived to teach his students.

Then, not suddenly but over a period of months, the Master noticed that he was losing students. Business was slow and, at first, he thought it was due to the poor state of the economy. Then, one day, one of his higher belts, a nice young man, announced that he would not continue his training at the academy. The Master was dismayed and immediately, in his usual spirit of generosity, thinking that the student was having money problems, told the young man that he could continue to take classes at no cost until his finances improved. The student, visibly uncomfortable, informed the Master that his decision had nothing to do with money.

He then reluctantly revealed that he was leaving to go to a new MMA gym and that several of the other students who had left the academy in the last few months had also gone there. The Master was disappointed but he

Combat Hapkido

wished the student the best and told him that he would always be welcome back. The young man thanked the Master and started to leave.

But then he stopped, turned around and said: “Please understand, it is nothing personal against you, it's just that MMA is so cool; my friends are doing it; we learn how to REALLY fight and the instructor told me that I have great potential to become a fighter and participate in championships”.

That night, the Master reflected on the incident and the general situation of the academy.

He realized that times had changed and that the popularity of televised “gladiator sports” was having a strong influence on many young men.

He believed that there was nothing inherently wrong with MMA training and that it was the right sport for a very small number of people.

But he also knew that it was not a true Martial Art in the complete, authentic sense and that it would always remain a fad, a trendy entertainment and an often brutal spectator sport that many enjoy watching but few want to experience. So the Master decided

Great Masters

to find out how other Martial Arts instructors were dealing with the situation and he set out to visit most of the schools in his town. What he found was incredibly disappointing.

A few of the schools had sadly gone out of business. Some had decided, simply for financial reasons, to partially embrace the fad and had added an MMA program to their offerings (often with no real technical knowledge of true MMA training!).

But what the Master found most shocking and disheartening, was that several schools, in order to capitalize on the profitable trend, had totally discontinued and cancelled all Martial Arts classes and had converted completely to an MMA gym.

The Master was sad and a little confused.

Hadn't he seen this before? Hadn't this happen many other times? Didn't they understand that fads, trends, fashion, gimmicks and popular infatuations come and go? Over the years, the New, the Ultimate, the Unbeatable, the “Makeyou-rich” programs had all eventually faded

away. “Bodyguard Training” guaranteed to get you hired by Hollywood stars; Baby-sitting masquerading as “after-school martial arts”; aerobic classes pretending to teach self-defense; secret Israeli commando techniques; secret Russian special forces techniques; Brazilian street wrestling… and on and on. We seem to forget the ripoffs of the past and we cannot wait for the next novelty that's going to make us rich and famous and solve all of our problems. But it never seems to work that way. On the other hand, true Martial Arts had withstood the test of time… for centuries.

The Master smiled…he understood completely. For a time, the demographics at his academy would be different with more mature students, more seniors, more women, more children and many less testosterone driven young men.

The Master knew what he was going to do. He continued teaching his beloved Art and he and his students lived happily ever after.

Combat Hapkido

“Once upon a time there was a Martial Arts school that was teaching children and adult men and women, a beautiful Art, developed hundreds of years ago...”

“Then, not suddenly but over a period of months, the Master noticed that he was losing students.

Business was slow and, at first, he thought it was due to the poor state of the economy.”

Great Masters

A Classic Success Story

SO WHO IS KAHANA THE HOLLYWOOD STUNTMAN? To Article written by: Famous Martial Understand, it is essential to Artist & Hollywood Stunt Legend Kim understand Kahana the man.

Kahana Sr. I was born in the Hawaiian Islands on October 16th, 1929. My father was You may not recognize my in the U.S. Coast Guard and was an name or my face, but if instructor in Judo and Aikido teaching to the general public as well as my you've ever watched TV or family. At the age of 4 and a half I a feature movie the chan- became very proficient in both these ces are you've seen me, arts. In 1934 my father was transferred Kim Kahana Sr. I'm the guy from Sand Island, Hawaii to Osaka, taking me along with him where going over the cliff, flying Japan I studied under Sensei Hanna Fusa for through the bar room win- about 3 and a half years earning my dow, crashing a car and first black belt in Judo at the age of falling off a horse. nine years old. Than in 1937 my father Subjecting my body to wha- was transferred back to Hawaii. There able to see many different styles tever the Hollywood scre- Iofwas martial arts such as Filipino-stick enwriters and Directors fighting, Kung-Fu, and Karate. I was can dream up for their very active and liked to fight in and out of the ring. I enjoyed contact. My action shots. first style in Karate was Shotokan, but

after studying for a year it became a little too rigid for me so I made the decision to switch to Kempo and then to Shorin-Ryu. By this time I had developed a good mix of martial arts under my belt. I was also very interested in the art of the Samoan Knife and Fire Dancing which I learned from some of my Samoan friends. In later years I became a Samoan Warrior under the training of Freddie Letuli and traveled around the world performing.

As a boy I became very restless. I wanted to go to the mainland and see the country. At the age of nine I stowed away on a ship bound for San Francisco, but out to sea I was discovered and brought back to Hawaii. After witnessing the bombing of Pearl Harbor I stowed away again and this time made it to San Francisco. From there I hitchhiked and hopped trains across the country to my Uncle in New York where he was working in a band with Xavier Cugat.

Legends of Martial Arts

He taught me how to play the drums which was the start of my career in show business, playing drums and dancing the Samoan Fire and Knife Dance.

Years later during the Korean War I enlisted in the U.S. Army and became a member of the Airborne Ranger Unit. The Korean War was about survival. In fact I clawed my way out of a grave after an enemy firing squad had left me for dead becoming one of the country's most decorated soldiers of the Korean War, having received the Silver Star, two Bronze Stars and two Purple Hearts. I later also recovered after a grenade explosion had left me blind for two years and permanently sightless in my left eye.

After the Army I moved to Hollywood and began working as an extra. I also began picking up work as a stuntman after I realized that these guys were getting paid a lot more for

what I had been doing in Korea for free. At least it seemed that way in my mind. I did not know how to ride a horse, so I went to such legendary Hollywood cowboys such as Yakima Canutt and the family of John Epper.

My vast career has spanned over 300 movie and TV credits which can be viewed on Wikipedia and IMDb. The idea for a stunt school came to me in the 70's when I noticed that the profession was being overrun with young daredevils who were killing themselves and injuring others. These daredevils who encouraged daring feats by those with more guts than common sense. I didn't want to stop the newcomers from coming, but I did want to make sure they knew how to do their jobs without killing themselves or someone else. So 1972 I began the Kahana Stunt School for those who were already in the stunt business. Two years later I

opened it to the public and the school was the first to offer organized instruction. Up to that point stuntmen had learned on the job from industry veterans, many of whom didn't care for the idea of me giving away what they considered trade secrets. So with that, I resigned from the Stuntman's Association of Motion Pictures and continued teaching at the stunt school: www.kahanastuntschool.com.

In this line of work you meet many people. Some come and go and others become like family, like the Zaino's. It was March of 2009, Danny and his wife Theresa Zaino called me for an interview with their Martial Arts Entertainment Radio network. After the interview I invited them and their family to come up and see the Kahana Stunt School. I was very intrigued and interested in meeting another martial arts family. When the Zaino's came to

tour the stunt school I was very impressed with their children Tony, Joey and their little sister Dominique who was only 14 years old at the time. Danny asked if I could give him some advice with a documentary he was doing about his family. We talked for several hours and before they left they invited my wife Sandy and I as special guests to their Martial Art Hall of Fame Awards Banquet in Clearwater, Florida. Their kids were performing a special demo with their “Team Americas” formerly known as “National Team Pepsi Show Team”.

They were very impressive.

I was also surprised as I received a Recognition Plaque for “Best Stunt Coordinator”.

Over the past six years the Zaino's have not only become an extended part of my family they have excelled their talents far beyond what I could have ever imagined. This is why I offered to assist them and become the Director of their online television show, Director of their family documentary film “Born to Compete - the Zaino's”, which is now in the editing stages and recently made the decision to become their official manager. Besides the obvious, their similar family values and work ethic, it is still quite amazing to me to see their family and reflect on how my family was so much like theirs with so many similarities to include both myself and Danny having long careers in the martial arts, with me over 60 years and Danny

“Today, the Kahana name is still active and working in the business. I'm still coordinating, rigging, and directing. I stay active in the field, motivated to continue by the stunt students and their families” over 40 years. Danny and I both served in the United States Army and both were stationed in Korea. I from 1950 to 1953 during the Korean War and Danny, a DMZ Military Police Veteran serving from 1979 to 1981.

Both of our families are in the entertainment business. The Kahana's are long standing in Hollywood for our famous stunt performers, actors and second unit directors. The Zaino's are the new generation in Hollywood with their own online media network to include TV, Radio & Magazine in which Danny is the Executive Producer & Host of “Martial Arts Show Biz TV”, an online martial Arts & entertainment reality based news show starring the Zaino Family. Theresa Zaino is the CEO and Operator of “Action Entertainment Talent Agency” A fully licensed and bonded SAGAFTRA franchised agency located in Jupiter, Florida. As for the Zaino children, Tony Zaino is a graduate of Palm Beach State College in film production; Joey Zaino is a graduate of the Kahana's Stunt & Film School and a student at the Florida State University along with sister Dominique Zaino who is in the FSU prestigious media and communications Program. They are all actors and entertainers currently assisting

the Kahana's Stunt & Film School and helping with on going projects.

Today, the Kahana name is still active and working in the business. I'm still coordinating, rigging, and directing. I stay active in the field, motivated to continue by the stunt students and their families. I am doing more projects every year on my 100 acre ranch in Central Florida. The ranch is world renown for movie companies to use for their productions as well as teaching actors and stunt people to learn their craft.

In fact now the Kahana Stunt & Film School has started a Junior class for stunt career oriented kids ages 10-17. Our Junior students predominantly have advanced martial arts or gymnastics background. I also continue to work with the Zaino's on a daily basis where our companies “Stunt Action Coordinators Inc.” www.kahanstuntschool.com, “MASBTV, RADIO & MAGAZINE” www.masbtvnetwork.com, and “Action Entertainment Talent Agency” www.aetalent.net have on going film projects year round for people to come, learn and train from all over the world. At 85, I'm still kicking and I don't plan on stopping or slowing down any time soon

The "Kyusho Tactical Control Program" (KTCP), was designed for Subject control escalation with Legal, Medical and Tactical Deployment research, field-testing and coordination. The scope of this program is for use by but not limited to, Law Enforcement, Security, Emergency Medical or Response, Coast Guard, Military, Governmental Agencies, Body Guards and Personal Security. This Basic Module is comprised of one set of 12 primary targets and integrated into 4 modules of escalating force restraint continuums. There are several weak structures in the human body that can be utilized by an Agent to simply gain control of a perpetrator more efficiently than conventional use of force methods. This would be in the protocol should a situation escalate past the verbal command stage. These Kyusho (Vital) points are where the Agent can make use of internal systems of physical control such as, Nerves, Tendon Structure and natural Nerve Reflexes of the body. Not requiring heavy force Fine or complex motor control or even sight… all of which is subject to failure and loss in high adrenaline states. This information is dedicated to the Brave and Resilient Members of these Agencies around the world… Thank you for what you do!

REF.: • KYUSHO 22

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

ORDERS: Budo international.com

WING CHUN GUNG GUNG FU: FU: The Explosive Art of Close Range Combat

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Sifu Randy Williams’ extensive collection of books on Wing Chun in 6 volumes, the series contains the history of Wing Chun, the theory and description of all Wing Chun forms in detail, Volume 6 is focused on instructing the system and provides additional information about Wing Chun Combat Theory from A to Z! This great work, originally written in 1988 and newly revised and updated is a must for the library of any serious student of the art.

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“Look Deem Boon” Gwun Volume 2 (60 min.)

Heavybag Drills, Dummy Drills, Two Man Drills, Form overview, Pole vs. Knife