Martial Arts Magazine Budo International 323 November 1 fortnight – 2016

Sifu Alfred Johannes Neudorfer and Sifu Rosa Ferrante Bannera, founders of Wing Tsun Universe - WTU, a movement which characterizes not by the use of techniques, but of qualities, exchanges, principles and concepts of movement - focus their first DVD in Siu Nim Tao (SNT) or "9 ways". The SNT is the basis of Wing Tsun, Wing Chun and WTU. The understanding thereof is the basic condition for everything that comes after, because if you observe the way people perform the sequences of this movement, you can easily deduce what they will be able to do. If something is wrong with the movement, everything the practitioner will later develop will be erroneous. WTU movements (forms) involve inherent functions from which can derive applications. The significance of the primary movements makes them derive in other movements and to generate applications based on the principles and interactions that help to their understanding. The WTU also incorporates an extra "set" its founders considered necessary due to the current circumstances.

The DVD includes the Movement (form) Siu Nim Tao, its 9 sequences and applications, sequences 1 to 3 of the first movement with a training partner (Chi Sao) and a revealing interview with the founders of the WTU.

REF.: • DVD/WTU1

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

"Pride is the antechamber of the fall."

Shinyuke Sensei "Sometimes it’s important that the fool believes himself a sage, because in his little wisdom, someday, he might realize he's silly."

Shinyuke Sensei e live in a world of incompetent people.

Mastery is a rare flower that is conspicuously absent. People consume things without questioning them, swallow instead of eat, and stick to the menu.

Engineers who dare to call "easy open" to devices that are impossible to use; "customer service departments" of telephone companies that only care for you when you say you're going to change to another company; doctors who limit themselves to applying protocols without considering the overall condition of a patient and they screw up... The world has been filled with "technicians" and "specialists" who all they see is the sky they glimpse from the rim of their small hole, talking machines, robots, who install absurd inventions, motion detectors that automatically switch on the light in the bathroom, but if you don't keep shaking your arms you risk to get in the dark in half the urination; self-assembly kits that don't contain all the pieces; computers that possess "goblins"... The modern world is a constant struggle with the results of the incompetence. In a next life I will become an Amish!

The world of Martial Arts is no stranger to this scourge.

Modern society has created wonderful ways to interact, such as the Internet, but hidden behind the secret of anonymity, millions of incompetent individuals spend their time on forums promoting campaigns to destroy someone's reputation, simply because they dislike the person. Everybody gives his or her opinion, and when they are admonished and shamed, they all claim: "It's my right!” And what is worse, many equally incapacitated to judge others, laugh and applaud their stupidities. The phenomenon is not new; the inappropriately named "democratization" of the media began when anyone could give his or her opinion on anything in the public media. I always remember my dear grandfather, who lived the birth of television, when in certain occasion he saw a shrewd reporter, microphone in hand, who was asking people on the street what they thought about a complex issue that is beside the point now. My grandfather, who as a Schoolteacher possessed a natural sense of “autoritas”, after hearing the guy in question said slowly and laconically: "And what do I care about the opinion of this man, whose only virtue to discuss this matter is that he was walking by the area?"

The ultimate cause of all this mess is the universalization of the incompetence. It was not about being, but about pretending that you were. Thus began the obsession with acquiring a degree or title in whatever discipline (an "illness" colloquially known in Spanish as "titulitis"), and it was imposed because someone realized that selling a title was profitable, when we all know that paper bears everything. Pinning medals on one's chest has never been as easy as today, "everyone is a

W

"If television had promoted the village's idiot, before whom the viewer felt superior, the Internet drama is that it has elevated the village's idiot as the spokesman of truth."

Umberto Eco

gentleman, everyone is a thief", as the tango says... "And all rolling about in the same mud". On the other hand, "consumers" do that, consume, because no one has prepared them to think, and without thinking there is no criterion. Suddenly opinion-makers, today called bloggers, appear, and the lobbies spent their money with them.

Opinion and judgment arise from thinking, which is modulated with learning, and this in turn, lives of a totally missing habit, reading. Reading not as an object of accumulation of information, a consumer good, but as a means to think. The fact that something is written or published does not make it true. The "old professor", Tierno Galbán, said we should read exactly like chickens eat, i.e., they first lower their head down to nibble, and then they raise it to swallow. To swallow what you read, you should raise your head from the book and think about what you just read ... before you continue swallowing.

Incompetence is a recoilless plague, because everything that feeds it is in a phase of progress and growth.

The destruction of the authority is at the base of the insignificance of this reviled principle today. Mistaken for authoritarianism, the authority died and has been replaced by fame. Today's heroes are so simply because they are known; they, icebergs of the abundance of the information waters, are simply a repeated and recurring image in that sea of over information. It is the only criterion that remains to consumers without judgment, choked with so many things. What a paradox! In the times of the society of information, the criteria of the age of the tribes is what has imposed itself, that is: the foe is the unknown, the one who is different, ergo ... friend is the known one... and thus we will swallow anything, whatever!!

Individual incompetence makes incompetent people great, so the problem does not seem to have a good remedy. In our martial world is no different, there are few who shine with true light on this confusion and they must endure legions of incompetents who want to be at the same height. Any whippersnapper, newcomer to this world, with just a few months or years of practice, dares to opine about the teaching of someone who has been a lifetime into it.

Opportunism, usurpation, is always a demonstration of ignorance and pride, and the latter always precedes the fall. Bad business for those daring, because sooner rather than later, life will place them on the site they belong, because fame, however large it is, will never replace knowledge when one gets down to work. In the end, it is among the pots, as Santa Teresa said, where also one finds God. Please, people of the phone company! I've been three days without Internet! Somebody do well his job!

Well folks ... We're all screwed

“The destruction of the authority is at the base of the insignificance of this reviled principle today.

Mistaken for authoritarianism, the authority died and has been replaced by fame.

Today's heroes are so simply because they are known.�

REF.: • DVD/TOYAMA-2

This DVD is the result promoted by the Spanish subsidiary of the Zen Nihon Toyama-Ryu Iaido Renmei (ZNTIR - Spain Branch), to publicize the technical content of the ToyamaRyu style as practiced in the ZNTIR Honbu Dojo in Machida, Tokyo, unchanged, with no alterations. The loyalty of the program is such that is its president and maximum technical manager, Yoshitoki Hataya Sensei, who, accompanied by some members, executes personally the entire compendium of the current style program. In him you can find the basic structure of the methodology that is applied, from the coded exercises of warming up and preparation and through the cutting exercises; the guards; the school Katas, including those corresponding to the Toyama Army Academy, the Gunto Soho and its explanation; work in pairs, both in Kumitachi and Gekken Kumitachi, and the cornerstone on which the Toyama-Ryu is based, i.e., Tameshigiri or cutting exercises on a real target.

Zen Nihon Toyama-Ryu IaiDo Renmei (ZNTIR) is the body that currently - once reviewed and adapted the concepts and methodology of a school that comes from a method of actual combat intends to maintain alive this tradition and the original forms through a system that unifies body, mind and spirit in a realistic and effective way. Thanks to the commitment of a few graduates of the Toyama Army Academy (Rikugun Toyama Gakko), who continued secretly keeping alive the art until the lifting of the bans and the return of sovereignty to the Japanese people, today can learn a fencing style framed among the current schools of Iai-Do. This is a meticulous DVD in different languages, which proves to be a valuable source for researchers and practitioners of Japanese sword, and for martial artists in general or interested in the history of Japan and its last world war. It's a real stroke of luck being able to observe the techniques it contains, and at least for serious researchers, is well worth having it in your video library. We practitioners of the style want to share loyally the knowledge of our Japanese fencing school, in the hope that at the same time, the own inter nal values of those armed men impregnate the new generations and allow to glimpse a revulsive, in a traditionally way very different from the current approach to combat disciplines of Japanese origin.

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

Choy Li Fut

Great Masters

Our friend, collaborator of so many years in this magazine, has left us.

Our tribute is simple, to honor his knowledge rereading his teachings in these pages. The last time we met, Sifu shared with me many of his thoughts and his lesser known experiences. He asked me to exercise some discretion and I've always been tactful about it. I'll just say that he was much bigger than people could imagine.

Without betraying his secret, I will share with you an anecdote.

Without him knowing at that time about my studies in the Shizen tradition, he suddenly made a very pertinent remark: "You are a white dragon. We are different because in my tradition I am a golden dragon, but we both partake of a common energy. There is a lot of light in your way."

In my tradition, the Dragon is the symbol of my central energy, and he had no way of knowing that.

May you find the light in peace!

Alfredo Tucci

THE THIRD FATHER OF CHOY LI FUT Chan Yuen Woo. The Fut-Gar style Chan Yuen Woo was a famous fighter of the Southern Shaolin, a native of King Mui's village in the San-Woi's district, Jiangmen's province. He had been a pupil of one of the legendary monks of the Southern Shaolin, specifically of a Buddhist monk named Duk-Jeung "The monk of the Buddha Palm", who lived in the Buddhist monastery Ding-Woo, one of the mountains of Canton. Chan Yuen Woo was a famous expert in the Buddha Palm style, which is the Fut-Gar style.

Our relationship with the Fut-Gar style in Choy Li Fut originates because Chan Yuen Woo was great uncle of the founder of Choy Li Fut (which was founded in 1836), Chan Heung.

Chan Yuen Woo had a school of Kung Fu in San-Woi, and when Chan Heung was seven years old, he took the kid to teach him the Kung Fu FutGar style. He soon realized that Chan Heung had a special ability to practice Kung Fu, so Chan Yuen Woo paid a special attention and dedication to the boy by giving him a personalized training, so in only six years Chan Heung had mastered what had taken Chan Yuen Woo a lifetime.

Today we maintain many techniques of this FutGar Shaolin system. Among them we can mention the following: Fut-Sam, "Rising Palm", which is a blow with the edge of the palm up to the solar plexus, directing it toward the sternum.

Tsang-Jeung, "Palm that penetrates and crushes", toward the stomach, solar plexus or ribs, squashing them.

Dot-Jeung. Like the previous blow, it's directed to the stomach or the ribs, but here the back of the hand is used.

Kwa-Jeung. The back of the hand is used in a circular motion extending forward and above the head, in order to block or hit in the head area.

Pak-Jeung, "Palm that sinks". In this case, the palm is used above the head to hit the forehead or the middle upper part of the head (fontanel).

Within the techniques of Fut-Gar style, we can also include the so-called Kiu -bridges-. Bridges are very important in Choy Li Fut, in close and middle distance fighting; they are used to bend joints; crush muscles, tendons and nerves; break joints; create immobilization techniques of arms and legs, etc. We'll mention the following: Yeung-Kiu, "High Bridge Block". Sometimes also called Mirror hand block. In this technique the most important thing is knowing how to use properly the hip linking it to the bridge to deflect the blow.

Choy Li Fut “The founder of Choy Li Fut, Chan Heung, honored his masters remembering their names for posterity.

My particular tribute to the three great fathers of Choy Li Fut is to write about them, with the aim that we never forget our heritage of the ancient Shaolin monks.

Great Masters

Chan-Kiu is a block with the bridge downward. The block is used from the solar plexus to block both legs and fists.

It's necessary to block accurately and using the edge of the hand, at the level of the ankle. In the case of the arm, you have to hit with the edge of your hand to the weakest area of the wrist.

Dan-Kiu, "Bridge that goes upward."

Unlike other bridges, this technique uses the whole forearm instead of the edge of the hand, so this technique applied to the Nano-Sao is great for breaking joints such as the elbows or the shoulders.

Today there still remain original forms of our master-father Chan Yuen Woo, like the famous Buddha Palm, an outer and inner form with an excellent technique that is kept as clean and pure as it was in its origins.

The founder of Choy Li Fut, Chan Heung, honored his masters remembering their names for posterity.

My particular tribute to the three great fathers of Choy Li Fut is to write about them, with the aim that we never forget our heritage of the ancient Shaolin monks.

The Choy Li Fut Kung Fu does not make slaves but free people, creating big-hearted persons with solid values.

That's my wish.

Having its roots in both southern and northern China, the Choy Li Fut system, founded in 1836 by Chan Heung, has huge boxing arsenal. In this article we will focus on the description of the five different types of fists that customize this system.

The origin of these five types of fists is to be found in the old monks of both Southern and Northern Shaolin, as much as in the three fathers of Choy Li Fut: the monk Choy Fok, Grandmaster Li Yau San

from the Southern Shaolin, and the famous warrior Chan Yuen Woo also from Southern Shaolin.

Each one of the fist groups begins with movements called Jong Hoi or open hands. The Jong Hoi were created as secret signs of identification among the revolutionaries of Choy Li Fut during the rebellion period of the Chinese dynasty.

The Hoi Jong movements are of many types although each has its own meaning and among them all, three are the most popular, namely: vertical Hoi Jong, horizontal Hoi Jong and fixed Hoi Jong.

The vertical Hoi Jong is characterized by the front and rear feet movement. The horizontal Hoi Jong moves not only the rear part but also the L-shaped lateral.

The fixed Hoi Jong remains in one position and uses only hand movements.

The Hoi Jong pattern of the five wheels position and five wheels fist are the stationary form.

The first fist belongs to the monk Choy Fok, is so-called Leopard Fist (sometimes misnamed Dragon Fist). In this type of fist, the fingers of the practitioner are extended forward, leveled with his hand until the first knuckle and then folded into a fist. The thumb rests along the index finger to add support.

The second type comes from Li Yau San. It's a fist closed in the current form, with the thumb on the index finger, and the phalanx bent at 90 ° angle.

The third comes from the 3rd father of Choy Li Fut, Chan Yuen Woo. This is the Southern Shaolin classical fist. A normal fist is made and the thumb rests on a right angle on the fingers that are closed.

The fourth fist is most special because it's the one created by the founder master. It is similar to the leopard fist of

Choy Li Fut Choy Fok, but Chan Heung's keeps the thumb under the tips of the fingers bent, thus providing more support.

The fifth type of fist is known as the Phoenix Eye Fist.

Characterized in that in an ordinary closed fist, the forefinger is supported and it makes its way by the thumb of the practitioner, which forms a right angle with regard to the other fingers.

Each type of fist defines the personality of the master who created it and the origins wherefrom the founding fathers of Choy Li Fut studied. These fists also have variants depending on the five different trajectories and the area to hit.

The fist has the strength and the soul possesses wisdom.

THE FOUR POWERS OF THE CHOY LI FUT FISTS Continuing the previous article of the five roots of the Choy Li Fut fists, let's see now the five different powers called Ging in Choy Li Fut. Ging it is the inner strength and is necessary at any stage of the fight. According to the original writing of Chan Heung, "When you attack or get down, you must use the Ging, if you don't use it you will not be stable and flexible and therefore you will not be able to control your opponent." Ging is sometimes defined as "the wisdom of force." It takes time to develop and the student must work hard and learn to use all his or her muscles as a whole and

Great Masters

focus the power on a new path in the Choy Li Fut training.

Before studying the Ging, the muscular power of the beginner, intermediate or even the advanced student at times, is tense and brutal.

He may look strong, but his actual strength is limited and he is uselessly burning energy. When he learns to consciously direct the Ging, it seems as if he wouldn't to use any muscle power, but actually the power or Ging flows from his body as if it was light.

In the Choy Li Fut system there are four main types of Ging:

Nim Chui Ging (Sticky or coiled up Ging) This is the sticky Ging that keeps turning around, and it means that the student is tightly linked to his opponent without giving him any chance to escape.

The Nim Chuin Ging is the most important form of power. When the student attempts to develop this Ging, he must relax his whole body and concentrate on producing feeling and sensitivity. Once he has reached this level, the problem of toward where the opponent might be shifting doesn't exist anymore, and the practitioner is able to follow him and to control him. He can follow the reaction of the opponent's reaction through the feeling. Even though he doesn't initiate the attack, he maintains control; if his opponent does not move, the Choy Li Fut practitioner does not move either.

If, however, the opponent moves even slightly, then the practitioner is the first to move in a decisive way.

Gok Ging (Illustrated Ging) It is the second largest power type issued by the practitioner of Choy Li Fut. The word "illustrated" refers to the fact that the student has to learn first to know his body and then the opponent.

The student must have learned Nim Chui before mastering Gok Ging.

It's practiced standing still and calm, using gentleness against hardness.

This Ging can be compared to the snake fighting style, quietly waiting its prey and striking fast and hard when it appears.

Gok Ging is produced by an inner calm that allows the student to hit

with a loose and relaxed power, rather than with the tense and hard power resulting from fear and apprehension.

Woi Shun Ging (Come and go, but remain on the same spot) It's a spiritual power that allows the student to follow his opponent as if he was a boomerang. No problem to figure out where the opponent is trying to sneak off because the Woi Shun Ging circle follows him, gets to dissolve the attack and creates a hole for a counterattack. The practitioner uses his Woi Shun Ging to redirect the attack of his opponent.

When he gains control, he releases more Ging. The body part that entirely controls this power is the waist.

Gum Gong Ging ( The fist in its purest form, as a rough diamond) This fourth type of Ging translates as "hardness" because it is like a diamond.

Gum Ging Gong combines toughness and delicacy, to deliver a powerful and hard power, but it is not a tense force. The Chinese say: "Hardness leads to softness and softness leads to hardness to produce a fully balanced power."

Before understanding this Ging, the student must know Nim Chuin, Gok and Woi Shun, since Gum Gong Ging is a compendium of the other three previous Gings for producing their own timing, control and direction.

By combining the previous three gings, the practitioner appear loose and relaxed, but he achieves a hard and fast blow of great impact.

THE STICK, THE OLD MASTER'S WEAPON Choy Li Fut has a large arsenal of weapons, and among all of them, probably because it comes from our Shaolin's own origins, the most important is the stick, also called baton. Thanks to his masters, Chan Heung, the founder of Choy Li Fut, had access to the study of the

Great Masters

“Each type of fist defines the personality of the master who created it and the origins wherefrom the founding fathers of Choy Li Fut studied.�

“Humility leads to wisdom.

Remember that every day of your life.�

techniques of both Southern and Northern Shaolin, since Chan Yuen Woo and Li Yau San were masters in the monastery of the south while the monk Choy Fok taught in that of the north.

The stick is one of the most important weapons of the Choy Li Fut System and of the Shaolin styles of both north and south. The knowledge we have now of the stick forms and techniques, has a long history dating back to the Northern Song Dynasty (960-1126); in this period there existed a very famous military family, which were very well known by their great skill in the use of the spear: the Yang family. Because of the reputation reached by their technical ability in the using of the spear, there was even talk of "the Yang family spear" (Yang Jia Qiang). The fifth son of the family Yang, Yang Wu Lang, eventually and because of the hazards of existence, reached the Northern Shaolin temple and became a Buddhist monk. Since one of the Buddhists precepts was not to kill, Yang Wu Lang cut the top of the spear turning it into a baton, and thus he could practice the spear techniques that made him famous, and created the baton techniques.

Buddhist precepts plead for mercy, but the Buddhist monks needed to defend themselves from the rebellious bandits of China, who took advantage of the helplessness of the monks to beat them and rob them; so Yang Wu Lang trained the monks of the temple so they could defend themselves, defend the Mount Wudang temple and improve their health.

STICK TECHNIQUES IN THE CHOY LI FUT STYLE How can we know if a student is executing techniques from Southern or Northern Shaolin?

Southern Shaolin students always use the right hand ahead and keep the left hand behind, but the techniques are also different from those of Northern Shaolin. The stick

Great Masters

from the South uses the so-called the Sticky Ging, coiled up like the tail of a dragon (bringing the energy till the end of the stick causing it to vibrate). However, the Northern Shaolin students place the left hand ahead of the right. The techniques are wide and circular, with vertical and straight strikes directed to the ground, making the baton or stick spread much more.

They also use the stick techniques as if they were spear movements: straight blows with wide circles, called whip strokes.

The basic stick techniques which every Choy Li Fut practitioner should know and train every day begin to be taught starting the 2nd or 3rd year, when the student knows the movements of legs and fists. From the 3rd year on, the instructor, sifu, etc. should make students begin to learn the techniques of sticks of single or double ends.

In the Choy Li Fut style we have a large and varied number of forms or Kuens of stick. As an example we can mention the single end stick, the double and single end stick, the spear stick, the flag stick, the fisherman stick, the double head of dragon stick, etc.

We can list the basic techniques as follows: • Jeh-lan (flag stick block). The stick is held in vertical position in an angle of approximately 80 º with regard to the body, in order to block a horizontal attack that is directed to the side of the body above the floating ribs.

• Lau. It's a blow aimed with the end tip from the waist to the chin, like a jong fist.

• Sot (the whip or pull toward the outside). It is a lateral and vertical blow directed toward the head.

• Gort (cutting and pulling back). It is a technique to disarm the opponent hitting his wrist and disarming.

• Tiu (hold the Fisherman's rod). It is an attack hit upward with the stick tip. It can be used to hit the groin or wrist.

• Peet (the brush stroke). Descending block covering the side of the body including legs and body.

• Tao-ding-fa (flower above the head). You can go from the waist by rotating the stick around the body to create a devastating blow. We could identify it as the blades of a fan.

• Dik-soy (dripping water). It's a block that protects the area of the head at a 45º degree angle.

• Dah-siu-kei (flag spinning blow). Blow with the stick spinning above the head and hits horizontally sideways, to the solar plexus.

• Boi-gim (carrying the sword crossed). The right hand turns placing the stick behind the body to protect the back and the end of the stick held with the left hand ends up covering the head.

These basic techniques are a small example of all that should be practiced up to reach the 19 original techniques Among Chinese martial artists there was an old saying that came to say something like this: "When you fight with your fists, all you have to worry about is to

Choy Li Fut run away if your opponent is young and strong; when you fight with the long stick against another long stick, start worrying if you face an old and wise opponent."

Humility leads to wisdom. Remember that every day of your life.

CHOY LI FUT: DIM-MAK (MORTAL BLOW) In this article we are going to unveil an advanced practice that is carried it out in the Choy Li Fut style and owes its origins to the junction of the southern and northern styles that shaped up the personality of Choy Li Fut. The Choy Li Fut contains a wide array of blows called Dim-Mak, a fighting method that in past times, because of the effectiveness and devastating power of its techniques, was only taught a few chosen students. The system was to be practiced for three continuous years. The advanced student had to learn four important points: • Physical training to a level of great physical demand.

• He must know the different types of dimmak blows.

• He must learn to develop the medicine for this training, the so-called Dit Ta Jow (the ointment in the iron palm).

• He must know the 12 meridians which houses the vital points, as well as the time in which is concentrated the highest energy level in the vital organs.

It is very important to stress out that this type of practise must be guided by an experienced and knowledgeable teacher of Dim-Mak, in other words, someone who masters the art. Otherwise it could cause serious damage to the Martial Arts practitioner both external and internal. Likewise, the master who teaches Dim-Mak training must be familiar with and have a deep knowledge of the Dit Ta Jow medicine, with which he can cure and heal. The Dit Ta Jow ointment is applied only externally, to heal muscles, tendons, joint swelling, bumps, etc. In case on inter nal damage during Dim-Mak practise, the affected person experiences a kind of a nausea feeling, he can even vomit, which means that the chi is broken and training must be stopped. If that is the case, the Dit Ta Jow medicine has to be administered internally, i.e., in capsules or else dissolved in tea.

In the Choy Li Fut these techniques can be seen at first glance. There exist specific forms for this type of movements. We can list several forms in which Dim-Mak blows are used continuously, for example: The Fist of the Drunkard, also known as the Fist of the Golden Phoenix.

The Form of the Crane.

The Form of the Snake The Palm of Buddha, etc.

Great Masters

Choy Li Fut “When you practice Choy Li Fut do not show others your skills without consideration because it can cause problems both to yourself and to others.

If you think that somebody is good by nature, then you can transmit your knowledge to that person.�

Great Masters

The most known Dim-Mak blows of the Choy Li Fut can be split in two groups: open hand or palm blows, and fist blows. Among the palm techniques you should distinguish: Jing-ji, Twei-jeung, Dan-lan, Dat-jeung, Kup-jeung, Pakjeung, Gong-jeung, Chan-jeung… Within fist blows you can find: Pek-choe, Chinan-choe, Yum-tsop, Chor-choe, Pin-choe, Hok-ji, etc.

Palm or open hand blows must be trained in the socalled “iron palm table”, which can be made with a base of oak or a flagstone. Sacs filled with hard and dry berries (chickpeas can also be used, for example) are set on the basis. The bag filling should be changed as training progresses. In ancient times they used to refill the bags with iron filings, no longer in use because the powder that was released every time they hit the bags was very toxic; that's why old masters used to cover their nose and mouth with a piece of cloth in their workouts. In fact, many of these martial teachers suffered from lung deseases. For my personal training I prefer to fill the bag with pebbles or stones that are sold for aquariums (in any case they have to be washed, to prevent releasing dust).

In the case of punch training, which represent a more advanced and precise workout, Ching-jong or wooden dummies are used. In the Choy Li Fut there are wooden dummies specific for this type of training.

Once outstripped these two training levels, the master must teach the vital points that are to be hit.

Depending on where these points are located, you can get different reactions, by hitting certain vital points you can paralyze different body parts: arms, legs, joints ..... instead, other points cause “muting”, the breathing is cut and the person ends up by losing consciousness. The third type of blows would be those that directly affect vital organs causing serious damage and internal bleeding (possibly even death).

That’s why this system was only passed on to a few students, and what masters teach today are the points you mustn't hit to avoid causing major damage, but not how to hit to get such a result.

Teaching is one of the greatest virtues that you must train, develop, care for it and at the end give it away. Jie Gao

THE DRUNKEN STYLE IN CHOY LI FUT The Willow that Blows the Wind -Fung Bai LauThe drunken style is unique, it is not a part of Choy Li Fut and it has its origins in two traditions, the Buddhist and the Taoist. Later, the different styles of Kung Fu developed and established their differences; for example, the drunken style of the south systems, along with a high technical level required, the execution of this form must be accompanied with the expression of the face. The two traditions, Buddhist and Taoist remain in time with two forms: the form of the Drunk Buddha and the form of the Drunk Eight Immortals.

The form of the Drunk Buddha or Jiu Lohan Kuen is the most important and one of the most secretly kept by the ancient Masters because of the high deadly power that granted to its executors. It's also known as the Drunkard's Phoenix Eye Form, or the Drunken Fist Form. The name comes from the blow most used, the Phoenix Eye Fist.

This fist is formed from the hand in the position of holding the glass of wine. At the precise moment of striking, it is closed in a tight fist, letting the knuckle of the forefinger stand out, which is precisely the point of impact.

The target is the 36 vital (or pressure) points in the opponent's body, which are divided into four groups according to the incidence: the first group are points where you hit to kill; those in the second group paralyze the opponent; in the third cause fainting; and the remaining nine vital points make the enemy lose the ability to speak temporarily.

In the form it can be appreciated a wobbly drunk holding in one hand an imaginary cup, while in the other pretends to carry a pot or a gourd filled with wine. In his martial application, the movement of the hand holding the pot is actually an immobilizer grip, so as to be close to the opponent with some security, while the other hand, which has turned into a phoenix eye fist, hits him accurately in a vital point.

The Drunken form of Choy Li Fut, includes the following tactics: drinking movements, which are fist techniques and locks; waist action, designed to make the adversary think that the drunken fighter has lost balance and is vulnerable, while in reality it serves to constantly change the guard

Choy Li Fut and print more power in the blow; a footwork that implies a continuous state of instability, but instead, provides a loose and fluid moving method, with falls to the ground that actually are techniques to dodge or attack.

This is a form which is hard (external) and soft (internal) at the same time. You must be very relaxed and fluid, and the inner power of the blow is printed just in time to make contact with the imaginary target. Waist constantly rotates without any tension and feet move like the willow blown by the wind (Fung Bai Lau), in a lively and relaxed manner.

The external facet focuses primarily on training the phoenix eye fist, which requires several and hard strengthening disciplines.

The Drunken form positions should be performed as naturally as possible, and the practitioner must keep his whole body relaxed. The positions should never be exaggerated, overemphasized or become overly artificial; otherwise they will look forced and even clumsy. The set of movements must not be performed at a constant speed.

There are times when the pace is reduced, others that a pause is made and others, in which it accelerates.

The highest execution of the Drunken style in Choy Li Fut is achieved when the martial artist performs all the movements in a free and natural way, internalizing the role he's playing without being limited by any formality or fixed patterns in the body movement. What will never be

Great Masters

“The drunken style is unique, it is not a part of Choy Li Fut and it has its origins in two traditions, the Buddhist and the Taoist.

Later, the different styles of Kung Fu developed and established their differences.�

Choy Li Fut different is the martial application of the techniques and the inner power that you get to apply, subtly hidden under the forms, which are the result of many workouts.

What is clear from all this is that the form will never be a more or less comical theatrical representation of the vicissitudes of a drunk.

The expert martial artist has practiced hard and long to get the fight applications seem uncontrolled and spontaneous. But the effectiveness of this simulating game consists

precisely in making the adversary entrusts and in hiding the possibility of a mortal blow or to a pressure point, the proximity of a grip that unbalances or immobilizes him, or the possibility of a pressure the index finger and the thumb on some especially sensitive nerves.

The Drunken style belongs to that group of forms known as "lost forms", i.e., techniques that for their possible mortal effects were only transmitted to a few students in whom masters had pinned a lot of confidence. And not only they were taught to hit but they were also instructed in

Great Masters

Choy Li Fut traditional Chinese techniques of internal and external healing for each of the vital points. For this reason in many Kung Fu schools are not taught and they have come to disappear, however, in the Choy Li Fut style, they continue being transmitted to a few students and are considered to be advanced forms.

“When you practice Choy Li Fut do not show others your skills without consideration because it can cause problems both to yourself and to others. If you think that somebody is good by nature, then you can transmit your knowledge to that person.”

Chan Heung, Master Founder of Choy Li Fut

Jie Gao Pedro Rico Shaolin Choy Li Fut School c / Bélgica. Local No. 11 976533296 Saragossa (Spain) http://shaolinchoylifut.blogspot.com.es

Great Masters

Vital Points

Real Kyusho Uechi, Goju Connection Well it has been over 2 decades of research and development with Kyusho in Pangainoon (Known better as Naha Style, Uechi Ryu), the name translates as Half Hard, Half Soft.

The work on this ongoing project and admitted passion or addiction, has not only yielded a far better developed skill and instructional capability in Kyusho, but also important correlations to the ancient Bubishi and one of the roots of Kyusho itself.

The ancient Bubishi (of which I have published so much about in the past two or three years), has led to the finding of a core root in Pangainoon/Uechi (3 Animal System of Crane, Tiger and Dragon of Southern Chinese Temple Boxing), running deep at the heart of their four main Kata (Fighting Sequences). The Main Kata that were originally passed down are Sanchin, Seisan, Sanseiru and Suparempi‌ (the Suparempi being very controversial in this style as many do not fully accept it is the 4th Kata). However the common core r evealed by the Sanchin, Seisan and Sanseiru all point to the Suparempi as an even more advanced and interdependent piece of the Pangainoon system.

Evan Pantazi

n Sanchin not only is the “Iron Shirt” method, strength and conditioning linked with breath control, hand training (the 6 Ji Hands of the ancient Bubishi), is an integral component and base platform from which the art advances and completes the circular training system. We will concentrate on these hands as opposed to all the other training components as they enable the practitioner to access Kyusho as the primary attack principle. As such at the start of one’s Martial Training in this system, the novice works primarily with the “Iron Bone”, “Iron Claw” and the “Iron Sword” Hands. Once accomplished with the base Sanchin training, each subsequent Kata adds new hand postures as well as additional uses of the practiced hands in the Sanchin. As example the next learned Kata, Seisan, develops the strength and uses of the already learned hands as they add more depth and possibility within the Sanchin, as do Sanseiru and Suparempi.

As Seisan training begins, the practitioner works more intensely with the Iron Bone Hand in striking, as it salo adds the component of grasping and tearing. The addition and implementation of the “Single Blade of Grass” (that morphed to the Shoken), for striking is trained in conditioning as well as application. Another advancement during the first learning stages of Seisan, is the addition of the “Blood Pool” for striking, trapping and tearing.

Once the Blood Pool hand is developed with all three capabilities, it can then be integrated back into Sanchin for one of the more important postural methods. The other tools that can be integrated back into the Sanchin is the newly developed Single Blade of Grass hand, not as Shoken this time, but more as the original hand posture.

The next trained Kata is Sanseiru, this Kata has a beginning focus on the more advanced striking abilities of the Shoken, but now trained with the newly developed grasping aspects of the Shoken and further development of the remaining hands like the “Iron Bone”, Iron Sword” and “Blood Pool” hand, all employing trapping, striking and tearing in more fluid and dynamic methods. They Sanseiru also trains the double hand applications to a higher skill and applicational process than does the more basic Sanchin and Seisan.

I

“When most people start Kyusho, they experience difficulty in getting the same results as seen when practiced by more seasoned practitioners.

The reason is in the delivery of the strike and the transference of shock into the deeper levels and vital structures.”

Vital Points “In Sanchin not only is the “Iron Shirt” method, strength and conditioning linked with breath control, hand training (the 6 Ji Hands of the ancient Bubishi), is an integral component and base platform from which the art advances and completes the circular training system.”

Evan Pantazi

Suparempi furthers the adaptability and strength with the grasping Shoken and more specific development of the “Iron Claw” and other hands, but the advancement that is most notable is the use of the “Iron Palm” (This is the last, the most advanced and the most difficult weapon to train correctly). As these last two hands are developed, they too can be added back into the Sanchin, Seisan and Sanseiru.

This is the pinnacle of the systems forms as the development of the “Iron Palm” forever changes the deployment of all prior hands in all the forms and applications.

This is only a brief glimpse of the Kyusho training process utilizing the Bubishi, it’s 6 Ji Hands and the Postures or Kata of the Pangainoon/Uechi system.

Enter Goju The first similarity with the Pangainoon/Uechi, lies in the styles name Goju (which translates as Hard-Soft), as it is the essence of what the ancient Bubishi discusses. They also share the same Base Kata of Sanchin, Seisan, Sanseiru and Suparempi, yet there are more Kata unique to Goju as well.

This (Naha) style of Karate has great emphasis also on the hand postures of the Bubishi, but they have been altered and muted over time. To understand this we look at a unique Kata in the Goju Style called “Tensho” (Turning Palms – or could it imply Torqueing Hands). The Tensho Kata is derived from the Chinese Fujian White Crane form of "Rokkishu" (meaning 6 Hands), by the Goju founder Chogun Miyagi.

Unlike Sanchin, which is almost identical to its Chinese counterpart, Tensho is unique to Okinawan Karate.

Rokkishu literally translates as 6 hands and are the exacting hands found in the ancient "Bubishi". Many versions now taught have modified these hands slightly, which is good for training drills and traditional muted Bunkai.

However with slight modification to the hand postures themselves we can easily see that the more Martial and potent hands can easily be restored.

Now if the practitioner develops their "Kakie" which is similar to Chinese Push Hands or Wing Chun Chi Sao, their in close fighting skills, sensitivity to oppositional force and control increase many fold. It also serves as a form of arm conditioning, balance and core body strength.

Tensho was designed to begin where Sanchin ended... or as the Yin for the Yang (although some forms of Sanchin contain both concepts and all 6 Ji hands). This form was designed with a more soft approach as opposed to traditional hard Sanchin practice. In Goju the breathing patterns are also different and more natural in the Tensho as opposed to designed or controlled. Tensho therefore can be

“Now if the practitioner develops their "Kakie" which is similar to Chinese Push Hands or Wing Chun Chi Sao, their in close fighting skills, sensitivity to oppositional force and control increase many fold.

It also serves as a form of arm conditioning, balance and core body strength.”

Vital Points “The Tensho Kata is derived from the Chinese Fujian White Crane form of "Rokkishu" (meaning 6 Hands), by the Goju founder Chogun Miyagi.

Unlike Sanchin, which is almost identical to its Chinese counterpart, Tensho is unique to Okinawan Karate.�

Evan Pantazi

trained as the internal method and Sanchin as the external component.

Both of these Kata (Sanchin and Tensho, but especially the Tensho), are termed "Heishu" (closed) term "Heishu" translates as "closed" and is for more internal control and muscular contractions, one hard one softer. These practices develop restriction and direction of energies (transferring force), using the body, both superficial and on deeper conscious and unconscious brain pattern and physiological function. The Goju Kata known as "Kaishu" (open), as they are involved less with constant controlled muscle contraction and breathing (which is more natural or normal).

Kyusho Connection The benefit this form has for Kyusho is profound as it uses the exacting hands of the ancient Bubishi and were designed to attack the deeper vital targets on the Human body.

The hands are performed in a loose manner with sharp and sudden wrist rotations‌ or turnings.

When most people start Kyusho, they experience difficulty in getting the same results as seen when practiced by more seasoned practitioners. The reason is in the delivery of the strike and the transference of shock into the deeper levels and vital structures. They also use a rotation or torque that not only twists past the overlying and protective layers, they also stretch the vital target so as to be more vulnerable. As example a stretched nerve in more sensitive than a relaxed one, so that the resultant shock will be greater to the nervous system.

It is similar with vascular structures of the capillaries, veins and arteries as they get far more fragile with diminished blood flow capabilities as they do become stretched.

As we continue the deep research into Kyusho, we invariably become connected to all the older fighting styles and arts.

Everything from Judo, Tai Chi and Jujitsu styles to all Karate, Aikido and other arts.

They most difficult aspect of Kyusho is convincing the people that it is in their style and could be again.

“As we continue the deep research into Kyusho, we invariably become connected to all the older fighting styles and arts.�

Vital Points

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

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 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.: • DVD/SERAK-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

The Shizen people emerged as a culture on its own in the XII-XIV centuries of our Age, on the island of Hokkaido, in Japan, around 4 villages, as the result of the confluence of rebellious peoples to the advance of the Yamato invaders. They developed a rich, unique and peculiar culture that has survived to this day, and which encloses much of the knowledge that ended up permeating the Japanese culture, as their knowledge of the energies known as Tengu. Also they were able to keep their own language and their knowledge, that was handed down from Master to pupil up our days, being a case of resistance to acculturation unique in such ancient cultures.

Studying its roots is connecting with a Universe of knowledges of a pure root, inserted into Japan's culture, which will open to lovers of authenticity a larger way of understanding its traditions.

Courses by videoconference about the wisdom of one of the most ancient peoples of deep and unknown Japan 1) Introduction to Shizen culture.

2) Philosophy, Psychology and Cosmogony of Tengu.

3) The Arts of the Knowledge of Energies.

4) Introduction to E-bunto ( "The great strength").

5) The Shizen Healing Arts.

6) The Paths of the "Strength" 7) Sociology: The Shizen Social and hierarchical organization.

8) One language, one people. Shizengo.

9) Japanese Shamanism.

“To the typical Yamabushi activities, Goma rites are practiced where in honer of Fudo Myoo a fire is lit to be walked barefoot over hot coals, but also climbing around steep rock cliffs without safety percautions�

The Way of the Yamabushi Mountain Warrior Shugendo Mountain Asceticism used to be one of Japan’s best kept secret, mainly because it was banned by the Meiji Ideologues in 1872 and not made legal again until 1942. That it survived is a testimony to its robustness and to the Way that Mountain Worship is deeply rooted in the Japanese psyche.

When we visited the Japanese Village Dorogawa near the holy “Omine Mountain” to explore Shugendo we met the Austrian Yamabushi Monk Christian Grübl who is very well known in these parts for his accomplishments.

We took the opportunity to interview Sensai Christian Gruebl who is one of the pioneers of this old tradition outside Japan’s.

Shugendo

How did you come to practice such a very Japanese activity in a Country like Austria?

As a kid I started training in Martial Arts and began studying Ninjutsu and Karate which became a part of my daily life. When one looks into the art of the Shinobi, commonly known as Ninja, you discover Shugendo. Ninjas used the monks clothes as camouflage when trying to infiltrate which is called Hensojutsu.

Practices of Kuji-in and Kuji-kiri often portrayed in Hollywood Movies where Ninjas cast magical spells and then vanish are completely wrong.

These are typical practices from Shugendo.

About 12 years ago I intensified my studies and became the student of a French Mikkyo monk. It so happened that I met in Norther n Japan a Shugendo teacher, who was the head of a small group of Yamabushi, and I became his student. From this point on I traveled every year to Japan to explore and learn different rituals like “Goma Fire Ceremonies”, “Takigyo Waterfall Meditation” and many more.

What is the meaning of Shugendo and how is the daily life as a „Yamabushi“?

Shugendo is a syncretic religion – meaning it’s a mix of Japanese antsecerty worship, Shintoism which

worshifts nature with all their gods and demons and Buddhism.

Our way is refered to the Vajrayana Buddhism where we worship one of our principal Deities, Fudo Myoo.

You may look at him as an avatar that pushes us to our physical high performance.For instance we try to find Enlightenment through Kaihogyo and purify our mind.

Kaihogya should be understood as long and quick hikes into the mountain wherby different Mantras and Sutras are recited and can take up to 14 Hours and often more than 40 kilometers are hiked in a Day.The Okugake Pilgramage is undertaken with sleep and food deprivement and distances of 210 kilometers are hiked

Shugendo through the Mountains from Yoshino to Kumano.

The goal of many ascetic Practices is to cleanse and strengthen the Senses and perfect the unity between oneself and nature.

Many practices consist of prayers and magical content that are ancient and kept a secret only to be passed down from Teacher to Student.

Yamabushi create a more relaxed and organized confederation of monks and Lay Brothers, who also live normal Family lives.

Mountain ascetics are recognized by their wayward monks costume which is characterized by the headgear pushed deeply into the forehead.Many also wear a stole with thick pompons and a shell horn that gives a dull plaintive tone.

You speak of magical rituals, does that have anything to do with the japanese ninja?

Most rites have a pronounced physical and athletic aspect.It is to overcome your fear, pains and physical exhaustion - all about exploring your physical limits.

In Nishi Nozoki for instance you are held by two men with a rope wrapped around your shoulders dangling by your feet, hovering over a cliff of 300 meters to exercise yor repentance.

Just as the waterfall meditation it is a grueling exhausting exercise.

To the typical Yamabushi activities, Goma rites are practiced where in honer of Fudo Myoo a fire is lit to be walked barefoot over hot coals, but also climbing around steep rock cliffs without safety percautions.

Therefore it was not uncommon in historic times, that the assumption has been made that the Yamabushi, similiar in their ways to indian Yogis where said to posess paranormal abilities like flying for instance.

The mythical Tengu demons which are also present in the garb of the

“The goal of many ascetic Practices is to cleanse and strengthen the Senses and perfect the unity between oneself and nature.�

Shugendo

Yamabushi have also helped fuel this belief.

The ambivalent attitude towards the Tengu, which in saga and legends have been seen as sinister villains but also as brave swords men expresses the traditional demeanor towards the Yamabushi. They have been feared on one side for their magical abilities but also have been useful as mountain guides and elite warriors in times of war.

Today not many martial arts styles under the influence of Shugendo exist. The ninja and samurai use the

Kuji to reach certain goals quicker.

Waterfall meditation has been used for Karate or Aikido to train the physical strenghts.

What exactly does waterfall meditation mean, and why do you do it?

Meditation under the cold waterfall is a typical japanese practice to focus and control the mind and will. Takigyo means to stand under the waterfall. Only through long and hard practice is

one able to adapt to the conditions and achieve the mastery of this hard and sacred practice of visualizing under the waterfall.

The biggest challenge is withstanding the pressure and cold of the water. Only a good teacher can show you step by step before you are able to emerge yourself, otherwise you may suffer a stroke as your blood vessels contract.

It takes years and extensive practice to learn the whole width of Takigyo where you will visualize yorself as the deity Fudo Myo under

the waterfall.In a way you take over all skills from Fudo Myo to create your own matrix.

Every waterfall has its own character and Takigyo is a communion with nature.

Because of the individuality of each Shugendo school in japan, each school has different techniques and traditions in their prayers and practices.

Many schools are more Shinto oriented others more Shingon or Tendai, but the basis is the same in each one of them.

What martial arts do you train and do you teach them in Austria?

As a child I had the early wish to learn how to defend myself, since I have been bullied at school. I started in Judo and Karate, but since the schools have been more oriented in competition fighting rather then skill teaching I started with a japanese Ninjutsy at the age of 16, where I stayed and achieved my my first black belt under his guidance.

After I started to go on trips and a few years later, after my fourth dan I decided to open my own dojo.

At age 24 I started to teach and for 16 years I maintained a flourishing dojo near the district of Vienna, Austria.

Shugendo

Soon I began to train full contact karate Kyokushinkai and Byakurenkai and looked at many dojos in Japan where I met many nice people.

Through my Ninjutsu training I also started Owari Yagyu Shinkage Ryu up to Shodun but for the past years changed to Katori Shinto Ryu under Risuke Otake.

Through Ninjutsu I became aware of Shugendo and became a student of Sylvain Guintard who lives in france and is Yamabushi of Shogoin. He taught me the basics of Shugendo and taught the art of

Masaki Ryu, which teaches the use of the short chain called Manriki Kusari.

Guintard has been a direct student of Nawa Yumio, the last teacher of this tradition.

I ended my teaching two years ago. I now only train for myself with the exeption of giving some seminars in Europe.

For anyone who would be interested to learn more about Shugendo can find pictures and video material under following link: www.shugendo-austria.org

Shugendo “Because of the individuality of each Shugendo school in japan, each school has different techniques and traditions in their prayers and practices.�

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.: • 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

Experts Méthodologie: le secret de l'efficacité The different kinds of violence that occur everyday across the globe illustrate the undeniable reality of today’s world. Today human beings face an alarming increase in the rate of and types of violence for diverse reasons and under many different sets of circumstances. Violence is no longer only the reality of law enforcement professionals. Nowadays a wide margin of possibility exists in the life of any human being. From a privileged position in our daily work we can observe and confirm what works and what doesn’t work when faced with an individual who has decided to play out his actions to their full consequence.

When faced with someone like this there is no place for games, or for showy techniques. You have to know what methods are being used and put a system or art into action.

Unfortunately we see more and more cases of young men or policemen murdered by shotguns or stab wounds because they put up resistance in a conflictive situation, based on the "advice" or "real techniques" of their teachers and p a r t - t i m e i n s t r u c t o r s . L e t ’s b e serious, please, many lives are in the balance!

Kempo

Experts Methodology: The key to effectiveness This is the basic reference point for observing real effectiveness through the Technical Body of a combat system. The methodology is the sum of the Theories and Principles that govern an Art or System and they represent the "heart" of the system. It is what determines not only the "how", the "when", and the "where", but also the "why" of our actions.

Having got to this point we should stop to consider the following postulate: no specific technique (in the Kokkar special combat system - K.S.C.S. - "standard technique") can remain unchanged in its execution and

at the same time preserve good levels of real effectiveness.

Kempo Let us consider an example: a cross fist strike (the Cross of Boxing or the Gyaku Tsuki of Japanese Karate) is repeated thousands of times in training, it is executed against the air (shadow technique work), against bags of differing weights and sizes (power and/or speed work), and against makiwara (conditioning work), etc.

The following is a list of the inherent physical attributes of its execution: • Speed • Power (closely related to the previous point) • Optimal and specific alignment with respect to the line or direction of the impact,

• Base of absorption with reference to the retroaction wave; etc.

That is to say, the goal of classical training is to polish all the physical factors that allow you to obtain the maximum potential of technical execution. And this is the right thing to do, correct? Not always. If we carefully observe this process, we will see that "we only train" the techniques this way and we don't reach an understanding of their intrinsic essence, their reason to be or foundation.

And without this knowledge the necessary fusion of the technique with the individual (the same operative, in fact) is impossible and thus a complete expression is prevented.

Kempo

To achieve maximum effectiveness in the execution of any precise technique it is essential to analyze the following considerations: • In what cases can you apply this technique?

• Was it conceived for confrontation against one opponent or multiple attackers?

• What kind of techniques is it: decisive, opening, escape or distracting?

• Is it effective against a 60 Kg opponent as well as a 110 Kg opponent?

• Is it applicable in the face of an aggressive and resolute opponent?

• Does it maintain effectiveness in real dynamics (advancing, going back, rotating)?

• Is its original line or path toward the front, back or toward the sides?

• Can this path be altered without losing its original effectiveness, and to what extent?

Once this analysis has been done the essence of the movement that you execute will be clear and then you will be able to express yourself through it with ease and naturalness.

Experts Phases of Application Kokkar In K.S.C.S. we carry out the analysis described above by means of three phases or "filters" through which we proceed to the application of any technique in our system. These phases are: 1) Standard or ideal phase where the original technique, with no variation, is studied. We then move on to an analysis of the pure theory that gives rise to the technique while defining the specific situation for which the application was designed.

2) Evaluation phase: this phase is designed to determine the viability of the conclusions and knowledge acquired in the previous phase. Here we subject it or the postulates that sustain the original technique to tough scrutiny. It is very revealing to observe that a simple question: "what happens if…?", is enough to give rise to an entire series of variations on the ideal application of the original technique.

It is very important to scrutinize and go through these two phases in order to increase the depth and applicability of our knowledge. In short: Maximum Effectiveness.

3) Formulation phase: this constitutes the advanced stage of lear ning in K.S.C.S. It is dedicated to developing each practitioner's individual ability to create a spontaneous, effective and personal technical repertoire.

Therefore if you carry out the suggestions contained in this article, you will surely discover the hidden potential contained in your techniques, elevating them to a threshold of effectiveness not previously contemplated.

IN THE FRONT LINE OF COMBATS AGAINST CRIME “Omar is one of those experts on the front line. He works directly under the orders of the American Federal Government and trains individuals who, like him, have to confront the toughest situations in their training in order to know how to resolve extreme mediation and negotiation situations. He teaches the Kenpo Kokkar system.”

Kajukenbo KAJUKENBO LAWS AND REGULATIONS OF THE ART Nowadays, as is the case with other Martial Arts, Kajukenbo is losing its traditions, either due to ignorance or because new methods are formed within the art, leaving behind laws, rules or principles.

Let's not forget that the Kajukenbo Prayer, provided by the Co-Founder Frank OrdoĂąez, the last one who, to this day, is still alive, was recited in the Kajukenbo schools as a rule. Today in many schools is no longer done, for differ ent r easons such as r eligious beliefs, etc., but at least it should be known.

“Many people believe that Kajukenbo is a system that focuses on self-defense where anything goes, but we have traditions, laws and rules that we must bring in our schools and that our students have to know, since they are the ones who in the future will continue to preserve them.�

F

or us, the fact of bowing upon entering and leaving the dojo or training hall, as well as stopping the class and salute every time a Master (Sifu, Sigung, Grand Master or SGM) enters the dojo, are LAWS that shouldn't be lost, nor the meaning of the Salute in the Dojo. Thanks to SGM Jose Ortega, my Sifu, all these traditions and norms continue within the Kajukenbo Kosho Ryu / Advanced Method, where the Traditional Method/ Emperado Method is practiced; as you progress in training you move to the Advanced Method and from a higher range you continue with the Kajukenbo Kosho Ryu. Tradition and evolution without losing our identity.

It's very common seeing students and Masters in schools that don't attach any importance to the training outfit, Kimono / Gi, in the different ranks, t-shirts of different colors, like the kimono, ignoring that, depending on our level, we can use concrete colors, such as black, red and white, as agreed at the origin of Kajukenbo.

Regarding the belts, there are also people making whimsical changes on something that is very well documented in the history of Kajukenbo; something typical is putting on the belt and the knot, which has an agreed position within the art and which, either they ignore, or they skip the rules and laws, with the "anything goes".

Kajukenbo

Returning now to the question of what color should be the tshirts, whether red, white or black, it must be said that students up to brown belt should use it red; the black color is for Black Belts.

Something similar happens with the kimono; let's remember that at the beginning of Kajukenbo, only the Instructors / Teachers wore black kimonos, and the students used it white. This then changed and everybody used the black color, something characteristic of the Kenpo Systems.

From a high level, as 6 ยบ Dan Sigung, these three colors can be combined in the kimono, a law that every time people respect less.

Laws must be fully enforced, regardless of the nationality; the rules and procedures depend on the country and the customs; it is not the same in the USA that in Arab countries or within the same continent; schools must be ruled by these laws, but every time the rules vary there must be a meaning and an explanation justifying such changes.

Kajukenbo

Many people believe that Kajukenbo is a system that focuses on self-defense where anything goes, but we have traditions, laws and rules that we must bring in our schools and that our students have to know, since they are the ones who in the future will continue to preserve them.

Let us recall that in Okinawa, for a Style / Art to be considered traditional, it must have at least 50 years of existence and maintain its principles, katas and training methods as established by the founder.

Of course, this doesn't mean that we shouldn't evolve, just the opposite, because times change, as well as the preparation of the aggressors. 50 or 20 years ago, very few people practiced Martial Arts or a Combat Sport, but this has changed and today there are millions of practitioners all over the world. This makes us think that we should be prepared to face different types of aggression, of course, but it doesn't mean that we should abandon the foundations of the system, but parting from them evolve as was the desire to Sijo Adriano Emperado. If you are not going to maintain these common bases, principles, rules and laws, why don't you directly change the name of your art?

I thank my Sifu SGM JosĂŠ Ortega (Cherry) for letting me be part of his Family / Ohana and transmitting those values and principles to me, as well as for maintaining the bases and the evolution within the art of Kajukenbo, having several lines from the Family Tree, that he respects and honors at all times, giving everyone the importance that they have had in his evolution.

This is not a criticism to anyone, but rather not to lose our own identity in the world of Martial Arts. Let's maintain tradition and evolution, everything goes hand in hand... Kajukenbo Forever. Aloha & Mahalo.

Kajukenbo

“If you don't maintain these common bases, principles, rules and laws, why don't you change the name of your art?�

Success in Malaysia Each year the International Martial Arts Research Institute (I.M.A.R.I.) in Malaysia carries out several events at a certain weekend in order to bring together and to honour the most important personalities from the world of the traditional martial arts and medicine. As in the previous years, Grandmaster Martin Sewer was also invited this time to participate in the events. As a matter of fact, it was so important to the organisers to have him there, that they had decided to postpone all events in order to make this possible. And this wasn’t the first time they did this. This seems to indicate what role Grandmaster Martin Sewer and his school play in the world of the mar tial ar ts. But the most impressive events of course took place at the events right there.

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his year the delegation obviously consisted of Grandmaster Martin Sewer himself and two of his instructors, i.e.

Peter Gasser (head of school in Winterthur) and Alexander Klug (head of school in Zurich). After a long flight from Zurich one reached the city of Hong Kong where everything once had begun. As style successor of Kung Fu legend Dr. Chiu Chi Ling, Martin Sewer knows the city very well. This is no surprise considering that he has already travelled to Hong Kong 40 times for the lessons with his master. One could see that people from the city and numerous fans recognised him, wether he was walking in the streets, teaching in the park. At times people even asked for a picture. Funnily enough, a tailor, who has been following Martin Sewer’s success for about 20 years now, recognised him. He was overjoyed to see him and just like that gave him a custom-made shirt.

After a short stay and a first lesson for the instructors in the famous Kowloon park, the delegation packed his bags and journeyed on to Kuching via Kuala Lumpur. In Kuching, the event venue of the I.M.A.R.I., one was cordially greeted by the persons in charge of the events. From the airport they picked us up and took us to the hotel. Just arrived at the hotel, already on the following day the festivities began with the official opening of the events. In evening wear appropriate for the event one took the

opportunity to greet well-known faces and to meet new ones. As it must be, professor Dr. Song Swee Hee, president of I.M.A.R.I. opened the events with a long speech and announced upcoming events. Apart from a book publication, the programme also included two particularly important events on the following two days, i.e. firstly, the so-called “World Top Martial Arts Celebrities Demonstration Match”, a tournament for the crème de la crème among the masters, and secondly, the “World Martial Arts Black Belt Hall of Fame”, which honours all the important personalities from the scene and their lifetime achievement.

On the following day On the day after the opening ceremony the tournament was a priority. To mark the start, representatives and officials of the local government, who above all represented the support from the government for the events of the I.M.A.R.I. were welcomed in a festive manner. Before the tournament started the organisation turned to Grandmaster Martin Sewer and requested from him to give, together with his instructors, a “taste” of their teaching skills. It goes without saying that they accepted the invitation with pleasure and so the numerous participants benefitted from

Hung Gar Kung Fu the extended trial lesson with the Swiss delegation. The participants were impressed with the techniques they had learned. Cheering and applauding they let the delegation go to the next programme item, i.e. the tournament. Later, in addition to numerous categories for children, of course the afore-mentioned master and Grandmaster categories, which were the highlight of the day, took place. Grandmaster Martin Sewer excelled with his presentation of very advanced Hung Gar techniques and presented skills that one acquires on a higher level during the education at the KUNG

FU SCHOOL MARTIN SEWER. His instructors also had the honour to participate in the tournament, to be more precise, in the master category. Even if neither of them is a master (sifu) yet, many martial arts organisations already recognise them as such. So does the I.M.A.R.I.. They performed advanced forms without weapons and also forms with pole and sabre. Both of them, just like their teacher, attracted much applause. To maintain the tension, the organisers put off the announcement of the rankings for the following day, on which also the Hall of Fame took place. So on the

following day, again besides many spectators, masters and Grandmasters, representatives of the local government arrived and gathered in an even larger hall in order to support the event. Among them were mister Fazzrudin HJ. Abdul Rahman, state delegate of Tupong and deputy minister of labour and mister Tan Kai, representative for senator Prof.

Datum Sim Kui Hian, minister of the local government. In various inspiring speeches they especially emphasised their admiration and respect for the art shown. This was one of those numerous moments, as a martial artist from the West

one realised that in Asia the martial arts are still very much linked with the culture and the way of thinking of the people.

Right after the speeches the announcement of the results started, for which the delegates, the president of the institute, Prof. Dr. Song Swee Hee, and of course Grandmaster Martin Sewer as advisor of honour were asked to stay right on the stage. For the awards should be presented by the guests of honour. Funnily enough, the first candidate to be called up was already standing among them, namely Grandmaster Martin Sewer himself. For the fourth

Hung Gar Kung Fu

time in a row he won the coveted “Grandmaster Trophy” and thus took first place in the category of the Grandmasters. Later, one learnt that the Swiss delegation, in general, had been claimed to be secret favourite at the tournament, which Martin Sewer’s instructors were able to confirm right there. They both won first place in the categories weapon forms and forms without weapons, thus they received, presented by the guests of honour and VIPs, the “Master Trophy”.

During the intermission between two programme items, one was having lunch and the children were partaking in smaller events. The Swiss delegation, however, did not really have time to eat, as they were asked to demonstrate some more of their great skills they mastered, and thus Grandmaster Martin Sewer and his instructors once more did their best, and amid roaring applause they showed additional advanced forms before one continued with the Hall of Fame. And again Grandmaster Martin Sewer was called up first. Presented by the representatives of the gover nment, he received the “Continued Excellence in Martial Arts Teaching” award 2016, which honoured his lifetime achievement in the form of the KUNG FU SCHOOL MARTIN SEWER. And of course his instructors were also awarded. They both received the “Master of the Year” award 2016. Naturally, many other masters and Grandmasters were awarded, amongst them those in the categories such as Traditional Medicine.

Here, Prof.

Dr. Shamsudeen B. Eusoof Caadir (or simply called “Dr. Deen”), who by now is a good friend of Grandmaster Martin Sewer, was awarded. As it happens, he is always happy to crack a joke and to share, right there and then, his knowledge about medicine in the form of acupuncture. The Swiss delegation, despite everything, polarised the most, and again stood out in the afternoon on the last day when every spectator wanted to take a picture with the masters from overseas. Up to this day, many people in Switzerland haven’t gotten used to the idea that the real skills are not “hidden” in Asia, but are to be found right at their front door, in form of Grandmaster Martin Sewer and his lineage. In Asia this has been known

Hung Gar Kung Fu “The so-called “World Top Martial Arts Celebrities Demonstration Match”, a tournament for the crème de la crème among the masters.” for a long time as this event shows. This time it was mostly the representatives of Shaolin who confirmed this. They approached Grandmaster Martin Sewer and wanted to learn more about the martial art that originates from their ranks. As it is known today, the Shaolin monasteries and the art connected to them were hugely manipulated by the government in the past. They tried to involve experts such as Chiu Kow, a national hero in the family tree of Martin Sewer, in the creation of “modern wushu”. However, they deleted any traditional aspect and incorporated a lot of acrobatics instead. This is a well known fact among the students of Shaolin, and this is why they, all the more so, look for contact with Grandmaster Martin Sewer and his instructors. As soon as the last fan had happily received his picture with the “Grandmaster” from Switzerland, the event already came to an end. The delegation again awaited, like in 2015, a tiny, unexpected challenge, i.e. transporting all the awards. Fully packed with more trophies and certificates than one can actually carry, the delegation went back to the hotel, where the hotel guests marvelled at them in the lobby. “Looks like you’ve won something, haven’t you?”, a guest ironically commented in the lift. Thereupon the three Swiss just smiled and nodded. The break didn’t last long though, since one had to change clothes for a last dinner with the organisers. The time in Malaysia was drawing to a close, but the instructors of Martin Sewer especially were looking forward to what would be coming. After a last dinner with Dr. Song Swee Hee, Dr. Deen, and the other participants and masters, the journey led the three back to Hong Kong, where Alexander Klug and Peter Gasser could expect lessons from their master every day for one week.

Back in Hong Kong Back in Hong Kong the three followed a very disciplined daily routine: In the morning everyone was training for themselves in the weight room of the hotel, so that afterwards one could come together for a well-deserved breakfast. Of course the number one topic of the conversation was the event in Malaysia. After the breakfast the instructors dedicated themselves to spreading the news on various channels of the school (whatsapp, blog, Facebook etc.). Towards lunchtime, after a coffee, over which one was discussing about the future of the school, Grandmaster Martin Sewer and his instructors went to the famous Kowloon Park, where once more they had a lesson. As usual, the lesson encouraged them to think about and practice what they learnt. However, this had to be postponed for after the time in Hong Kong, because Martin Sewer went on with his programme and showed the instructors various sites of the city.

And thus, the last week also passed by in a flash, and before they knew it, the time in Hong Kong was over for Alexander and Peter with their master. They said good-bye to their master and set out on their journey back home with many stories, new knowledge and new awards in their luggage. As a matter of fact, Grandmaster Martin Sewer himself stayed in Hong Kong, since the next event was already awaiting him there. One can say with certainty that we can also write an article about this event in the near future, i.e. the long-awaited autumn camp of the KUNG FU SCHOOL MARTIN SEWER.

The Mind in Martial Arts

The master of all actions Zanshin Who or what is the "master of all actions? The answer to this question was discovered in antiquity by the sages of both Ancient Greece and China.

The Greek philosopher, Hesiod, in the eighth century BC wrote the Theogeny. It is an account of the creation of the universe and of the gods. It is clear from his writings that the Greeks did not believe that this thought occur in the head. Consciousness and thinking were believed to take place in the abdominal area of the torso.

Budo Classics

Budo Classics

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he abdomen was, after all, where one felt the strongest emotions. Think about someone you hate and your stomach churns; think about someone you love and the same area relaxes.

For the learned philosophers of Classical Antiquity, the abdomen was the source of all thought and emotion. And, our thoughts and emotions are the masters of our behaviors…

Similarly, in China, the abdomen was considered to be the site of one’s chi, or life force. Two very important acupuncture points are found on the Conception Vessel, an energy meridian that traverses the front of the body. These two points are in the center of the lower abdomen, below the navel. Three inches below the navel is Conception Vessel 4, the point known as kuanyuan in Chinese, translated as "first gate" or "gate of origin". It is the first and original gateway through which the chi (internal energy) flows. About one and one half inches above it is Conception Vessel 6. This point is chihai, the "ocean of chi". It is where the chi is pooled, forming a sea of internal life force.

It is significant that these points are so close to the center of the body as well as the navel. The developing fetus grows from the center outward. The umbilical cord connects the unborn baby to its mother, forming a lifeline of nurturance and nutrition. The remnant of this lifeline is the navel, the place where once we fed and developed. The life force first entered our tiny bodies at our navel; it is where as adults we focus and cultivate our life force.

Conception Vessel 4 and 6 are located in the area known, in Chinese as the dan-tian. Japanese martial artists refer to the same area as the hara. In the West we may call it the lower abdomen or even "the gut". It is the area from which all our power flows. It is also the area in which energy can be stored and cultivated. My eighty five year old tai chi chuan Sifu (master) compares the dan-tian to a bank savings account.

Tai chi, qi gong, and meditation all serve to put money (chi) into the bank account (dan-tian) for future use. If you don’t deposit the money, you can’t write a check later. If you don’t deposit the chi, you can’t apply it later.

All internal martial arts believe that the energy stored in this area can be used for fighting as well as for healing.

The energy can be transferred to another in a forceful, explosive manner to damage and disrupt an attacker.

Or, it can be flowed smoothly to assist in regulating and healing the other person’s imbalance of energy.

Budo Classics

Breathe Deep, Breathe Low The breath can be directed to the dan-tian. The expansion and contraction of the lower abdominal muscles serve as a type of bellows, fueling the flames of the life force. Of course, the oxygen inhaled can only fill the lungs. The air cannot reach the dan-tian. But, by focusing one’s mind to that area, the body automatically will breathe much deeper, drawing more oxygen to the lungs. The lower breathing also strengthens the muscles of the abdomen while simultaneously massaging the internal organs. The dan-tian represents the physical center of the body. It is where the body’s center of gravity and balance are to be found. If, for example, an opponent tries to topple you, you respond by bending your knees. In effect, you have lowered your dantian, making your center of gravity even lower. Conversely, if you wish to uproot an opponent, you must make yourself lower than the opponent, getting your dan-tien below his own. Then, as you rise up, you can uproot his balance.

Strength There is a popular adage: "a person with a strong midsection is a strong person". The midsection represents the source of one’s physical and emotional strength and power. It is a link between the upper and lower halves of the body. A strong midsection unites these two parts of body and allows them to work together harmoniously.

A muscular midsection also supports and protects vital internal organs. It becomes a type of armor to shield these organs from blows that are not blocked or deflected. At the same time, a solid midsection also provides support for the lower back. This support helps stabilize the entire body. Sit-ups, crunches, leg raises, are all recommended to strengthen the mid section as are exercises for the lower back…

Tai Chi Classics The wisdom of the Tai Chi Classic reminds us "to keep waist relaxed", because "the waist is the master of all actions". In tai chi, the "waist" includes the entire midsection: front, sides, and back. It is this area that must be relaxed in order for the midsection to rotate, rise and sink, and direct the action of the upper and lower body. The best martial artists are those who follow the tai chi rule: they move from their center, from their hara (Japanese arts) or dan-tian (Chinese arts). Western boxers will torque their punches by rotating the waist. Champion athletes in other sports also learn to employ the midsection but may attribute the movement to the hips. Can you put you hip into a movement without involving the waist? Of course not. It is just another way of expressing the same concept.

Different time periods, different cultures, different arts, but all with the same conclusion. To the Greeks, the location of thought and emotion; to the Chinese the source of internal energy and power. The waist is indeed the master of all movement. Master the waist and you master your art.

DR. THOMAS J. NARDI: Dr. Thomas J. Nardi, is a psychologist and university professor with more than thirty years experience in the martial and healing arts. He holds black belts in Wei Kuen Do, Goju Ryu, Modern Escrima, and Jalmaani Kuntao Silat. He lives in New York, USA.

Self Defense

System for Operational Groups When I met Olivier for the first time two years ago I was quite taken by him. At that time he was teaching top executives in Argentina to defend themselves. They were people who didn't know Martial Arts nor did they have the time or interest to do so.

However, the difficult situation in that countr y and the rise in delinquency had created the distressing necessity for them to be prepared for the worst in the urban jungle.

Olivier taught them a few techniques to respond to specific situations. I asked him to explain to me as if I was one of the typical guys that we were talking about.

"Imagine that you go out to the street with your briefcase in your hand to deposit some money in the bank. A man threatens you with a knife… " - And so? I asked him - "I won’t teach you to kill, I will teach you to survive and to get out of the situation… you spit in his face, then you take advantage of his shock and when he lifts up his hands to his face you kick him in the testicles and this makes him double over…then you hit him with your briefcase, open up your escape route and run! ".

The technique was overwhelmingly simple and practical and it was everything that he had promised it would be.

Plus you didn’t need to know Martial Arts to carry it out! Understandably no one present was willing to try it out but it certainly is easy to visualize, don’t you think?

The essential point of Olivier's contribution is an exhaustive synthesis, based on the real experience of an action man, and his reflections are without a doubt a

Groups Operating System

Self Defense

considerable contribution to all those interested in fine-tuning their methods and their concepts of what real combat is.

For this reason we have pr epar ed a video with this expert and I sincerely believe that you will like it for its clarity and effectiveness as a method of self-defense. I also believe that his ideas come with a considerable dose of what is often lacking in many instructors, and that is direct experience and a big dose of wonderful, sharp and super pragmatic common sense, or as the older generation says "the less common of the senses!"

Please don't read any more into this‌ for there is some really good material here!

Alfredo Tucci

Self Defense

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y name is Olivier Pierfedericci Soler and I’m going to talk to you about the S.O.G. (System for Operational Groups).

You will probably think... "Oh well, another new style?" Well, it is not a style but a very practical system that is ideal for street combat.

I am originally from France, and was an Army parachutist for my country and I have devoted seven years to developing my system in the Oriental Republic of Uruguay (Army and Navy Special Forces training), in the Republic of Argentina (training to outstanding managers) and in Brazil (training for Security professionals), and I should also add to this a solid training as a bodyguard.

What is the S.O.G.?

• The S.O.G. it is not a conventional martial art, the purpose of its techniques is to be able to survive in the face of a high risk or extremely dangerous situation.

• The S.O.G. prepares the individual physically and mentally, situated in a realistic context (urban) and prepares him to use all his potential. "We are not looking for perfection but effectiveness."

• It includes defense tactics against several "enemies" and its effectiveness doesn't depend as much on physical training as on the level of concentration and control of the situation.

• It is a combat system with a highly warlike orientation; that is to say, it offers training that allows you to face an enemy in order to conquer him.

Groups Operating System • It is based on the C.A.C. (Body to Body System of the French F.F.A.A.) and the Penchak Silat or Malay Bersilat (Silat Jeni Gayung Malaysian style) of which I am the European representative. It synthesizes the warring and disciplined side of the C.A.C. and the fluency, speed and roguery of the Penchak Silat.

Why was the S.O.G created?

The System was born at the beginning of the 90's when, bored by the different traditional martial arts, I decided to devise something completely new related to the techniques of Rex Applegate and the great W. E. Fairbairn, founder of modern Close-Combat.

Indeed, after several years dedicated to Self Defense, it seemed to me ridiculous to have to spend ten more years practicing in order to be reasonably effective in a street fight. The concer n of all teachers, professors and others should be an easy and exact assimilation on the part of the students and not mere personal satisfaction... to put it another way we should think of our students before ourselves.

Differences between the S.O.G. and traditional Martial Arts The S.O.G. is done in street clothes or jogging gear and not in karategi (kimono), and with footwear, because in our modern times we don't walk down the street without shoes.

The ritual greeting doesn't exist, because we think that the fact of greeting and showing respect to an individual whom we are about to beat up doesn’t make a whole lot of sense. Respect isn’t part of this modality. We should remember that

Self Defense

Groups Operating System the S.O.G. consists of a discipline of urban survival and not a discipline of life. The psychological side is fundamental and from the beginning we try to impress on the student what we call the mental click, that is to say, the ability to go from lamb to wolf, passing through the wolf cub stage. That’s why we call the enemy the aggressor and not competitor or opponent, because it is as if we were in open war against crime and delinquency.

My experience in several South American countries has showed me that I am not mistaken.

Another question that differentiates the S.O.G. System from traditional Martial Arts is the fact that you should always conclude an action when the enemy is on the floor. This is a phenomenon that the North Americans call the Theory of the Wounded Chancho... hunters will understand me very well, the wounded wild animal is much more dangerous than when he is in a normal

state, therefore, we should hunt him down so that we, the hunters, don’t become the hunted.

To reiterate, the psychological perspective is 60% of the victory. As Sun Tzu said in the "Art of War": first you attack your enemy's mind."

Five tactical concepts: 1) Against a nonconventional enemy (hidden from regular citizens) we have to use unconventional methods and tactics.

Self Defense

Self Defense 2) Only by putting ourselves in our aggressor's shoes will we be able to understand him and conquer him.

3) When responding to an attack we should be like unforgiving fire.

4) We should be totally unyielding when defending ourselves above and beyond all limits.

5) All combat art has as its objective the enemy's defeat.

Eight S.O.G. rules: 1) Be very aggressive.

2) Never lose sight of the enemy.

3) Always distract the enemy.

4) Destroy or be destroyed.

5) Always be adaptable.

6) Use a weapon whenever you can.

7) Always feel superior to the enemy, regardless of his size.

8) Always conclude an action.

What does this system offer at the technical level?

Contrary to the great majority of combat methods, the S.O.G. System doesn't practice the forms (kata) that Bruce Lee called "organized desperation", nor the moves in the air... because everything is a question of time and we consider that it is preferable that the student learns how to hit when he is practicing the techniques.

Let’s look at the typical composition of a class: I) The triangulation and the use of the clock: During the first class, the student is taught the concept of triangulation and the use of the clock - this is the same as for pilots for the purpose of simplicity. Let us suppose that the enemy is located at 12:00 hours and we are at 16:00 hours, then we should leave at 11:00 hours or 13:00 hours, always searching for the enemy's back. The main idea is never go back but always advance forward and stay close to the enemy, in order to destroy him or hit him better. If we trace imaginary lines from the points 11:00 hours, 12:00 hours, 13:00 hours and 6:00 hours, we have an inverted triangle called the "lethal area" or the "vital perimeter", because it is the worst area for body to body combat.

And above all we should try to avoid the Boxer’s semi -distance. Always remember that the

Groups Operating System idea is to escape from the path of the blows and position ourselves at the enemy's back.

II) The Circle of Imminent Danger (C.I.D.): due to the change of the "modus operandi" of criminals, - in fact some years back one to one combat still existed although sadly today it no longer exists and it is very feasible that the enemy is not alone but accompanied by others. So we should be very cautious and respect the circle of imminent danger that is to say that within a radius of 5 m., any person - man, adolescent or woman - can be transformed into the point of "danger."

III) The concept of the "L": this means that whatever the combat situation, the S.O.G. combatant should conclude the fight in an upright position looking at the enemy on the floor; the inverse situation would be disastrous for the practitioner.

IV) The Guard: Keeping in mind that during a street fight most blows are directed to the face, it is fundamental that the student knows how to be protect himself by lifting his hands to temple height, preferably with his hands open so that he can grab and with his feet almost parallel so that he doesn’t offer a target - as in Karate or Taekwondo, for example – in order to force the enemy to advance and enter into his lethal area.

This position is also called "the receiving tennis player", and allows us to move in any direction without losing time.

V) Entrance and Exit: The student is trained to avoid or block the following three main strikes: a) direct to the face – from the right and from the left -, b) hook or circular blow to the face – from the right and from the left -, and c) kicks to the testicles – from the right and left -. Here we have the application of the triangulation.

VI) Technical Application: Next we move on to the practical part of the S.O.G., that is to say, the technical, practical and didactic program of the "blue level" (free hands). This program contains some thirty techniques by which the student learns how to escape from different situations: incidents in the street such as kicking - always at low level -, strangling, putting one’s fingers in the enemy's eyes, escaping from any hold, using a lot of trickery and your brain which is the human being's most potent weapon.

Working with and respect for the distances is fundamental, because my experience in the combat arts has demonstrated to me that many practitioners have no solutions when they are at a specific distance from the enemy; for example, at the end of our video, you will see a particular situation called "the crash", where after a vehicle collision, the enemy goes directly to "the good guy", who doesn’t expect the enemy to get so close and he kicks him low, or to use a military term, sends in the artillery.

The important thing is always to advance forward and to be active and not passive. Defense against several enemies is also studied as well as the part called "using tricks" such as spitting, the use of clothing and much more.

The "white level" is about defense and weapons handling such as: the knife, the short stick or the umbrella in combat situations, the rope or belt, and working with short weapons all the while demystifying various traditional and inapplicable

techniques. We have also added an introduction to the tonfa and its real-life application.

The "red level" is more the "military" part of the S.O.G. and is a summary of the first two levels with additional specific military techniques.

We should clarify that for certain groups of people, for example: security forces, at-risk managers or simply regular people living in special circumstances there exists a Combo" that is a synthesis of the "blue" and "white" level, so that the student has an almost global vision of what a street confrontation could end up being like.

It is also very important to point out that at each level, the student has to take a "stress" test in which he must overcome such obstacles as timing, blows, screams and a couple more that I invite you to discover in our video...

To summarize all the above, we can say that the S.O.G. is easy to lear n, easy to apply and extremely effective and practical in the event of risk or extreme danger. It has been proven that after three months of S.O.G. practice (one class per week), the students already demonstrate certain flexibility when faced with different situations. The great strength of the S.O.G. consists in the fact that the same techniques that are used without weapons can also be applied with or against weapons.

The S.O.G. is not perfect, but I can assure you that it has great merit and it is a dynamic system. In the face of a new threat it will generate a new response since the search for solutions is its watchword.

Its objective it is not to sell myths or distortions of what is possible and real and it doen't seek to create unbeatable people, since these do not exist anymore. Rather its objective is to create people who are capable of responding to an aggression today, and to stay healthy in order to tell us about it tomorrow. We cannot go around the world armed all the time waiting to respond to deadly threats. This presupposes that we have already shown off how very easy it is to kill somebody. I assure you that it is an experience that you would not want to have, but we can cover medium violent situations where the solution is reached by means of decision, determination and precision. This is what we hope to demonstrate here.

I would like to finish by mentioning one of the greatest liberators in South America, General José de San Martin, who said: "The only thing that one cannot do in a war is to lose it."

Self Defense

"Moving is life“ "Necessity creates organs" Again and again one hears the question these days: "Which style is better?”, or “What is the most effective martial art?” etc. One seeks categories that match their own conditioning, so you can "compare".

There is the old motto: When you're ready, the teacher appears. One could also say: If you ask the right question can are you ready for the answer.

Unfortunately, all is not as easy through the web of conditioning and identification at all levels of human existence. We move like robots and thus create a body structure that makes only such art of moving possible.

Life is held only by external stimuli of a movement. Revokes

one all these stimuli, so often there is nothing left. He slumps down. Sentenced to passivity and dependence on the system or people, or putting the charms and pretending.

We think in pre-conditioned thinking patterns and then begin to coming and set from the outside stimulus to respond. It is the food with which we develop our thinking: magazines, television etc. - coming from outside prepared information.

We prepare our thinking apparatus precisely to the desired and conventional opinion

WT Universe

patterns and keep this stimulus / reaction machine for thinking. Most not own thought is no longer present.

Now what about the feelings, the emotions?

This is the fuel for our actions. Again, nothing but conditioning. Being an Abandoned to their own conditioned emotional responses. Attraction and repulsion is then usually held for a deep feeling. One could also s a y, t h e f e e l i n g c e n t e r i s interrupted. No understanding o f s e x u a l i t y, a c q u a i n t a n c e , friendship, relationship, etc. only prefabricated explanatory models and models of life, which then fail at the emotional reality.

And we exist yet in the same conditions. The human body and the human mind and human feeling under the conditions of the earth.

We have a motion behavior that has not the slightest understanding of the importance of gravitation. Not in theory and certainly not practical.

WT Universe We are like fishes that do not perceive the water or worse, crawling like worms at the bottom of the sea, because we have forgotten how to can be borne by the water and swim.

And even worse, the crawling on the ground has caused a body structure that makes the fish impossible to swim.

We have a language that describes the creep on the ground and identifies us as reptiles. And there are many "experts" who manage this condition.

We depend on external authorities, forgetting like that the only people are accurate and we forget that the real interface to life and knowledge, we can only be yourself.

Authorities always pretend what we good for us and for the world, lead us in the wrong direction: away from us. For whatever reason, consciously or unconsciously, they must

WT Universe do to answer to himself. But what makes my life from me, I must answer. It's my life. When people, whether "Important" or "Normal" to the questions of life asks: You have no answers, not for themselves, no milestones for others. Only dead talk only conditioned worldviews.

We have lost the wise people that have their own understanding of life. We only experts in collective management and administrative structures or interpretations of the world who want to then make their views a valid for all dogma.

So what does this have to do with martial arts styles? In my view, there are no styles. We all deal with the same and there are only different images, patterns of thinking their own approaches to rewrite their own understanding.

It's not about techniques, it is not about speed, it is not about power. But it's confident handling of the complex interactions that we encounter on our way and it is important that we our being (body-thinking-feeling) with proper food supply, so that we have a structure that the potentials human nature unfolds and not obstructed.

There are no secrets, there is no inner and outer in the martial arts, there is only understanding. Knowledge is not receiving of information, knowledge is digested food.

There are the following coordinates and waypoints that describe this and try to make tangible for our image in the WTU: Conditioning, attention, Identification Attention, elasticity, balance, sensitivity, agility, Timing Intention, insight, insight - An understanding is the basis of everything!

- 7 + 2 qualities for the harmonization of man

Allow Contact - Accompany movement Avoid distance G r a v i t a t i o n a l i n t e r a c t i o n , We a k interaction, Strong interaction, magnetic interaction Wave, spiral - Three principles of action at all levels - 4 interactions - 2 effect levels that open up the function SALVE

WT Universe

Kali is a very versatile and old system of fighting that includes empty hand as well as weapon training methods. It is a devastating Art unto itself, but when you add the Kyusho you become even more efficient, effective and advanced in disabling an opponent. Kali has always taught what is called "Gunting" for strikes to weaker aspects of the arms, in volume #1 the Kyusho added even greater potential and a perfect starting point for the Kyusho or Kali practitioner.

Many arm destruction methods were demonstrated as well as Kyusho Knockouts using only the nerves of the arm. This second volume expands on these powerful Kyusho targets by working from the arm traps of volume #1 and demonstrating additional and even more powerful head targets for incapacitation of the opponent. This video compilation will bring you far more advanced skills, even if you do not practice Kali... the two methods were meant for each other. Several KO's are demonstrated so you can see the efficiency and affect Kyusho brings to Kali.

REF.: • DVD/KYUSHO 25 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

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

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.: • 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