Martial arts magazine budo international february 2014

"Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool. Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy".

- General Choi Hong Hi (___), ENCYCLOPEDIA OF TAEKWONDO, Volume II, page 88. Taekwon-Do is one of the largest and most professional martial arts in the world today, (founded on April 11, 1955, by General Choi Hong Hi (___)), and continues to flourish even after the passing of its founder in June of 2002. Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso" (__ or Kyusho), as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The focus of this series is to investigate the Patterns (teul), which are performed in accordance with the founders precepts in "The Encyclopedia of Taekwon-Do" (an astounding 15 volumes written by General Choi Hong Hi, including his "Vital Spots"). It is through this structure that Kyusho will be initially integrated back into Taekwon-Do. Kyusho International is proud to assist in this monumental and historic collaborative undertaking.

REF.: • KYUSHO20

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

ORDERS: Budo international. net

KIUSHO JUTSU- TAEKWONDO

SPECIAL JEAN CLAUDE VAN DAMM

"One of the most memorable discoveries in the study of the Kyusho points is the certainty that there is a whole internal language in the forms and teachings of the Martial Arts, which refers to the action of their movements on vital points. In this article, written by the noted expert Evan Pantazi, and with which we present his new video, the author opens up a whole universe of studies regarding these points in the Taekwondo. An invaluable DVD if yours is Taekwondo!"

Van Damme is an example of perseverance and accomplishment beyond all ups and downs of life. Decades of Martial Cinema look after him, and today, in this unique and completed article, our collaborator D. Pedro Conde, an expert in the subject - he’s so often interviewed him - enters deeply into the bends of an exceptional life and career.

STROEVEN COMBAT SYSTEMS Eskrima is not only suitable as a sport or self defense practised by civilians, military personnel also use this realistic martial art from the Philippines. Eskrima is ideal for self defense as it has almost unlimited flexibility. At our request we asked Frans to talk about training the special forces. First we came to talk about the Brazilian Federal Police Special Forces (C.O.T.)

MARCIAL CINEMA Isaac Florentines newest film Ninja: Shadow of a Tear is no Chinese Hong Kong cheap Chop Suey action flick. It is a full blown Hollywood actioneer with all the goods a top notch film needs to be remembered for years to come.

SDS CONCEPT

COMBAT HAPKIDO In order to understand how we arrived at the present perception of hard and soft styles, we must review the criteria used to classify them: arts that emphasize power, striking and linear movements are defined as hard; those that employ more gentle redirections, grappling and circular motions are defined as soft.

“BUDO INTERNATIONAL” is a publication of: BUDO INTERNATIONAL PUBLISHING CO. Central: Office: Andrés Mellado, 42 28015 Madrid - Spanien Local pages: Maurice Elmalem mauricenterprise@aol.com International pages: Alfredo Tucci: budo@budointernational.com

This month's article takes us back to the DRESSING THE basics. In previous JAPANESE ARMOUR articles about the SDS-Concept we've Shidoshi Juliana dealt with the helped our director principles of selfAlfredo Tucci to dress defense, self-defense the traditional Japanese for women, various armour, showing us its useful everyday different pieces and the objects (Never correct dressing unarmed), Security procedure. An article Training, and selfthat further explains the defense with flexible objects. This month history and we'll look at the basics of handling some anthropology of the Self-Defense Sticks, like palmstick, Dulo, armour, one of the main Kubotan… attributes of the Samurai.

INTERVIEW PAOLO CANGELOSI A straightforward interview that Grand Master Paolo Cangelosi has granted us for our readers, in order to make them aware of the news and send a clear message to the martial community, away from the martial rhetoric, on those aspects and values that all both students and teachers, must never lose sight: respect and gratitude.

HUNG GAR KUNG FU

SHAOLIN HUNG GAR KUNG FU “Even though Martin Sewer is from Switzerland and is therefore from the west, he has passed all obstacles on his way to become Dr. Chiu Chi Lings top-student and successor. He has dedicated his whole life to the traditional Hung Gar Kung Fu and is committed to promote and spread his knowledge and skills in the Hung Gar”

WINGTSUN Searching for a recognizable style ... Wing Tsun. After a few years researching the background and shape of this system, in which I even dared to look at other styles of Chinese Martial Arts and various other fighting disciplines from different roots, I must admit that during this last period I have been a critical voice with my own system: WingTsun.

Crouching Tiger, Hidden Dragon.

Weng Chun Kung Fu Logo. When one first looks upon the Weng Chun Kung Fu logo, he undoubtedly notices the tiger in the center of the symbol before anything else.

The words around the top are an after thought once the image of the tiger is before him, as is much of the rest of the logo, including the Chinese character positioned next to the tiger.

Nothing else seems very relevant to the average person looking at the symbol of Weng Chun.

SYSTEMA MORABITO

Combat system of military origin, containing the appropriate techniques for each individual, whether civil, military or professional in the operating sector. The Morabito System provides a thorough study of the human body, from the standpoint of biomechanics applied to the body, combined with the knowledge of the mechanical and physical laws, to avoid any attack from more points and more opponents.

General Director & Art Director: Alfredo Tucci. Advertising: Alfredo Tucci. budo@budointernational.com Columnists: Don Wilson, Yoshimitsu Yamada, Cass Magda, Antonio Espinós, Jim Wagner, Coronel Sanchís, Marco De Cesaris, Lilla Distéfano, Maurizio Maltese, Bob Dubljanin, Marc Denny, Salvador Herráiz, Shi de Yang, Sri Dinesh, Carlos Zerpa, Omar Martínez, Manu, Patrick Levet, Mike Anderson, Boulahfa Mimoum, Franco Vacirca, Bill Newman, José Mª Pujadas, Paolo Cangelosi, Emilio Alpanseque, Sueyoshi Akeshi, Marcelo Pires, Angel García, Juan Díaz. Photographers: Carlos Contreras, Alfredo Tucci.

"Do not walk behind me, perhaps I do not know how to lead.

Do not walk before me, perhaps I do not want to follow you.

Walk by my side so we can walk together."

UTE Indians

ife is a journey, a path we travel, in which continually crosses the mystery and to which more often we endeavor to reduce to a simple sequence of events necessarily trivial. We men cannot stand the deep pressure of the Infinite and we teach each other to reduce the sacredness of existence to something mundane. On bad terms, just the pain or the presence of our finitude whenever it crosses, can make us wake up from that self-imposed slumber. By better means, is the conscious effort on a path of transcendence, a spiritual path, what will bring about the miracle.

Highly aware people, those who have been called Masters in the world, have represented, sometimes to their regret, a lashing in the minds of the rest, not so much because of what they said or the way to do it could bring about violence, but because it defined new directions, changed paradigms, redirected the ship of consciousness in a new route, and this is always traumatic in one way or another. "There's no shortcut without effort", the saying goes, and nothing really important will ever arrive to our lives without exertion.

Sometimes because of our own stupidity, when we only valued what it cost us; other times because we were far away from understanding what we really needed and we stumbled a thousand times against the same stone.

Ignorance of not knowing can be excused, that of not wanting to know is never excusable.

There's not only one path. There are as many as people; but there are maps, compasses, travelling instruments for walking along the mystery. The ancients left us amazing tools and because evolution is always forward and upward, they left us stepping stones in which we can lean on to take a step further.

To be born in this era of history, like in any other, means having a road traveled, because we are not born alone or at this moment by chance. Each time has its own issues, its defects; each society its budgets, its collective unconscious, its truths, all of them with their own fronts ... and their own backs. It is the job of every generation to step forward, trying to improve, to transform what should be changed and maintain what should be maintained; otherwise evolution would be truncated in involution.

From a personal view, however, each story is one alone and different. If we are spirits living a material life, each one of us has his own experience to accomplish, his things to adjust, his lessons to learn. In that path, always personal, we will convene in one way or another everything we need to meet those needs; we will find the people we must find and will live stories that will cause readjustments and changes in ourselves and in others.

Respect for other's path can’t be simply formal, it wouldn't last or resist the deceptions of life; such recognition must be the result of understanding that each path is unique, and that only happens when you accept

L

"He who does not know the way of the sea should choose the river as his companion."

John Ray

and understand your own path. In doing so, each person that crosses your life becomes an opportunity to act impeccably, to learn about yourself and to resolve any adjustment pending gap.

Every moment is a new chance and every crossroad an opportunity to vary the course and change everything.

Trapped so many times by our life and our destiny, we get stuck at one point, looking around without knowing where to go or how to do it. Often, life events and reverberation of our actions overlap, clump together and create a dam that prevents the water of our lives from flowing. In the vastness of these lakes we remain lost, anchored in a space-time which is nothing but a form of imprisonment. But in crossroads, addresses are also clarified, because they become particularly evident when we are forced to stop. In those moments of non-road, we will find the opportunity to go beyond ourselves.

Mandela did; locked up for years, he was able to go further and fulfill a mission for which he was destined; but he could also have not done it, he could have chosen to anchor in his resentment, in the pain of a lost life.

Every personal decision has immense repercussions, because we all ignore the potential we carry or the enormous force that fate has prepared for us.

The poet was right when he said "Walker, there is no path, path is made by walking": Right and wrong at the same time! All great truths are paradoxical, so, traveling beyond the space-time dimensional paradigm, arrows shot yesterday can kill birds today and vice versa, because although the past is unmovable, readjustment will make it possible to kill its effects with arrows of today.

Paths are created from situations, energies and events that, far from being accidental, are framed in our personal destiny and are redefined every moment with our actions and our positioning.

Life is a sacred path, not a sequence of linear events.

But above all, life is what we choose that it be, because everyone can fool himself about it or get lost in it as he pleases. Each option has its price, each decision its consequence, each front has its back and each stage its play. Living the path with a sacred attitude is showing respect to everything and to all beings, is realizing that everything is interconnected and nothing is fortuitous.

Reading between the lines of life, events, people crossing, is what we call wisdom . There are also many wisdoms and each one has its own level within the Whole, its own need to exist and serve in order to fulfill a specific stage of the journey.

Discouraging others, underestimating their vision, it is an ugly way to hurt their hearts and the poison of the caused pain, in one way or another, will return on the one who has provoked it. Respect is also understanding that everything that exists is necessary even though we dislike it. Respect does not necessarily mean having to exist side by side with it; accepting does not mean letting it touch you.

Alfredo Tucci is General Manager to BUDO INTERNATIONAL PUBLISHING CO. E-mail: budo@budointernational.com

https://www.facebook.com/alfredo.tucci.5

"One of the most memorable discoveries in the study of the Kyusho points is the certainty that there is a whole internal language in the forms and teachings of the Martial Arts, which refers to the action of their movements on vital points. In this article, written by the noted expert Evan Pantazi, and with which we present his new video, the author opens up a whole universe of studies regarding these points in the Taekwondo. An invaluable DVD if yours is Taekwondo!"

Photos: Brian Hall http://brianhallphotos.com/

“Within these Patterns is a step by step learning guide to infinite possibility especially when Kyusho is added�

Kyusho Dojo Series Taekwon-Do "Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool. Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy". General Choi Hong Hi ( ), ENCYCLOPEDIA OF TAEKWON-DO, Volume II, page 88.

Taekwon-Do is one of the largest and most professional martial arts in the world today. They have thousands of schools around the world with many competitions and seminars every year. These events are attended well with several hundred attendees joining in the sporting aspect of the style. Even though the organization has split into many after the passing of its founder General Choi Hong Hi, it continues to grow.

Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso" ( or Kyusho), as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The classical Taekwon-Do has of course basics and sparring as well as Patterns (known as Kata in Karate).

Within these Patterns is a step by step learning guide to infinite possibility especially when Kyusho is added. As Kyusho is integrated into these Patterns, the practitioner unlocks a new world of hidden methods,

weapons and form of self-protection that is the core of the art.

These patterns convert from conditioning exercises into a full spectrum of fighting or self-protection modules with

Kyusho. Once Kyusho is introduced, it dynamically alters the focus of the practitioner away from imitation of the mere motions into a new freedom within the structure, while still maintaining that structure and integrity of the style. It is to this end the new Dojo series will document this deeper look within the art, so that each student can learn and understand a

contains only stepping and hand patterns as there are no kicks, but its simplicity belies the infinite possibility when coupled with the vital points.

In dissecting the Chong Ji we start with the basic premise of using arm points as the form is primarily comprised of a few hand positions and actions. These hand positions and

targets followed by situational application of these known points.

These additional applications involve pressure point takedowns or controls, standing grappling (ground fighting is introduced later in the patterns as it becomes more sophisticated and the practitioner has developed a more sound understanding and skill with the Kyusho). The breakdown then

hidden component described and documented by the founder, yet not passed down.

The first of these Patterns is called Chong Ji, (translated as Heaven and Earth) and is the basic building platform of this modern style. It

actions are prevalent all through Karate and can also be used by any Karateka to also begin developing a Kyusho reference for themselves.

From arm attacks the integration follows the core curriculum of Kyusho to then work with head, body, leg

continues as it is exposes the hidden joint manipulations and even knife defense possible with the exact actions of the Pattern.

Further revelations from the basic pattern can be found in the obscure weapons that the founder included in

his encyclopedia, but not utilized as prominently in the style from a lack of knowledge or skill in their application.

Much like the 6 Ji hands of the Bubishi, these specific and seemingly odd weapons of Taekwon-Do have powerful possibilities and are vital to accessing the Kyusho contained in the style. As an example we look at the fist that is prevalent throughout the pattern, we not only have the fist, but also other documented weapons in the founders encyclopedia such as the Mit Joomuk (under fist), stated to target specific anatomical structures that in turn have Kyusho targets (not described). Also included in the making of the fist, is the grabbing hand position known as Jiap which “is used to apply pressure to arteries and minute vital points�

(Kyusho). With just these two weapons you can not only perform arm destructions, but also multiple strike trapping actions that will be a base for accessing other targets more easily and all targeting the weaker anatomical structures. However these are not the only weapons that Kyusho reveals, more hidden weapons begin to develop using the exact motions of the pattern. They

naturally emerge with greater focus on targeting the weaker anatomical structures while the practitioner's knowledge of Kyusho grows.

Once the weapons start to become as natural as the Kyusho targeting, we will instantly be weakening the opponent from the very first contact. This is a critical key, as Kyusho is a very different feeling from just simple pain compliance. As we are not just attacking the external body and work to gain access to deeper nerve structure, the superficial sensory nerves are not the only recipients of the Kyusho attack.

We are attacking different nerves that are not easily accessed in conventional ways. This introduces a different internal pain as well as reflexive and reactionary nuero messaging occurs in the opponent. This confuses the recipient as the brain struggles to read and respond to these new neural affects. And as this new sensation or dysfunctional aspect is

affected, many psychological aspects are also triggered, from fear to confusion to loss of cognitive thought. Thus we have not only weakened the body, but also their mind as well for a more complete control of the opponent and situation.

Now as one of the founders' wishes as stated in his writings was to also promote good physical condition or health, we find that many things about our own anatomy can be learned as well as assimilated from our study of Kyusho. By gaining greater insight into how the anatomy and physiology works we can then gain greater understanding and potential for more vibrant life or even healing others of many physiological issues.

This is realized because the Kyusho practitioner first learns how to cause many issues, they then can learn to reverse or fix them using the same physiological functions in other ways.

As an example of this, we can take a Kyusho target in the elbow region located approximately where the acupuncture point called TW-11 lay.

This is not actually a nerve, but more specifically an integral neurological component of all tendons.

When a tendon is stretched as seen in the video of this Kyusho interpretation of the pattern, there is a reflexive action that is set off by the Golgi Tendon Organ within it. This is a component of the body that monitors the tendons so that when they overstretch, the reflexive action is for the brain to relax the muscles so that the tendon does not tear.

From a Martial standpoint, this causes the entire body musculature to relax, weaken and loose strength.

Now if we look at this from a health related aspect we can see that if a person is stressed and they are holding muscles tight, we can aid in the release of that tension using the very same point. Please understand this is a very basic description just to let the reader or practitioner know how the duality of healing and hurting are discovered with the use of

Vital Points Kyusho that this pattern has encoded within.

With this knowledge we can see the old adage “when a punch is no longer a punch� and many other such sayings, had evolved is also revealed.

In fact whereas most people view the pattern movements to have single purpose or concept, they begin to expand exponentially when applying

the Kyusho. This is because Kyusho is not technique based but simply targeting weaker areas that reveal themselves during combative situations. If one learns a set technique against a set attack and that attack is varied from how it was originally taught, learned and applied, it will not function as it did in practice‌ when you are being

attacked this is not the time to discover this flaw. And to learn or retain a technique for every possible attack that the opponent could direct at you would be impossibility.

However if we take our pattern actions and learn to direct them in many ways to exposed targets then there is a greater margin of success and. We learn to recognize the exposures

during motion as opposed to trying to react to the unknown actions of the opponent.

In conjunction with the target recognition method just describe we also have an added benefit of being able to access many targets within the same general area with the same motions. This is critical as the size of the opponent will vary and the reach or distance with some targets may be difficult for the practitioner. But by using the same actions of the pattern we can access several points within reach.

Many that do not practice Kyusho state that to be able to attack a small point on a moving target is difficult‌ and yes it is. But what they do not consider from not actually studying Kyusho is that first the point is not just a point, it is a section of nerve or muscle, or an entire tendon. Link that with clusters of targets in each area and there is always an available target no matter what size the opposition or how they move. That of course is not to say that training is less necessary, no it still is, but the individual that does practice with Kyusho achieves far greater potential, skill and affect in their style or art.

And because each individual is unique in their abilities, athleticism, age, size, gender, strength and all variables, the Kyusho allows them to naturally work with what is more natural for themselves personally while still working the exact actions the pattern and style require.

The same art becomes the individuals own, more of a personal journey rather than an imitation of another.

The Chong Ji Pattern begins the journey into the hidden secrets of Taekwon-Do.

Crouching Tiger, Hidden Dragon, Weng Chun Kung Fu Logo When one first looks upon the Weng Chun Kung Fu logo, he undoubtedly notices the tiger in the center of the symbol before anything else.

The words around the top are an after thought once the image of the tiger is before him, as is much of the rest of the logo, including the Chinese character positioned next to the tiger.

Nothing else seems very relevant to the average person looking at the symbol of Weng Chun. A martial artist might pay some attention to the character next to the tiger as well as to the words, and then would probably stop, not comprehending the depth of meaning behind those words.

Many martial artists would also see “Shaolin” and “Weng Chun” and dismiss the possibility of the two being connected in any way, shape, or form. The Weng Chun logo however symbolises the art’s Shaolin roots in ways many would not imagine. The logo itself is much more than words and two pictures. This article will examine the meanings behind the Weng Chun logo for all to see.

The entire logo can be verbally pictured with five apparently simple sentences as follows: Everything in the logo is contained within a circle. Written across the top of the circle are the words “Weng Chun Kung Fu”. Across the bottom of the circle is written “The Internal Power of Shaolin”. In the middle of the circle is the aforementioned picture of a tiger, crouching as if ready to pounce upon its target. To the right of the tiger is the Chinese character for Eternal.

Not much to it, right? You will soon see that is far from true. There is much more to understanding the logo than five sentences.

Let’s examine the words more closely. Weng, means Eternal, Everlasting, or Perpetual. This is the same Eternal as the Character mentioned above.

Chun, means Spring (the season). Put together, Weng Chun means Everlasting Spring, referring to a continual rebirth of everything, reflecting the Chan reality of impermanence and the nature of change. Kung, meaning Skill, is next, followed by Fu, meaning Effort.

Together, Kung and Fu refer to the skills one acquires through hard work and effort. Kung Fu also emulates the idea of Karma in that what one does today affects him tomorrow. If he trains hard today, tomorrow he has skill. If he is lazy today, tomorrow his health could be adversely affected.

In Chan, this is the principle of cause and effect, or, action and consequences.

Internal Power – This appears selfexplanatory, but is it? It generally refers to the flow of Chi throughout the body and the universe, harnessing one’s life force to work for him. But, Internal Power also refers to the specific knowledge of combat and health that Weng Chun training provides the student.

Weng Chun is a complete system incorporating several principle training areas. The first is focused on fitness and health.

Health is categorised as both internal and external, with exercises devoted to developing both, through breathing and physical training. The phrase Internal Power also covers the soft and internal aspects of the Weng Chun system for self-defence.

The Weng Chun system teaches students to harmonise with an opponent’s energy rather than meet force head-on. Therein lays the soft training, learning to receive an opponent’s power without allowing it to influence the student’s own structure. The focus on internal training teaches how to use the whole body for power, learning to unify the limbs and trunk into a more efficient tool.

Shaolin – Now why is this word in the same logo as Weng Chun? How are the two related? Unfortunately many people, martial artists included, equate modern Wushu (i.e., Jet Li) with Shaolin. Modern Wushu is a sport, not real combat. It is fun to watch, but not everyone can practice it.

Shaolin consists of training one to be in harmony with reality, and modern Wushu does not have real skill for combat applications and is far from real combat. While Wushu has some Shaolin moves, it is not true Shaolin. It focuese on acrobatic demonstration rather than efficient martial science.

True Shaolin Martial Arts consists of three things. These are referred to as the three treasures of Shaolin. The treasures are Chan (Zen), Health, and

Combat. Health refers to both the internal and external health benefits one receives from practicing Shaolin.

Combat refers to the hand to hand combat methods developed and practiced by the Shaolin monks for centuries, Weng Chun being one of the most advanced of these systems.

The Shaolin monks also developed these combat methods as an extension of their Chan studies.

Chan focuses on removing illusions to discover reality, and nothing is more real than life threatening fighting. Remember what Weng means? We don’t see too many 60 yearolds practicing Wushu – yet, we do see 60 yearolds practicing Weng Chun.

Now let’s look closer at the two images within the Weng Chun Logo. First is the tiger.

Tigers have long been a symbol of power and strength throughout many cultures. This particular image of the tiger is what makes it important for the Weng Chun logo.

The tiger is poised as if ready to leap at its prey. It is ready to strike, but not ignorant of its surroundings.

This is one of the key ideas of Weng Chun, “Maintain your space but keep your focus.” In the Weng Chun system, the circle represents awareness of surroundings together with maintaining and creating space. The crouching tiger within the circle reminds practitioners of the importance of circular structure for health and combat. The tiger is also searching for a bridge, seeking to close the distance to its prey as easily and safely as possible. Tigers do not attack head on, but from an advantageous angle so they are safe and more successful. If you look at a tiger, it will circle until it can find another bridge from which to attack.

This is but a part of the tiger’s symbolism.

It also represents the body methods of Weng Chun. The tiger is relaxed yet ready, low but can attack high, subtle but powerful. The tiger also reminds the viewer of another creature due to its particular pose within the Weng Chun logo. This creature is the dragon. The curved posture of the tiger is also reminiscent of the dragon’s most seen pose, curved and poised to strike.

The dragon, according to Shaolin philosophy, is invisible, but it is present with the tiger. Where the tiger represents the visible aspects of Shaolin (combat), the dragon represents the invisible, internal aspects of Shaolin (Chan and health). }For Weng Chun these are the 10 wisdoms of the art and the internal power. The dragon and

tiger exist in harmony with each other in the Weng Chun logo.

The tiger’s curved posture, from its tail to its foremost paw, also draws a line making the circle into the Yin Yang, referring to the harmony that Weng Chun practitioners use to defeat their opponents rather than clashing with them. The tiger and dragon are one as Chan, Health, and Combat.

There can be no doubt that Shaolin and Weng Chun are part of the same whole. The next visual image is the character

Weng. The character represents the triangles of Weng Chun. The triangle represents the focus within the space of the circle and using angles to penetrate space.

Many of Weng Chun’s physical structures require the body to take on triangular shapes to achieve maximum efficiency. Weng also implies space as well though.

The symbol itself covers all dimensional space, reminding one to be mindful of his space while in combat situations, keeping his focus while maintaining his space.

The Weng Chun expression of three-dimensional space is reflected in the traditional Shaolin concepts of Heaven, Man and Earth. The Tiger and the Character together create another facet of symbolism. In addition to the above reference about how a tiger will attack, the symbols remind us to be similar to the tiger, always circling the opponent for a vantage point, searching for the bridge and then closing that gap from that vantage point rather than rushing straight in.

This is the proper way to engage and finish an attacker. While circling, one’s triangles must remain aligned (observe the Tiger’s paws), ready for the pounce. This is called maintaining one’s space without losing focus. The images combined introduce circles into Weng Chun thought, but why? Many people equate fighting with being direct and straight on, but circles are not direct. How can circles exist within Weng Chun?

Simply put they are a strategic tool used to help with tactics in combat.

They are also part of the health aspects of Weng Chun, as its Shaolin roots make the art a vessel for improving one’s health as well as skill.

Circles are also continuously flowing and never ending as opposed to the angled corners of a triangle. Intimately connected, circles and triangles work together as Yin and Yang. We shouldn’t tense up during a fight or in practice, but we should stay relaxed and fluid to help maintain our health and self-defence.

That is the Weng Chun Logo. Five sentences explained in four paragraphs. The logo and its explanations are simple and to the point, yet they evoke more thought than one realizes. Weng Chun is the same way. Every motion is related to Chan, Health, and Combat – the three treasures of Shaolin.

Written by Ving Tsun Museum USA thru interviewing Sifu Andreas Hoffmann.International Weng Chun Kung Fu Association - www.weng-chun.com

8 WORLD KARATE CHAMPIONSHIPS TH

Presented by the

November 21 – 24th 2014 in Curitiba, Brazil Hosted by: Marco Ferreira • Julio Bassan • Samuel Ferreira

marcoceppe@live.com JOIN The WKO and become a Country Representative. Contact our President, Don Warrener donrw@warrenerentertainment.com

In addition to world class competition, you can experience family fun with side trips through the rain forest, beach parties and lots more to do for the entire family!

WKO is the Organization of the Future... new ideas using Traditional karate and its values.

Also: Seminars in Brazilian Jiu Jitsu, Capoeria, Karate Officiating & more.

This month's article takes us back to the basics. In previous articles about the SDSConcept we've dealt with the principles of self-defense, self-defense for women, various useful everyday objects (Never unarmed), Security Training, and self-defense with flexible objects. This month we'll look at the basics of handling some Self-Defense Sticks, like palmstick, Dulo, Kubotan‌

SDS-Concept - everything under control SDS, the Self Defense Stick, is a self-defense tool of 8cm to 15cm in length which is used in SDS-Concept. Yet, the SDS-Concept's arsenal also includes alternatives, such as spoons, pens, rolled up magazines, flashlights, mobile phones and many more. Shape, characteristics, material, size, weight, as well as strengths and weaknesses are essential for handling. Thanks to its simple basic idea, the SDS is great for anyone who wants to improve their safety in dangerous situations through the use of a tool.

Basically, the SDS or other objects are used to amplify punches, pressure or locks. The SDS should be a couple of centimeters longer than the width of the user's hand. If held in the fist, the SDS should protrude on both sides.

SDS-Concept's terminology calls the lower end of the SDS "butt" and the upper part "head", the head protrudes on the upper side. The SDS is held in a way that the fist clenches the middle part - the "body" - with heat and butt protruding on both sides. This may differ for smaller objects, with either the head or the butt showing.

SDS-Concept's basics contain various grips which allow the effective use of the SDS. Various grips result in a plethora of options. We use the SDS to amplify punches or pressure, for locks, to stab, pinch, squeeze, lever, or as a whip.

Amplifying punches The SDS is held at its body (hammer grip). Punches are thrown with the butt (from top to bottom or horizontally) or with the head (from bottom to top or horizontally).

Depending on tactics, target areas are the opponent's head or groin, or arms and legs, if major injuries are not intended.

Text: Peter Weckauf & Irmi Hanzal.

Photos: Mike Lehner

Amplifying pressure Pressure on sensitive areas (pressure points) usually triggers certain reactions which might be very useful in some situations (e.g. passive resistance, unlocking grips). Go for the opponent's nose, ears and neck. The intention is not to injure the attacker.

Pinching grip The SDS is held firmly, the thumb is used to squeeze or lever certain parts of the body (skin, ears, nipples, genitals, fingers).

These techniques are mainly used to break passive resistance (Security), or in order not to injure the aggressor.

Amplifying locks In a conflict locks are used to control or fixate the attacker, break his joints, if necessary, or make him surrender. Usually both hands are used for locks.

Preferred targets are the opponent's hands and arms.

So called lock chains are used to practice these techniques in training.

Stabbing The thumb presses the SDS firmly into the fist to keep it - the SDS - from slipping back. This grip variation allows stabs or hits, e.g. to the opponent's eyes, neck or groin.

“True greatness is shown through mutual respect for the achievements of others and their dedication to the martial arts�

Squeezing Grab the opponent's wrist with both thumbs, then hold the SDS at both ends and squeeze. This induces severe pain in the aggressor who will usually loosen his grip (hand or clothes).

“This month's article takes us back to the basics�

Freeing or levering The SDS also works perfectly to amplify pressure for levering from grips. In particular, when your hands are grabbed, the SDS will cause pain momentarily which is perfect for de-escalative techniques.

Finally‌ When we started our series about SDS-Concept, it was our intention to make SDS-Concept known to a wider public and to inspire interested martial artists. Our international fans in many countries who may not have the opportunity to learn and practice SDS-Concept with us are especially dear to our hearts. SDS-Concept is an upand-coming European system with an autonomous identity and clear structures and concepts. Still, autonomy does not mean that there can never be similarities or overlaps with other systems.

Every adept, fan, student, instructor and master has his place in the community of martial artists and it is our intention to walk this path with as many as possible, to inspire each other, and to always be students of the martial arts.

True greatness is shown through mutual respect for the achievements of others and their dedication to the martial arts.

I am particularly grateful to my dear friend Alfredo Tucci, who has given me a unique platform from which I was able to inform our friends all over the world about our efforts.

Whip Hold the SDS at the body (hammer grip) while, as shown in the picture, a bunch of keys protrudes at the head. Use the attached keys like a whip for longer distances.

Next Instructors' course held in Vienna, Austria, in March 2014.

WingTsun

Searching for a recognizable style ...

Wing Tsun After a few years researching the background and shape of this system, in which I even dared to look at other styles of Chinese Martial Arts and various other fighting disciplines from different roots, I must admit that during this last period I have been a critical voice with my own system: WingTsun.

In my book "High Level", I didn't intend at any moment to talk about the excellence of the system or embroider the text with high-sounding phrases about how good our system is.

That’s something I could never do it for one simple reason: I feel a deep respect for the Martial Arts. I admit that I didn’t like much -or didn't like at all- the direction that our system had been taking in recent years for various reasons. I must also acknowledge that this dynamics has engendered no little criticism towards me

and my TAOWS Academy project. Some of these disapprovals come from renowned teachers and I can't help feeling proud to see such relevant characters lose one single minute of their lives to launch attacks against someone so small and insignificant.

Apart from that little work, in my last 12 articles for the Budo International magazine I kept insisting in my critical view of those aspects which, in my humble opinion, are clearly improvable. But, at this moment, I think it's equally important to give a significant change of direction. We have already clearly pointed in the past which are our problems, and now the time has come to start proposing ideas, proposing solutions!

The reader will agree with me that criticizing is easy, but doing it in a constructive way to improve what is criticized is not so simple. Well, I will.

WingTsun

One thing that strikes me most about WingTsun practitioners (and traditional Martial Arts followers in general) is the lack of a recognizable style. I mean, I wonder how someone can spend hundreds or even thousands of hours practicing the forms, techniques, tactics and philosophy of a given style of Martial Arts, and when he reaches its ultimate goal, i.e., the combat, he ignores completely what he's been doing for years to get into things that have nothing to do with his "mother" style.

It is quite common among WingTsun students to enjoy practicing with classmates the basics of our system. And it is not unusual to see many of them showing excellent skills in performing the different sections, drills and exercises that are carried out in the practice of WingTsun. But it is also common to confirm that when these tireless practitioners of this system, in an exercise of free sparring, face an opponent that doesn't "collaborate", many of them prove to be absolutely unable to apply almost none of the techniques of this unique fighting system.

In one of my last meetings with WingTsun instructors from various branches, I proposed a specific exercise. I assured them I wouldn’t hurt anybody, neither I would hit nor use any dangerous technique. They could be absolutely confident and calm. I would restrict myself to move forwards like if someone

on the street was pushing them in a continuous and intense way, but without using any technique that could damage them.

They, instead, could use whatever they wanted...

It happened just as I expected. Some of the teachers, highly ranked in WT, with a broad educational experience, were unable to carry out one single technique under the constant and intense pressure from someone who was just pushing them. Isn’t it funny? Imagine for a moment that the attacker simply ceases pushing and starts launching vicious attacks...

However, all of them can perform complex combinations of techniques, sections, shifting, etc., when they are in their natural habitat: the training hall. In short, THEY HAVE A GREAT SKILL, but do not know how or when to use it.

My position as technical director of the WingTsun section in the Spanish Federation of Wrestling and Associated Disciplines, has allowed me to meet many teachers and different branches of this style, as well as a diversity of Martial Arts instructors of different disciplines. It is an enriching experience that not only has made me find great friends, but it has also given me the possibility of knowing in depth the problems of our system and, incidentally, the issues surrounding systems similar

WingTsun “Some of us, who have been practicing Martial Arts for years and decided a long time ago to devote ourselves to the study of an ancestral ART, feel the need of trying to make our art better than what it was taught to us�

to ours. I guess that some of you, practitioners of "classical" Martial Arts who are reading this article, know exactly what I am talking about! And while I recognize that I've had the opportunity of meeting excellent teachers and professionals who display an excellent combat level, believe me, it’s not the rule! Unfortunately, the usual case is the opposite..., practitioners with a broad experience in their systems that, when it comes to face a real fight with someone outside of their ecosystem, have to resort to "other things".

In one of my articles I referred to a hypothetical competition among martial artists in which, if all of them were dressed in the same way, it wouldn't be easy to determine which was the original art of each one, since everybody would be doing a sort of "full contact" combat that would make it impossible for us to recognize the tactics and techniques of their styles. Don't tell me it's not sad devoting at least half of your life - in the best of cases - to a fighting art to end up doing a kind of Boxing with kicks that help you muddle through, when in most cases we all practice combat styles with seemingly "lethal" techniques.

That's our view. At this point we'll try to give you our perspective to try to reverse this situation. The worst thing that could happen to us is that we realized that we were doing something wrong and we'd be forced to pose other ideas. Trial and error... wouldn't it be more exciting than what we currently have?

Some of us, including myself, who have been practicing Martial Arts for years and decided a long time ago to devote ourselves to the study of an ancestral ART, feel the need of trying to make our art better than what it was taught to us. If we don't get it, at least we'll have tried. It is, as I say, our moral obligation with the art that has given us so much.

The main question here is why, in a stressful situation, a martial artist, with decades of practice on his shoulders, won't trust in his excellent ability and knowledge of an art of war. Perhaps we should take a glimpse at systems that do have an absolutely recognizable style. Let me give you as an example two "sport" styles, both with their own specific aesthetics and for which I have a special liking: Boxing and Brazilian Jiu Jitsu.

In both cases, someone with a few months of practice will show a very clear style even recognizable by people with little knowledge of Martial Arts. Players and followers of these two contact sports are able to make free sparring against any opponent of any style and continue to do so under the style in which they've been trained. I'm not talking about losing or winning. Wether winning or losing, a boxer will continue using (or trying to use) Boxing feints, shifts, combinations, etc. An absolutely clear style. If someone sees him from outside, will affirm without hesitation: He practices Boxing!

Same thing happens when we see a BJJ practitioner.

Winning or losing, against any adversary, he will try to take down his opponent and open and pass his guard to finish him with some of their excellent strangulation or dislocation techniques.

In both cases, in just a few months, anybody practicing these disciplines will have acquired a totally recognizable style and, which is more, the differences with an advanced practitioner of that same style will be marked by the experience, a deeper knowledge of the techniques and their application. But there will be no substantial differences in the "aesthetics".

The question is: Where is the style of a WingTsun student? I refer, as usual, to a practitioner that faces an opponent who doesn't collaborate and has a similar experience in Martial Arts, but he’s not one of his own students or training mates... I think this is the starting point.

CONFIDENCE! This is the main concept. For a practitioner of a fighting style to act under the technical and tactical parameters thereof, it is absolutely necessary that the individual relies on in the internalized knowledge through practice. Trusting in this technical ability means that he has proven in his own person that he is able to do things with it and it WORKS! For that, obviously, he must submit the techniques and ideas of the system to a hostile environment that brings him closer to a more realistic scenario. As this is a delicate thing to put into practice, here we have to be extremely methodical and perform a slow and progressive training, but never stop.

WingTsun Half joking, half seriously, I affirm that poison kills you when taken at a stroke, but in small quantities it can serve as medicine and improves the immune system. That's what I mean.

The first step would therefore be finding paths that submitted each and every one of the techniques to a progressive filter, in which the student can try his techniques at different intensity levels to reaffirm them and TRUST them.

In other words, we must practice them so often and so well that there's no way we cannot do it otherwise.

The second very important point should be completing the entire system and study it as a whole. In my opinion, allotting the formation in independent "subjects" is a big mistake.

I mean... us WT practitioners often talk about the exercises that are of Biu Tze Tao, those of Wooden Dummy, etc. The WingTsun was organized to be studied and understood following the route marked by these forms; but it doesn't mean they have to be kept separate. It's only a question of method. Viewing the system as something global, as tools to be used in different combat situations and scenarios will make us better understand how these techniques are and were conceived. This will be the second but no less important element, for we can TRUST again in our techniques and tactics.

The third point I pose is a bit more delicate: It consists in looking ourselves in the mirror that have used other combat systems to get it, but never forgetting WHO WE ARE and WHERE WE COME FROM. Difficult? Yes, but we like challenges!

The steps should be the following: 1 - Assess our strengths and weaknesses.

2 - Decide which are our goals.

“Imagine for a moment that the attacker simply ceases pushing and starts launching vicious attacks�

3 - Design training plans to achieve those goals.

4 - Evaluate periodically our progress and be constantly self-critical with our work.

5 - Introduce combat exercises with "no WT" adversaries in a very gradual way.

This last point is very important. When I put forward the question "who we are and where we come from," I do believe that a large number of practitioners have forgotten WHAT is WingTsun. Probably driven by different interests (economic, egos, sectarianism, personal animosities, etc.), they have completely forgotten that the WingTsun is a STYLE CHINESE BOXING (or Chinese wrestling, as you prefer). And this, whether we like it or not, must remain being so. If you denature completely that by which WingTsun became known, it will disappear by dissolution in the water of a Martial Arts panorama which tends to a loss of identities more than worrying.

WingTsun (as well as the rest of Martial Arts) were designed to fight.

For the weak could fight the strong, to defend the country, the family and

oneself. This point (perhaps in a somewhat poetic version) should not be forgotten. Bruce Lee stated (quite correctly, like almost everything he said) that the way to learn to fight is fighting! However, something so obvious seems to have been forgotten. We will not win trust with demagogies, or talking about what others were able to do, or simply giving our opinion about the work of others. We will acquire confidence through the only tool that assures its achievement: the constant, serious and structured practice.

And up to here this month's column. In the next article we'll talk about another rather curious aspect: the separation between the pearls of knowledge of Chinese philosophy and the WingTsun system. Two branches quite different: the line of the more traditionalists and that of those who propose an evolution that puts aside everything that is not "effective".

What do you think?

Next month we'll talk about it. Thank you for your attention and support.

Major Avi Nardia is one of the leading head official instructors for the Israelite army and police in anti terrorism and CQB, he along with Ben Krajmalnik have made a new basic dvd in the field of firearms and safety, training techniques in IPSC. Instinctive Shooting in Combat. Combat Instinctive Point Shooting - IPSC is a shooting method based on instinctive reactions and kinematics to shoot short distances fast and in dynamic situations. A self defense discipline in order to survive in life t h r e a t e n i n g situatuations , where you need a very fast and accurate shooting abilities, when you must take the gun out as soon as possible and shoot at a short distance without using the sight.

In this first volume you will study how to handle the weapon ( revolver and semi -automatic ) dry firing practice and security, "Point Shooting" or instinctive shooting , at a close range and a series of movements and exercises for weapon retention , low stress and multiple attackers ; exercises on how to recharge with one hand, ... and finally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16 grenade launchers .

REF.: • KAPAP7 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international. net

The Zen Nihon Toyama Ryu Iai -Do Renmei ( ZNTIR ), once reviewed and adapted the concepts and methodology of a school that proceeds from a method of real combat, is the body that currently intends to maintain this tradition and original forms alive through a system that unifies body, mind and spirit in a realistic and effective way. This DVD was done at the instance of practitioners of the Spanish subsidiary of the Zen Nihon Toyama Ryu Iaido Renmei (ZNTIR Spain Branch) to present to everybody a combat style with a real sword, created last century, but with roots in the ancient fighting techniques of feudal Japan. In it you will find the basic structure of the methodology applied in the style, from the coded warm up and preparation exercises, cutting exercises, guards, the school kata, work in pairs and initiation in the Tameshigiri or cutting exercises on a real target , the cornerstone of the Toyama- Ryu. We hope that knowledge of the existence of a style such as the Toyama-Ryu Batto-Jutsu acts as a revulsive of a traditional way and yet very different from current combat disciplines, that attract those who want to go further in their martial practices. Those interested in the Japanese sword and initiates, will find useful this DVD both as support to their learning and as a reference.

REF.: • TOYAMA1

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

ORDERS: Budo international. net

A story of determination Text: Nuria Ortiz & Pedro Conde

From this split to the one below have passed... how many years?

The recent and brilliant ad of Volvo's (congratulations to the company and the designers that created the idea!) showing the stability of its new steering system, made this martial films colossus open his legs once more, bringing again into the spotlight the eternal "enfant terrible" of perfect kicks and splits, a man who has lived and outlived success.

Van Damme is an example of perseverance and accomplishment beyond all ups and downs of life. Decades of Martial Cinema look after him, and today, in this unique and completed article, our collaborator D. Pedro Conde, an expert in the subject - he’s so often interviewed him - enters deeply into the bends of an exceptional life and career.

Yessir! With a proven ability to rise above the ashes in a way we hardly have the chance to see, it seems we'll have Van Damme for long. An extraordinary story you sure won't forget.

Alfredo Tucci

Jean Claude Van Damme, a story of determination Jean Claude Camille Franรงois Van Varenberg was born on October 18, 1960, at 06.00 hrs. 10 min, in the Berchem-SainteAgathe French Hospital, west of Brussels. He grew up in a wealthy bourgeois family. His father, Eugene, was the general manager to a lingerie factory. As a child, Jean Claude was rather introverted and quite sensitive, perhaps because he spent most of his childhood quite alone: his parents were too busy working hard to bring forward the family business and they couldn't dedicate him all the attention he needed. In fact, little Jean Claude soon grew fond of Manola, a Spanish young housemaid in the home of the Van Varenberg's, with whom he spent most of the day. So much so that his parents say that in his infancy, he spoke almost better Spanish than French.

When he started going to school, the only classes Jean Claude really enjoyed were gymnastics and drawing (since childhood he showed a great skill for drawing). His father soon encouraged him to devote to sports, hoping that in this way he could overcome his extreme shyness and insecurity and develop his frail body. One day, in 1973, when fever for Martial Arts burst forth in Belgium, his father took him to a Karate gym and put him under the tutelage of Claude Goetz, one of the first Karate Belgian masters.

The impression Master Goetz had about his new pupil when he first saw him was that, apart from being too skinny, Jean Claude didn't seem too gifted for physical exercise. However, that 12 year old flimsy boy showed more will signs and determination than

and Light Contact styles in Belgium, being also one of the first practitioners to participate in European Karate championships. He actively took part in the foundation of the European Federation of Karate and years later, in the establishment of the Full Contact European Federation.

He also organized large Full Contact encounters, like the one that confronted Dominique Valera with Macaruso.

Undoubtedly, young Jean Claude was in good hands.

most of his adult veteran mates, so Claude Goetz immediately took a liking to him.

Claude Goetz is quite a character in Belgium: Karate pioneer in his country, he was a direct pupil of great masters such as Harada or Taiji Kase, to whom he received and lodged in his own house. He had started practicing Karate in 1958 under the tutelage of Jacques Delcourt, current president of the FFKAMA, and he was among the main promoters of the introduction of Full Contact

Goetz’s training sessions were "Japanese all the way", almost soldierly. He would take no excuses: he who couldn't stand it, hung the belt; the one who kept on trying, progressed. Certainly, this was too hard for little Jean Claude, who after every Karate class returned home exhausted, unable to do his homework, much less to get up early next day to go to school.

After a year he left Goetz's gym, frustrated by his physical inability to keep pace with the class.

But he loved Martial Arts and after several months thinking about it he finally made up his mind to return to training, this time

with a new instructor: Master Miyazaki, a Shotokan Karate traditional teacher with whom Van Damme learned to forge an iron will and acquired more speed and accuracy.

Still, something inside kept torturing him: he was too thin, his techniques lacked power and in front of a heavier opponent, there wasn't much he could do... That insecurity, linked to his weak physical condition, pushed him to go back to Master Goetz's classes, bearing in mind the idea of building himself a body he could be proud of. So, at the same time he was training Karate, he started attending a fitness center to lift weights and develop his muscles. He even changed his way of eating and began to include more vitamins and proteins in his diet. He also subscribed to the magazines "Pleine forme" and "Muscles & Fitness". At last he had channeled his obsession and so, gradually, he started gaining weight and developing a solid body, which eventually led him to conquer the title of "Mr. Belgium" His parents were a great support for him, giving him sufficient freedom and encouraging him all the time; when he returned home

exhausted from his workouts in the gym he was always welcome with words of love and comprehension finding the table set and his dinner prepared. However, his school life was not that brilliant: the truth is that he was not too interested, so he was going reducing gradually his study hours so that he could dedicate more time to training. His parents weren't really worried about this fact, thinking that if their son couldn't finally excel in

the world of Karate, he could always take over the family business: a flower shop.

Helping his mother in the flower shop, he met Monette, a beautiful young girl who was a Dance teacher.

Van Damme became immediately interested and signed up to her classes, with the pretext of improving his elasticity. But, as he recognized himself, the reason was quite different:

"It was impressive to see me almost every day surrounded by so many graceful and fascinating beauties. I was in love with every one and all of those girls!" No wonder he spent more than four years synchronizing Dance classes with Martial Arts training.

However, what had started as "roguish" hobby at the beginning, ended up turning into something more levelheaded. Indeed, his extraordinary

elasticity and great coordination of movements made that various Dance and Ballet promoters would propose him an intensive dedication, depicting a bright future on the stage.

Van Damme pondered the question, because at that time, Dance offered more opportunities to fame than Martial Arts, of course. But he had already begun to seriously caress the idea of entering the fascinating world of cinema, so he declined any offer that could move him away from his purpose. Dancers do not become heroes, actors do, and that was what Van Damme had in mind: he wanted to be a “hero".

Then followed a period of successful and promising performances in Karate and Light Contact competitions, where he conquered twice the title of World Champion of the European Professional Karate Association (Full Contact at the time) in the middleweight category. Sometime later he opened his own gym, "California", however, even though business was good, that was not what he wanted.

In 1982, along with Michael Qissi, a close childhood friend and also a student of Goetz, Jean Claude set off to pursue the "American Dream" and try his luck in the world of cinema. He got rid of his gym and traveled to Los Angeles, with $ 8,000 in his pocket as his only financial resource. His beginnings were harsh and rather discouraging: he worked as a taxi driver, pizza delivery, limousine driver, Karate master and masseur among other jobs.

Thanks to his incredible physical qualities and his knowledge of "Bodybuilding & Fitness", he managed to become sparring partner and personal assistant to Chuck Norris, who got him a small appearance in "Missing in Action".

After two years in America chasing a dream, what he had achieved so far was not much, but at least it was a start. With no offers whatsoever, and desperate to get a role, he accepted to play a homosexual with scenes rather "muggy" in "Monaco Forever".

In 1985 he could take part in a Hong Kong production entitled "No Retreat, No Surrender," which, in principle, had little or no success, or at best fell short of the expectations, despite being directed by the famous Director Corey Yuen ("The Transporter").

In 1988 he had the opportunity to show his amazing physical qualities to Menahem Golam, one of the producers and directors of the Cannon Group, who decided to give him the chance to star in "Bloodspot". In the

beginning, the film had a discreet success, although it increased as time went on.

Next film was "Black Eagle", with Sho Kosugi.

In 1989, he would roll again for the Cannon's "Cyborg". Although these productions had made him known to the world, his breakthrough would come with "Kick Boxer". The film had an estimated budget of $1,500,000. In the United States it grossed 14,500 million and in the rest of the world $25,000,000, counting only its première in theatres... The final amount rose significantly with its video distribution and sale.

In 1990 he starred "Lionheart", the first Van Damme’s film rolled and distributed by one of the chief Hollywood studios: Universal Pictures. This was especially perceptible in the budget for the shoot, which was of $6,000,000. Only in theatres outside the North American market, the film grossed $24,000,000. In those days, the actor was considered a safe bet in the video market, his films being real hits in video stores, especially in the Old Continent.

However, the actor's ambition was to get out of the "B" class to roll films with bigger means and better scripts. Although still in the action and Martial Arts field, another Hollywood giant opened his doors for him: Metro Goldwyn Mayer Pictures gave him the chance to star in "Death Warrant", a prison environment film in which Jean Claude proved that besides his incredible kicking ability, he also had enough potential to become a good actor. The sum collected by the film was $46,665,776. Each new release exceeded in profits the previous one, his image appearing in every type of publications and media.

In 1991 he got involved in the filming of "Double Impact" which, like "Enter the Dragon", was to be entirely shot in Hong Kong. Even Bolo

Yeung would appear in this film. It had a $15,000,000 budget, double than his previous films, and box office results were surprisingly also double: $80,039,915. Distributed by Columbia, the film enjoyed an excellent reception around the world.

In 1992, the same movie studios offered him starring in "Universal Soldier". The firm bet big in this occasion, with a shooting budget of $23,000,000. It was released in theaters in North America on July 10, and it raised $10,000,000, being the 2nd highest grossing film of that weekend. Only in this country it reached $36,200,000 at the box office, being a moderate success for the United States; nevertheless, the film got number one around the world with a total of $102,299,898 in box office grossing.

"Universal Soldier" consecrated him as a Hollywood star. At that time he met Darcy La Pier, wife of the millionaire Ron Rice. The Van Damme's and the Rice's coincided in a society party, where the two wives wore the same dress.

That was widely commented... In order to downplay the issue, the Belgian photographed himself with both ladies laughing and joking with the paparazzi. According to some, it was there that the worst of his evils began, since Van Damme became involved in a sentimental relationship with Darcy and asked Gladys Portuguese for divorce.

In 1993 he implied in a project in which he tried to show his acting skills and get away from the Martial Arts. Its title was "Nowhere to Run", with a budget well below his preceding film: only $15,000,000. The film did not quite "fit" on the worldwide billboards and it only engendered

$52,189,039, however much Van Damme focused in its promotion.

During his European tour, he presented Darcy as his wife to the media and spoke about his change of "record" in the film: "It's not exactly a change, it's rather a transformation. I love the action genre, but I don't like doing always the same thing: fights and more fights. Evolving was a challenge for me; I needed to make a film with an interesting story. It's not that I'm setting action aside, it's just that I want to treat it differently."

Despite the efforts of the Belgian actor, the film fell far short of expectations, so in his next film, "Hard Target", he went back into what he did best ... With a cost of 20 million dollars, this would be the first American film from the acclaimed director John Woo, an action movie authority of Hong Kong. With "Hard Target", Van Damme was able to recover the lost ground and, especially, he won a lot of popularity and prestige, which was his main goal: "If I succeed in creating an image and a style of my own in the United States and I can get an unanimous acceptance by the public, then I'll begin to receive projects from James Cameron, Paul Verhoeven, Oliver Stone and this kind of directors, which is where I want to get". For this film he was paid $3,000,000. With a budget of $19,500,000, the box office grossing amounted to $74,189,677.

Statistically, Jean Claude Van Damme triplicated any investment that was made on him.

In 1994, "Timecop", directed by Peter Hyams, took him to the Olympus of the Hollywood great stars. The actor earned $ 8,000,000 for starring the film. This superproduction had a budget of $ 35,000,000. Van Damme was positively sure of its success: "I finally can have a character with a history, with feelings, with some humanity‌ This film has to be a hit because I want people to realize that I am more than just biceps, abdominal muscles or an ass. I know I really can do much more than what I've done so far, all I need is good scripts, good roles and good opportunities. In this sense, 'Timecop' is a step in the right direction; it's not just one more movie in my filmography."

He was right: that was the correct way; Timecop was the highest grossing movie of his filmography, crossing the barrier of $100,000,000 box office income worldwide.

Within the Hollywood quotations of those days, better paid actors were Arnold Schwarzenegger, Eddie

Murphy, Michael Keaton, Bruce Willis and Steven Seagal, with figures of $15,000,000 by film produced. Then followed Kevin Costner and Tom Cruise, with $14,000,000; Sylvester Stallone and Michael Douglas with $12,000,000; and Harrison Ford, with $10,000,000. From there down, figures were decreasing to the $8,000,000 collected by Van Damme in "Timecop".

He was unquestionably approaching the celluloid "bigs"; the curious thing about it is that he was the first nonAmerican actor to do so. The road had been long and hard, but he was reaching his goal.

His next film, "Street Fighter", made a big commercial hit grossing nearly three times its production costs ($35,000,000), but it was unanimously censured by critics, fans of the series and viewers. In short, nobody liked the film. It even got to be considered for many as one of the worst productions of 1994.

In 1995 Jean Claude Van Damme, in an attempt to redeem himself to his audience, got to work again under the orders of Peter Hyams in "Sudden Death" that grossed $64,000,000 in the USA. In the video market it almost reached $50,000,000. Despite the results, with this film Van Damme got consecrated as one of the great ones within the celluloid world.

After knowing the results, the actor sat down to negotiate with Universal Studios in front of his last three films, then he was proposed filming three new ones and this is what happened according to the actor's version: "I got a great offer from Universal to renew my contract; they wanted me to star in three of their films for which they would pay me 12 million dollars each. I answered I wanted 20 million per film, like Jim Carrey (those were his fees for "Liar Liar"). They refused arguing that my proposal was crazy. I was left lying like a rag. Later I made a counter offer lowering my fees, but they no longer took the phone."

Maybe his financial claims were exorbitant at the time, but there could also have been some type of negotiation. Undoubtedly, the reluctance of the study to continue working with him was due to his blaring divorce from Gladys Portuguese and his stormy relationship with Darcy La Pier, when the scandals were continuous, and so were the rumors about his addiction to cocaine. Even the media of the time talked more about it than about his productions.

American journalists are reputed to be

very fickle and changeable and everybody knows they have the power to either elevate someone to the summit or else sink his or her career forever. Unfortunately Jean Claude Van Damme was in their front sight; perhaps the fact of not being American contributed to it.

All this was happening in 1996 and far from being discouraged, Jean Claude put everything he had into "The Quest", a personal project of the actor, with which he expected to recover his lost prestige. The bet was safe, because the story revolved around a martial tournament; in other words, he returned to his roots.

The film that had made him to be known was Bloodsport. In "The Quest", in which he counted on more experienced professionals and wellknown martial artists, he hoped to surpass the result of his first film; in fact and according to his former statements: "Perhaps I'll dedicate about two years to this film, since I’ll be in charge of writing the script, production, direction, take care of casting and choreographing action scenes, apart from starring the film.

'The Quest' is an epic about Martial Arts and the story takes place in Paris, China, United States, etc. The film will be set in the 30's, so there will be plenty of costumes, horses, carriages, etc., and also pirates and Shaolin temples. Regarding the latter I intend to move the team to real Shaolin temples that have never been filmed before, as well as magnificent temples located in Malaysia and Thailand, where monks still keep training. I would also like to film inside the Forbidden City. For this movie I want to roll on authentic location. It will be basically a story of courage, friendship and love. It will have a great support; I intend to tell the history and philosophy of the Martial Arts in an epic way from their origins, so that parents and children can see it and understand what they really are. I want to make a true classic, with good means and a great cast of actors. I think it will be a great film; also I would like to dedicate it to Bruce Lee, as a sign of gratitude for all he did for the Martial Arts and action cinema."

At first he would count on a budget of $40,000,000, which later went down to $35,000,000. In its U.S. premiere, the film grossed $21,600,000. As usual, the film gained wider acceptance abroad, raising nearly $40,000,000. Again those figures were far away from what it was expected!

The great stress he had gone through while shooting the film started to show its sequels. During filming he endured a severe insomnia; he couldn't sleep at night and this, coupled with the bipolar disorder he had been suffering from childhood, made of him a sleeping drug addict. Also, he recognized that it was then when he had begun to consume cocaine.

His problems seemed endless: "The Quest" was based on a script written by Frank Dux. Then, when actor changed the script and scenarios, paying Dux less money than promised, he was sued by the scriptwriter.

Mixing cocaine, sleeping pills and the usual medical treatment for his bipolar disorder was a real deadly cocktail. Aware of that, the actor soon decided to put a stop to his problems entering a one month rehabilitation program... but in a week he left the clinic.

At that time, his weekly expense on cocaine amounted to $10,000.

Van Damme got into a new project: "Maximum Risk", directed by another emblematic Hong Kong director, Ringo Lam, renowned for his action movies.

With a budget of $25,000,000, the film scarcely managed to raise $14,000,000 box office income in the U.S. Globally, it grossed $51,700,000. It was clear that the bad press he had in America was taking its toll.

In 1997 he rolled "Double Team", under the direction of yet another great Hong Kong movie heavyweight, Tsui Hark, with a budget of $30,000,000 that produced the ridiculous box office income of $48,000,000. The decline of his career was obvious...

The difficulties he had while shooting the film, coupled with his personal life problems, were wrecking him. In November of that same year, he decided to divorce from Darcy La Pier. The actor declared that it was she who encouraged him to consume cocaine, his real perdition. Obviously Darcy countered by accusing him of being a depressive maniac, besides cocaine addict and abuser, stating in various media that during his stormy marriage he had beaten her and tortured her psychologically. This was dismissed by the judge for lack of evidence; besides, she recognized that she was a customary consumer of cocaine herself. The exchange of accusations in the media further damaged the image of Van Damme.

In 1998, he tried once more with "Knock Off", again under the guide of Tsui Hark, this time in an environment perfectly known by the director: Hong Kong. The production had a $35,000,000 budget, a fortune for a motion picture in the former British colony. Some of the best local specialists and action technicians participated in the film, however the box office results were disappointing, producing just $10.300.000 in the USA, which added to worldwide box office incomes, amounted to a total of $44,000,000. It was clear that Van Damme was no longer a good investment in the movie business, especially when news spread that during the filming, the actor had suffered a cocaine overdose that nearly cost him his life.

After the film promotion, Van Damme entered again a detoxification clinic and this time he'd finish the therapy, changing completely his habits and lifestyle.

He reconciled with Gladys Portugues and married her again. Thanks to her, the unconditional support of his parents and some friends, he actually succeeded in getting out of the "white powder hell�. Later, the actor would declare that he had overcome his drug addiction by himself, since the rehabilitation centers and their therapies did not help him at all.

Shortly after leaving the clinic, he accepted to star in "Legionnaire", which would be filmed in Morocco. The actor believed that a change of environment would be good for him. With an estimated budget of $ 20,000,000, the film produced a benefit of $15,000,000 in America and a little more at international level. Not bad, considering the total absence of Martial Arts in the film.

In 1999, soon after the film release, he was caught by some paparazzi as he came out of a popular nightclub, taking off his shirt and trying to get into his Mercedes. After several attempts, he finally could start the engine and left driving his own car through the streets of Beverly Hills in such a deplorable state.

Were the paparazzi themselves to call the police and Jean Claude was arrested for reckless driving while intoxicated. Of course, everything was filmed and broadcast on television for half the world. He was sentenced to three year probation.

Jean Claude tried to amend his error. Totally "clean" and with his love life stabilized, he focused on re-launching his new acting career.

He struck a deal with Columbia Tristar Pictures, one of the most important Hollywood movie studios, committing himself to roll one single film that would be entitled "Universal Soldier, The return". The former installment had worked out very well both in its cinematographic premiere and in the video market. The new project had a budget of 45,000,000. For some experts in Hollywood productions though, it was a very risky bet at the sight of his latest productions. The film simply produced $10,937,890 in the U.S., and scarcely $20,000,000 in the international market; in short, a resounding failure, one of the biggest fiascos of the year, especially when compared to the profits generated by the first installment, that amounted to $102,000.000.

After that, the main Hollywood studios were reluctant to any new project of the actor. It was clear that his deplorable behavior when driving intoxicated in Beverly Hills, added to the scandals of his previous marriage with Darcy La Pier widely spread by the press, had undermined his professional reputation. Even Martial Arts magazines stopped publishing articles and interviews about him. The public, "his" audience, especially in the Old Continent, also began to turn away.

From then on, his film premières in the U.S. began to be directly released first on video and then on DVD. In some European countries and other parts of the world, just a few of these films would be released in theaters...

Over time, U.S.A. patterns were followed everywhere. The films of that period include "Inferno" (1999), "Replicant" (2001), "The Order" (2001), "Derailed" (2002), "Wild" (2003), "Narco" (2004) , "Wake of Death" (2004), "Second in Command" (2006), "The Hard Cops" (2006), "Until Death" (2007) and "The Shepherd: Border Patrol" (2008).

In 2008 he shot a very personal work: "JCVD," a parody of his own life, where he makes a clear reference to the way his agent and the studios took away the profits for his work; i.e., he did the work and others pocketed the

money. In this film he also touches subtly many of the problems he'd had in Hollywood. It was released in theaters in U.S.A. and other countries, receiving great reviews.

Since then, his filmography has been as follows: "Universal Soldier: Regeneration" (2009), "The Eagle Path" (2010), "Games murderers" (2011), "Beur sur la ville" (2011), "Rzhevskiy protiv Napoleona "(2012) and" the Eyes of the dragon "(2012).

In 2012 he agreed to work with the "big heavies" of the Hollywood action movies in "The Expendables". Of course, he played the bad guy, giving life to a mean and despicable character with no principles, while the other old glories were sanctified.

Regarding his character in the film, he lived up to the role and both public and review valuated highly his work.

Thanks to this film he was able to draw again the public attention of half the world, but without the support of the big Hollywood studios. Re-launching his career was something extremely difficult.

Last year, in 2013, the actor underwent surgery on his right hip due to a progressive osteoarthritis. Now he is fully recovered and he keeps training like in the past.

As for his personal life, he is now completely stable. Let's not forget that his youth was rather turbulent in this particular aspect, in fact, he got married five times: his first wedding was with Maria Rodriguez (19801984), from Venezuelan; his second matrimonial link was with Cynthia Derderian (1985-1986); then he married Gladys Portuguese (19871992) who gave him two children: Kristopher Van Varenberg, born in 1987, and Bianca Bree in 1990; the model Darcy La Pier was his fourth wife (1994-1997), with whom he had another son, Nicholas, born in 1995; finally, in 1999, he remarried Gladys Portuguese.

Summarizing, the actor and Martial Artist is in top form and his problems with drugs belong to a sad memory of the past. He is the youngest of the Martial Arts performers of the 90's and he still has much to say and much to do, but he needs a good script, a good director and, unquestionably, the support of a large study to regain the lost ground. There has been a possibility of shooting a film with Tony Jaa. He doesn't lack projects or support from his public and fans; all he needs is "the film" that takes him again to the place he deserves in the Seventh Art. Let us hope this film begins soon to be rolled...

Eskrima for Military Forces Eskrima is not only suitable as a sport or self defense practised by civilians, military personnel also use this realistic martial art from the Philippines. Eskrima is ideal for self defense as it has almost unlimited flexibility. Think of short stick, knife, telescope, lantern, the possibilities are endless. So at the request of Military Forces worldwide Frans Stroeven has trained a number of them in the Martial Art of eskrima, in the system known as Stroeven Combat System. At our request we asked Frans to talk about training the special forces. First we came to talk about the Brazilian Federal Police Special Forces (C.O.T.)

Brazilian Federal Police Special Forces (C.O.T.) The COT - Commando de Operaçþes Tåticas (Command of Tactical Operations) of the Federal Police was created in 1987 with a mission of responding to terrorist attacks inside the country. They participate in high risk missions as drug seizures, expropriation actions, rural conflicts, VIP security, dismantling of criminal organizations, and are commonly used to escort high risk prisoners.

This special unit is located in Brasilia, the capital city of Brazil but can be operational everywhere in Brazil within 2 hours. At their request Frans trained these

special forces in eskrima and Knifefighting. “These guys are already very well trained in Brasilian Ju Jutsu, thai-boxing etc. My assignment was to teach them knifefighting and stickfighting (short stick). The training lasted for eight hours a day, which of course is quite heavy for most of us but for them it is normal. These guys were in top condition so I gave them high level workouts.”

Box system The box system is a concept that Frans specifically designed for specific groups. Such as the police, military and special forces. The box system focuses on short effective training methods that are easy to learn and highly effective. Frans: “Actually I designed it for a simple reason. Hand to hand combat should be as short as possible and the techniques as simple and effective as possible. The COT Special Forces were trained in this system and that worked out perfectly. I taught them a variety of attacks which can be executed from any position. We also trained on blocking and disarming, locks and aggressive drills. You can imagine that within 8 hours a day of training these guys achieve incredible

results. The last day of training we ended with special training in full uniform and with all weapons.”

Frans told us afterwards that these guys got 50 strokes with the stick when they let loose of the stick or the knife during training. “No pain, no gain” Frans added, with a smile.

Knife fight Knife fighting is also an important part of training. Fighting without fighting, Frans calls it. “Because fighting for special forces must be as short as possible. So we use very direct techniques aimed at finishing off the opponent as quickly as possible. But also we trained on awareness. What a knife can do as an effective weapon is often under estimated, to demonstrate this we did an exercise.

Knife against gun, I can imagine how surprised many of them were when they noted how fast a knife attack can be carried out.

They did not have time to draw their weapon in time, let alone fire it.”

To the other side of the world: Training with the Armed Forces of the Philippines At the invitation of the Military Forces of the Philippines, Frans gave a two day teaching course to various combat units and special forces.

Frans: “For me this was a big honor to be out there and train Filipino men.

Since I am not a Filipino myself. So to

train them in my way of eskrima SCS was quite exceptional”. These guys already mastered in eskrima and many of them are members of the Arnis Team.

So they already have a background of intensive eskrima training.

Frans: “To be honest, training these guys is a big challenge. The guys of course wanted to experience and test my eskrima and my system, so the atmosphere was a little tense at first.

Me and my parter Ahmed performed a first action and after a short silence we got a big round of applause.”

“They also had to make contact with the body and get used to it. Cause in my system we train with the stick on the body (full contact). They eventually liked working like this. After two days of training in my system, these eskrimadors started to ask me questions about my style. The results were great.”

Knife fight Knife fighting was also highly appreciated by the Filipino military.

Since knife fighting is in their blood and the best knife fighters come from the Philippines. But one can tell that SCS knife fighting is different than what others might be doing. Frans' knife fighting is a mix of Filipino techniques and European techniques supplemented by the Dutch school which aimes at realistic fighting methods. Not some weird training methods from which you will not gain anything but realistic aggressive techniques that can be put to use at any time. Frans: “Only in this way you can train soldiers so that they can use it in action”.

SCS The Stoeven Combat System as a concept will work for everyone.

Regardless of if you are military or special forces or just someone who wants to open a school and want to teach these dynamic fighting skills, contact Frans Stroeven and you may also be trained in SCS. He welcome you in his World in the World of Eskrima.

“Best Karate Kumite”. George Bierman Generally speaking, if you ask someone, “why are you in Martial Arts”, they will tell you it's because they want to learn how to fight. You usually never hear them say that they wanted to learn kata, weapons or wazas. I guess all of us have a little of that “I want to be a tough guy” or you could be motivated by a real need to protect yourself.

Whatever the reason, in this DVD I discuss Basic and Advanced kumite techniques and concepts that all of us should know, whether you are an advanced student or just beginning, and some things that have worked for me over and over.

Some can be used on the street but I'm mainly focusing on tournament techniques. I can tell you over and over to keep your hands up to protect your face. Some of you may do it and some may not. Once you get hit in the face several times by not doing it, you will. I began my Martial Arts training in 1973 and this is a collection of proven techniques and strategies that have worked well for me in competition to present day.

I have combined strategies, footwork, techniques and combinations that lead me to well over 2000 tournament wins and a World Champion fighter in St. Petersburg, Russia. They work!

LANGUAGES: ENGLISH, ESPAÑOL, ITALIANO, FRANÇAIS

REF.: • BIERMAN3

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

ORDERS: Budo international. net

Kung Fu

On the occasion of a seminar held at the Genoa Headquarters of the "CINTURA NERA" Association, we veterans of the positive experience "Festival Oriente Carrara" had the oppor tunity and privilege to exchange a few words with a character that needs no introductions. In fact, our regular readers know well the invaluable contribution made by Grand Master Paolo Cangelosi: over 15 years of collaboration through numerous articles and covers, lots of instr uctional videos of his huge martial knowledge and partaking in several international galas and events sponsored by Budo International.

For more than 35 years dedicated to the spreading of traditional Chinese martial arts, today we still can see him more

and more involved in the creation of specific innovative programs for self- defense and combat sports.

We wanted to compliment him, in relation to the projects he is currently providing to the advances of the Martial Arts field, which have an ever growing number of followers and a steady increase of interest from the media both in Italy and worldwide.

A straightforward interview that Grand Master Paolo Cangelosi has granted us for our readers, in order to make them aware of the news and send a clear message to the martial c o m m u n i t y, a w a y f r o m t h e martial rhetoric, on those aspects and values that all both students and teachers, must never lose sight: respect and gratitude.

Budo International: First of all I would like to ask you about the event that is taking place here, at the Genoa headquarters of your school. What is it?

schools and has provided a competitive evolution.

Grand Master Paolo Cangelosi: Today we will have a stage covering two topics, Shuai Jiao and Jiao Li, the Chinese arts of standup fighting and ground fighting, which make us grow connecting us with the traditional styles we study in our "Combat Freestyle" courses. It's a section on melee techniques and also fencing.

B.I.: So it is a complete system...

GM P.C.: Yes, I have coded for years a system called W.M.A., Warrior Martial Art, by creating a method that combines the main techniques of traditional Chinese, Japanese and Thai styles, in a mixture suitable for combat.

This sector has been developed in all our

B.I.: Is that the way to provide a competitive output to the WMA system?

GM P. C.: That's right. It has been created a Regulation in order to make it viable in sports and we have determined three categories: amateur, semi-professional and professional. It is planned to use all the techniques of fencing, punches, kicks, elbows, knees, clinch and the standup fighting with projections, to end up with ground fighting where only the use of the same fighting techniques and completion by levers and chokes are permitted.

Depending on the level of the athletes, the Regulation establishes full or less full contact, and the relative use of protecting equipment.

B.I.: And there are already athletes in your schools who are into the new system you've encoded?

Interview “I do not want everything reduced to a kick or a punch... I hope that our people show as much as possible the Martial Arts techniques”

“In recent years I've frequented the ring sports environments, at various international meetings, and one thing in which I emphasize with great pleasure is the great respect and sense of belonging which is always present among athletes, coaches, etc., something I don't see that often in the world of Martial Arts”

Kung Fu

GM P.C.: Coming soon, the 18th of January, we will be in Genoa to present again the WMA and then we'll go on spreading it as much as possible. Those interested in learning and practicing our system can contact us at any time.

Of course, this training system has always existed in my school. In our programs, it came defined as the "general technique" area. Then, over the years it has evolved and perfected in the "Freestyle Combat".

In the past, the competitive aspect thereof was not contemplated and it was practiced only as a method of combat training, and although today is used just in the initial phase of the course, we've already trained some athletes who are prepared to present battle in the ring. We are beginning now to introduce the system in several events, as it happened recently when we were invited to a gala in Turin, organized by Angelo Baglio, where there were two teams with our rules.

B.I.: About the Regulation and contact sports, how can you insert the AMM in this context, especially when compared to disciplines such as MMA, so trendy today?

GM P.C.: What I wanted to do was not just another full contact type of combat, because there is already enough of this. I wanted to give a more artistic touch to the techniques, as well as a bigger clarity and effectiveness. But the main objective of the "Cangelosi Freestyle Combat" is to promote technique, because we must not forget all the baggage that exists in the martial arts. I do not want everything reduced to a kick or a punch... I hope that our people show as much as possible the Martial Arts techniques. Therefore, in the system I have excluded the use of lying flat on the ground, as, in my opinion, is a very laughable and gratuitous violence in the street fight; the ethic of a martial art must be respected. Our rules are designed to stimulate the practitioner to express all his technical and artistic skills, use them and not reduce them to one or two actions or little more.

B.I.: Speaking of technical skill, at the recent Oriente Festival, in Carrara,

Interview we saw your son Shan entering the ring. How did the boy behave?

GM P.C.: I would say he did well, considering he fought under the K1 rules. Coming from traditional Kung Fu styles to specialize later in Muay Thai, such restrictive types of regulations usually penalize much. His opponent was well prepared and experienced, especially in the K, nevertheless Shan came in the ring with his usual courage, although he was aware of the difficulties he could find. He performed well, because he handled his adversary properly; he showed a little more of confidence in himself and in his own means, varying often his techniques and this is fine. In the K1 he still has a tendency to make individual techniques, but he must try more combinations between his attacks and counter attacks. Anyway the fight was O.K., he won and now we will move on to other experiences in both Muay Thai and Superkombat.

B.I.: Well, the fact that it was within such an important event at a technical level and in the media as Superkombat, gives an extra value to the outcome?

GM P.C.: Sure. The event was well organized by the WTKA and we'll go on forward, always trying to give our best.

B.I.: Going back to Martial Arts and combat sports, how these two worlds so related and yet so different are connected?

GM P.C.: Through techniques. The technical part, the use of the arms and legs, is very similar in both Chinese and Japanese Martial Arts and ring sports, with the difference that the movements in the choreography are refined, eliminating lethal and dangerous blows and adjusting them with the protections, but taking place however in an fighting environment that comes from Karate, Kung Fu, Jiu Jitsu, etc. This is what they have in common.

B.I.: So there is an important common thread ... But isn't there also something that goes beyond the mere technical act?

GM P.C.: Of course! There are values surrounding Martial Arts and combat sports. What we always say is that respect and sense of gratitude are the basis of these disciplines. On these issues, I would like to mention one slightly negative point relating Martial Arts. In recent years I've frequented the ring sports environments, at various international meetings, and one thing in which I emphasize with great pleasure is the

great respect and sense of belonging which is always present among athletes, coaches, etc., something I don't see that often in the world of Martial Arts. In fact, what I mostly see is jealousy, envy and lack of sense of respect and gratitude. Obviously, the success of all teachers in the world, past and present, and of all Martial Arts, has to do with this. It happened in the recent Festival; I met with some ex-students who for many years had been attending my school and, despite being only a few steps away from me, they did everything possible to avoid meeting my eyes. They preferred to elude the contact, when it would have been sufficient a smile, a gesture of solidarity with his ex-fellow who had just stepped out of the ring after a fight. Why this behavior? It is not proper of the Martial Arts, that teach the opposite and where precisely the gratitude and respect are paramount ... these people probably didn't understand one single thing! And I say this with a touch of bitterness: unfortunately, this is a negative issue that I have to point out in the current reality of Martial Arts and is something regretful for what it always represents to all of us.

B.I.: Changing the subject, can we talk about a new project on the issue of self-defense that, in this period, is launching the course of the FAD? GM P.C.: The F.A.D. as complete Defense Action is a set of techniques and the use of equipment meant for self-defense, a program that I coded gathering some of my passions and adding them to the Martial Art. We have included the use of handguns, archery, knife, some self-defense techniques and extreme and safe car driving. A suitable course for everyone: from the person who only wants to have fun to those looking for thrilling emotions, as well as professional people, like bodyguards or police officers. These are all techniques that can be useful for the purposes of public security and can also be a complement to the Martial Art itself. Pistol shooting, the particular sensations of shooting an arrow with a bow, slightly different from simply punching or kicking a sandbag and require an extraordinary concentration. We know that knifes can be dangerous and what it means to have confidence and security in its handling.

The car is driven in extreme form to learn managing the sudden adrenaline and act correctly, instinctively, controlling the car when skidding, in braking and in acceleration. All this will be mixed to find all the techniques

made and put them together, in order to define our F.A.D. circuit.

We will use a training hippodrome with silhouettes for archery, targets for pistol and reproductions of aggressive situations with and without knife, to relive everything that has worked in the course. They are short but complete courses that have a beginning and an end, going from one level to another, progressively.

B.I.: So this course is suitable for any person, whether he or she practices martial arts or not?

GM P.C.: Of course, it is. Obviously my experience is that the person practicing Martial Arts since long, has an advantage due to a better body control, posture and coordination.

Without underestimating the physical aspect: shooting a pistol for an hour is exhausting, both physically and mentally. Not to mention shooting 100 arrows with a bow weighting 30 to 40 pounds, in which muscles are involved.

Also it is not just physical work, it is also mental ... being at the same time a fun that affects energetically the person. I am pleased to note that in these early sessions students come out very excited.

B.I.: We're almost at the end of our meeting. Is there anything you want to say to our readers?

GM P.C.: First of all I am happy and proud of the work we are carrying out in collaboration with Budo International and the Martial Network portal. In my opinion, it is something very important from a cultural point of view, since they are essential communication vehicles to involve and update fans with news from around the world. I'm also happy because, once again, Budo International will be available in paper and online, providing an opportunity for all fans to have it in their collection and at any time. Budo International readers know they have in their hands a medium that provides complete information about Martial Arts and everything related to the Eastern disciplines. I think we all should thoroughly support this project.

B.I.: Readers should know that we will continue with renewed energy, and we expect you to be present in the pages of Budo International. Will it be so?

GM P.C.: Definitely, I will not fail.

B.I.: Thank you very much, Master!

GM P.C.: Thank you

Autodefensa

"In the Morabito System, there are no positions or fixed points, but a continuous motion to modify any combat position and change the work plan"

The Morabito system Combat system of military origin, containing the appropriate techniques for each individual, whether civil, military or professional in the operating sector. The Morabito System provides a thorough study of the human body, from the standpoint of biomechanics applied to the body, combined with the knowledge of the mechanical and physical laws, to avoid any attack from more points and more opponents.

In this system, Reflexology applied to the human body is studied during practice, with excellent results in the hand to hand combat.

Breaking attack and defense techniques is scrutinized under a Cartesian, threedimensional research, thus analyzing all the possibilities and all the solutions during a real attack. Training this system means that every practitioner adquires the ability to "read" an attack and decompose it immediately to find suitable defensive solutions.

The Morabito System uses special training methods that examine carefully the attack and defense combined lines and, deepening in this field, in the course of a defensive action, these physical concepts applied to the human body allow us to direct an attacking technique to a work level where the results are more effective.

During training we also study the relative combat positions; by analyzing and modifying these positions we will realize that some attack techniques can be more effectively eluded by changing our defensive position, and so the Morabito system has no fixed points or positions but a continuous motion, adapted to transform each fighting position and change the work plan.

The Morabito system also contains the best basic and advanced techniques of the Russian system of several schools. The Systema is a Russian martial art of hand to hand combat that prefers versatility and improvisation in the confrontation, combining the use of fighting movements with brutal and effective techniques. The Morabito system is based on personal experiences of the Grand Master, as a result of an international collaboration in the field of civil, military and high risk means; this system is internationally certified and tested by various organizations. The I.K.M.O. Federation Morabito System sector has specific training programs for conventional weapons and the use of common objects. Last but not least is the study and advanced use of the "no contact" concept.

For further information: I.K.M.O. International Krav Maga Organization Courses and seminars for workgroups, instructors, military sectors and international certifications of Krav Maga, Kapap, Systema. www.internationalkravmaga.com - www.ikmo.it info@internationalkravmaga.com

For further information info@pset.eu Training Protective Security Civil security, VIP protection, operational training centers, international security sector certifications www.protectionsecuritytraining.com www.pset.eu

Israeli and Russian programs and operating with advanced technologies aimed to solve alternatives to optimize risk and vulnerability. We offer the following courses with a guaranteed future, throughout the year in English and Italian: Hand to Hand Defense Combat and Operational Defense Techniques: Pistol Tactics Tactical Rifle VIP Protection Contractor SSO Maritime security Operators CQB Techniques Dynamic Shooting High Risk Environments

Maritime Security Operations

PROTECTION TRAINING The new border in security. Today more than ever, security training comes on due time, given the strong demand in the international market. So every day there are new professional figures capable of operating in high ri s k e nv i ro n me n ts a n d for th e protec tio n of s ite s and people.

Instruction in protection security, a leader company in the field of international security with high quality in the services offered, provides training for security professionals in any type of environment. Founded by a team of highly qualified specialists in the civil and military sectors, with

The objective of this training is to provide students with all the theoretical and practical knowledge required to work as an operator or as SSO security officer on a ship in accordance with international procedures. In addition, students will participate in a "real simulation" onboard that will help them to better understand the specificity of the maritime sector and the role of the safety officer for ship security.

Private Military Contractor The purpose of this course is to prepare military / law enforcement / civil people to carry out security operations in hostile environments (Africa, South / Central America, Middle East). The training will provide a scenario as realistic as possible with support from security experts around the world giving the student the opportunity to meet various kinds of weapons and essential equipment in a high-risk situation.

Shidoshi Juliana helped our director Alfredo Tucci to dress the traditional Japanese armour, showing us its different pieces and the correct dressing procedure. An article that further explains the history and anthropology of the armour, one of the main attributes of the Samurai.

The armour was considered of extreme importance and meaning and it was safeguarded in the house as a symbol of honor. However, it wasn't always so. Before and during the period of Emperor Kotoku, and especially in the first year of Taika (645), it was forbidden to everyone, including officers, to wear the armour or any other war weapon at home. There are no records of when this changed and armour and personal weapons began to be kept in the houses, although according to some authors, it set the basis to the formation of a professional class of warriors who eventually headed from the political periphery to the center of power. That habit ended up becoming the symbol of military devotion.

Each clan, samurai family or military house had its own gusoku-shi or armour maker. This explains the wide variety of forms developed for battle. Of course, the secrets of the manufacturing of the various models were kept as something precious in each clan, so that only those who were of the same lineage could use a particular form of armour.

The tradition of keeping unrevealed the fabrication procedures of the armour was preserved with such zeal and earnestness, that the different styles, with its various elements and particular forms of use, became unintelligible during peacetime. In general, there was however a pattern for the armour construction that consisted of protective items for the head, neck, shoulders, arms, chest, abdomen, legs and feet.

Naturally, there were variations according to the different types of combatants. Thus, infantrymen fighting on the ground, mounted soldiers or senior officials, all of them had different models according to the convenience of their duties.

Over time, the armour stopped having just a functional role to become a more ornate and valuable symbol of power. Weapons were no longer just tools of war, but a reflection of strength and social status.

Ancient armours constructed before the sixteenth century were called: o-yoroi, kachu, haramaki, do-maru

Dressing the Japanese Armour

etc. Those produced later were generally known as gusoku.

The materials used in manufacturing the samurai armour reflect the general concern about the speed and functionality of the equipment on the battlefield.

In addition, the full armour was only used by highest class samurai. Because of that constant observation in the making of armours in order to improve their combat features, it is but natural that there are differences between the armour of a horseman, for instance, and the one used by foot troops.

The armour was basically constructed of leather thongs. Arai Hakuseki, an expert on Confucianism, who served in the court of the Shogun Ienobu (1662-1712) studying the old Sandai Jitsuroku manuscripts, mentions (Arai, 17) ancient armours made of cow and ram leather that were used by the Onono-Ason-Uyu warriors during the Konin period, and given to their sons Mutsu-no-Kami-Harueda and Tsushimano-no-Kami-Harukaze, who fought in the Jogen Era (976-97).

Leather (nerigawa) was so essential to the Japanese armour that fur thongs not only served as bindings between the parties, but also were the primary stuff for manufacturing the equipment.

Leather plates were reinforced with iron, steel and or other materials lacquered, so as to provide the necessary rigidity. Metal helmets and cuirasses that have been found and dated as being from very early periods suggest that their acceptance by armour craftsmen took place early in Japan history. The pieces recovered show that iron was skillfully worked to reduce its weight, making it thinner where it would be used as a single piece, such as helmets, or bending it in layers. Thus, small pieces served the helmet while the longer ones were meant to the cuirass or chest protector.

But it was from the Heian period when armours started to experience a great development to become a beautiful work of art composed of iron plates attached one another by small knots of leather thongs (odoshi) that gave it its final distinguishing form. The iron and steel plates had their size and shape adapted to serve the purpose of protection of the area to which they were intended. Long pieces were used for shoulder protection - sode - or chest protection - do.

Over time, the aim of gathering light materials that provided effective protection was reached. Armours evolved to endure sword cuts, arrows and even musket bullets, offering maximum protection equipment that wasn't too heavy on its use. The huge variety of colors, styles and materials used in their fabrication, made of armours a great work of art highly valued today by museums and by

private collectors around the world.

Those enriching details of the armor were precisely what provided a differentiation from one style to another and made possible even the identification of the various clan members by the particular colors used on the cords and other details of their armours. There were strings of many colors for entwining metal plates.

Leather cords were known as kawa-

odoshi, while Chinese silk cords were called kara-ya-odoshi.

Under the Tokugawa regency, the many conflicts and armed confrontations eventually came to an end. Interestingly enough, although the armour importance declined in regards to real combat, since battles diminished to extinction, nevertheless its significance as a symbol of power increased. More than ever, the sword became the reference of the

Dressing the Japanese Armour

Japanese Tradition

status, class or place occupied by the samurai. Thus, "Ĺ?-yoroi" (literally "great armour", the pinnacle of Japanese armour) were used by daimyo lords during court ceremonials, military events and Regency Crown.

Individual armour parts: 1. Tazuna, fundoshi - loin cloth used on the body.

2. Shitagi and Obi - a common everyday kimono and belt. Samurai warriors of the highest categories used

sumptuous kimonos according to their personal positions. These kimonos were termed yoroi-hitatare. The kimono was adjusted with a belt - obi - that surrounded twice the waist and was usually tied in front of the body.

3. Hakama, kobakama or matabiki wide pleated pants with details on the back (koshi-ita). The kobakama was characterized by being shorter and smaller. The matabiki was used by the lower ranks.

4. Tabi - cloth socks with division between the big toe and the other toes.

5. Kyahan or habaki - tight gaiters made of cloth covering the legs from the ankle to the knees.

6. Waraji - sandals worn by the lower classes. Normally it was carried an extra pair in the waist. Upper classes wore a type of boot made out of leather (kengetsu, kutsu, tsuranuki), mainly of bear.

Japanese Tradition

7. Sune-ate, shino-zutsu - leg protector made of molded metal or lacquered leather. Some were made of a single metal plate, mostly used by the cavalry to protect against spear and other weapons. Most of them

were made of plates (ita-mono, in general) joined together with center plates protecting the knees. They normally included lacquered leather on the sides (abumi-zure) which in turn protected against the friction

caused by stirrups and saddles, in the case of the mounted troops. Knees were generally protected by the hizayoroi kakuzuri, metal piece that sometimes was an integral part of the sune-ate, or was less often a separate

piece. There was also a type of protective item made of iron mesh, used under breeches by infantrymen in combat times, or even by bushi in peacetime, called kusari-kyahan or kusai-sune-ate.

8. Haidate - inner protective piece of the thigh, apron-shaped, its lower end being generally constituted of small plates (kozane) of metal, leather or even whale bone. Open in its center, the haidate has cords that are passed

around the waist and tied in front of the body. There are different types of haidate, although all of them have the same function.

9. Yugake - gloves, usually with a small hole in the center of the palms.

10. Kote-Tegai - arm and shoulder protector, usually made of iron mesh, with plates the function of which was defensive. The shoulder protective plate was called kamuri-ita; that of the arm, gaku-no-ita, the elbow's concave plate, hijigane; and finally, the forearm's plate was the ikada, made with a series of longitudinal metal strips. Sometimes it was inserted in a single metal piece, pierced and molded, that was tied to the wrist by another piece of which the function was protecting the back of the hand.

That piece was lined in leather and had a curvature so that it adjusted to the warrior's fingers. In ancient armours, pieces for fingers and rings were coupled to each other by a small cord. Later, heavy leather gloves were used. Sometimes, there was also an extra protection for the back of the hand, called tetsu-gai. Although these devices guarded the outside of the arm, the inner part was more vulnerable. There existed a variety of these protections, according to the role of warrior. For example: archers used a type of protection item known as yu-gote, noted for not wearing any heavy piece that could hinder their abilities.

The inner part of the arm, which required less protection than the outer area was covered with a heavy fabric, or with leather intermingled with silk or leather thongs. However, its defense was based more on the skills of the warrior that in the armour pieces, as that area was exposed anytime arms were raised to discharge a blow with the sword.

Some Yari Jutsu and Kenjutsu techniques became widely known for seeking to reach in combat those vulnerable armour areas.

There was an incredible amount of sizes, types, shapes and materials that the bushi could select for such important combat attire. One example is the armour sleeves, covered by a mesh made of metal rings and chains

(kusari gote). The arms were protected by plates (tetsu gote). There was a kind of protecting sleeve that covered the arm with a long plate (like an additional sode) tied to the shoulder (tsugi gote). Others were formed by lamellas or scales (kozane) on the biceps (gaku no ita), others still, alternated ribbons of these plates with metal mesh (oshi not gote), or were completely made of mesh to which strong plates of different types (shino gote, echu gote, awase gote) were tied.

Samurai warriors also used a small protection for the forearm, covered with plates and mesh, and then with a rustic fabric (hansho gote). These sleeves were specific according to the martial purpose. For example, there were special sleeves (yu gote) made of silk and brocade, without any real protection, that were dressed in pairs, from the shoulders. They were mostly used by archers, who needed freedom of movements to handle their bows and arrows. At times, archers used hardly one of those sleeves, to protect their right arm, shoulder and much of the chest and back. They were tied around the body. Many armour sleeves considered light were used in peacetime under the kimono, when the bushi should be scarcely prepared for street fights.

The joints, which usually remained unprotected due to the gap existing between the protective sleeves (kote) and the cuirass side plates (watagami), were reinforced with layers of metal mesh, plates and scales (waki biki) that were worn under the cuirass, separately or attached one another by a metal strip (kusari waki biki). A special type of equipment (manju nowa) combined the waki biki with a collar and shoulder pads.

11. Wakibiki - protector of the armpit area and upper side of the chest, the region between the kotetegai and the watagami do, of the

chest protector cuirass. It could be found annexed to the do, or even combined with a type of protective collar for neck and shoulders (manjunowa). It could be adjusted with buttons (botan-gake), strings (himotsuki) or hooks (kohaze-gake).

12. Do - cuirass or chest protector, central part of the armour. Along with the helmet, the do characterizes the identity of the armor and its historical period: prehistoric (tanko, kachu, kisenaga), ancient (yoroi) and modern (gusoku). Most of the bushi's body was dressed with a corset made with long metal plates, like the ancient fourth century corsets (kaki yoroi, keiko). There were also bright leather cuirasses, lined and covered with scale strips tightly lashed with silk or leather cords. As it was previously mentioned, leather was the preferred raw material for armour manufacturers. The various types of leather used, as well as the different types of treatment, gave rise to a series of chest protectors (kawa tsutsumi) such as the Chinese leather cuirass (kara kawa tsutsumi), the red leather cuirass (aka tsutsumi kawa) and the flowery leather cuirass (hana tsutsumi gawa). Lower ranks used cuirasses made with black lacquered leather (sewari-gusoku), although many types of leather could be used in its making in general. The plates that made up the do were sometimes covered with shark skin (same tsutsumi) or tortoiseshell (moji tsutsumi), and decorated with whale bones. When they were opened in the back they were called haramaki-do, and when they opened laterally, domaru. There was also the do made up with a single piece of metal. Although unusual, this piece was called hatomune-do or hotoke-do.

Seventeenth and eighteenth century armours were copied from the European armour. Chest protectors could also present two plates meant to protect both the left axilla (hato-no-

Dressing the Japanese Armour

Japanese Tradition ita) and the right axilla (sendanno-ita).

The seemingly endless variety of cuirasses in use in Japan in the various periods has been divided into two main categories: the first and most common one encompasses cuirasses composed of plates or scales tied with strong ropes (do); the second category includes those made of a whole piece. The most recent ones, known as "pigeon chest cuirass" (hatomune do) plate or "saint chest cuirass" (hotoke do), that simulated the curvature of the human body, were very delicate. Covering the body from the neck to the waist, they were used in Japan in the seventeenth and eighteenth centuries. Apparently copied from European models, they could be open in the back or laterally.

Those with front opening were unusual. Other simpler and more adjustable models, adopted by the lower samurai classes and their aides, posed innumerable variations.

Some models included two sockets to which the flag of the cavalry was pinned. High level samurai warriors wore additional pieces, like the significant se-ita, or se-ita no yoroi, which were small plates protecting the shoulder joints and upper arm.

The most ancient ones were usually made of metal or very thick leather, richly decorated with metal details on the edges.

The most recent were made with three thick plates or with rows of overlapping scales, protected with tanned leather. With the last cuirasses made , lower-class samurai - who were not authorized to wear protective plates - used minor protections called giyo yo ita. There existed several models of this particular piece.

13. Una-obi - a sash tied at the waist. The sword was fastened to this obi. Generally, it was made

of linen or fabric with ornaments on the front. When the samurai cut the ends of the sash and threw away the sheath of his sword, which usually he carried attached to his belt, his intention to die on the battlefield was clearly manifested to his foes standing out the desperate nature of his struggle.

14. Sode - upper class bushi warriors wore two shoulder pads called sode, generally constituted by several small pieces attached to each other by means of leather or silk cords, by layers, on a metal or lacquered leather plate. The top was always of richly decorated solid metal (kamuri-ita), while the lower portion (hishinui-ita) usually had an inside filling and it was tied with ropes in "x" to hold it. Its most common shapes were rectangular and square, and its size varied from large (o-sode) to medium (chu-sode) and small (ko-sode).

15. Koshiate - protector attached to the left side to carry the swords, both long (daitĹ?) and short (wakizashi). The set of both large and small sword was called daishĹ?. Formerly, the bushi used to carry an extra sword, longer than the daitĹ?, known as nodachi, which bore diagonally in the back. But it became rather rare in the Tokugawa Period.

16. Nodowa - neck protector.

Used by the upper class samurai. In a "U", it was composed of small plates. It seems to have been developed i n t h e s i x t e e n t h c e n t u r y, inspired by the collar normally used under the do. In the Tokugawa period it started to being used above the do in a variety of styles, including one that protects even the neck, tied or seized by hooks behind the neck. The nodowa could also be directly attached to the mask, although the loose

model (tetsuki) was the most popular.

17. Hachimaki - headband made of white cloth its color being a reference to impending death.

18. Uchi-bari - protection headdress used under the kabuto. It was fixed by strings (shinobi-no-el) to the chin and the helmet itself.

19. Mempo - faceplate of iron, steel or lacquered leather. The mask could cover the entire face (mempo, membo or so-mempo) or part thereof. When it left the eyes uncovered was called sarubo. Normally the mempo represented faces of humans, demons or animals. The most famous were: Korean face (korai-bo); ghost (moriyo); demonic (akuryo); southern barbarian (namban-bo); bignosed demon of the forest (toritengu) and the face of an old man (okina-men), of a young man (wara-wazura) and of a woman (onna-men).

20. Kabuto - protective helmet.

It was composed of several pieces that had the function of protecting the head. Its centerpiece was called hachi, a concave metal piece, domeshaped, which adjusted to the form of the human head. On its front portion there was a leather piece, often lacquered in red colored and decorated, called maezashi. The shikoro was the neck guard; it was made from three to seven layers of 100-138 metal plates, suspended from the bottom edge of the kabuto, so the piece fell over the shoulders and back. Ear protectors (fukigaeshi), with its characteristic curvature and tilt backward, were also richly decorated with leather and precious metals like gold and silver.

21. Jinbaori - a kind of open kimono, worn over the armour by high rank officers.

Dressing the Japanese Armour

YIN & YANG (Part 1) ince the introduction of Asian Martial Arts to the western world there has been a tendency on the part of Instructors, and the general public, to place them in two broad categories: "hard" styles and "soft" styles. Over the years, this general perception has taken hold in the Martial Arts community and the terminology of "hard" and "soft" styles is now commonly accepted and rarely questioned. Even the Martial Arts media has contributed to reinforce this idea with many articles referring to different arts and styles as "soft" or "hard" and contrasting their attributes. I think that we can reasonably agree that some arts can be easily and fairly recognized and categorized as "mostly"soft or hard. Few would dispute that Taekwondo, Tang Soo Do, Shotokan and Isshin Ryu, for instance, are primarily hard while Aikido, Jiu Jitsu and Tai Chi are considered soft. But, upon closer scrutiny, those neat simplifications and superficial classifications do not reflect the true nature and the rich complexity (not to mention the history) of most Martial Arts.

In order to understand how we arrived at the present perception of hard and soft styles, we must review the criteria used to classify them: arts that emphasize power, striking and linear movements are defined as hard; those that employ more gentle redirections, grappling and circular motions are defined as soft.

Generally, that distinction is correct, accurate and even useful. The problem however is that most arts contain elements of both! In fact,

S

“Traditional Instructors and sport coaches who limit or reject cross training are doing a disservice to their students�

the more "complete", comprehensive and structured a martial art system is, the more its syllabus will encompass both: the linear, hard, striking element and the circular, soft, grappling one.

We should not be surprised by this. Martial arts were developed as methods of battlefield combat and therefore had to contain an extensive variety of strategies, techniques, subtle deceptions and environmental adaptations thus, by necessity, incorporating aspects of both soft and hard. But in addition to this practical and historical consideration, the most compelling reason to abandon the simplistic hard / soft view lies in the esoteric foundation of the philosophy at the core of all Asian martial arts expressed so elegantly in its symbol: The Yin and Yang. That symbol, marvelous in its simplicity, signifies, above all, the duality of all things in the universe and the absolute necessity of the existence of opposites. Martial artists can view this symbol and its meaning as a strictly educational vehicle, stripped and void of any religious or mystical connotation. It is a teaching tool, an inspiring sign post, a device to remind us to be flexible and constantly evolving. It evokes fluidity and denies rigidity. It urges us to seek more, to experience the possible and to reject limitations.

At its most pragmatic level, the Yin & Yang is alerting us that no art is totally soft or hard; that linear and circular motions complement each other; that striking and grappling are both useful and needed; that armed and

unarmed combat are two sides of the same reality. The artificial construct of hard versus soft is an illusion.

Since the first UFC came on the World stage, the necessity of "cross training " became obvious and, with the growing popularity of Mixed Martial Arts, more and more instructors and students finally got the message, opened their minds and embraced the wisdom of complimenting their hard style with soft techniques and their soft style with hard techniques. Now the stand-up fighter learns how to survive on the ground; the j u d o k a learns h o w t o

Great Master punch; the taekwondo kicker learns how to joint lock and the Aikido practitioner learns how to kick.

Predictably, however, this trend did not developed without controversy and cross training has been the subject of much debate and negative criticism. The two most vocal groups in the debate are at the extreme opposites in the martial arts community. First, as could be expected, are the die-hard traditionalists who view cross training as disrespectful, even disloyal, and distracting from the study of their "true" art. Surprisingly, at the other extreme, are many "sport" martial arts practitioners who have specialized in a specific type of competition with limited techniques and strict rules. The thinking is that if they only compete in t a e k w o n d o tournaments, for example, they do not need to learn joint locking or take downs.

They consider cross training a confusing

waste of time or even counterproductive.

By the same logic, if a fighter only trains for MMA competition, why " waste time" learning weapons disarming or Filipino stick fighting! I strongly disagree with those views because they

completely miss the point of cross training. It is not (and should not be!) just about sport competition. It is about producing a better martial artist!

Traditional Instructors and sport coaches who limit or reject cross training are doing a disservice to their students.

Some are insecure and close minded, others are motivated by ego and greed.

Serious, balanced and structured cross training is not only smart and beneficial, it is profoundly consistent with the timeless principle of Yin & Yang. It reveals that we can achieve much higher levels of skill, knowledge and confidence by experiencing and embracing hard and soft, linear and c i r c u l a r, striking and grappling, armed and unarmed.

In the next issue I look forward to share with you my personal views and experiences as it concerns the principles of the Yin and Yang and how it influenced the creation of Combat Hapkido.

“At its most pragmatic level, the Yin & Yang is alerting us that no art is totally soft or hard�

HOW IS THE "FU-SHIH KENPO" OUTLINED TRAINING Being in top physical shape is a must in FuShih Kenpo. If you strike with your fist, wrist, knuckles, knee, tibia, feet, elbows or you use grasping techniques, etc., without being properly trained and well prepared, you might feel pain or perhaps you can even hurt yourself. There's no way to hit repeatedly without being in the appropriate physical conditions. No matter what style you practice, physical fitness is a necessity and is linked to mental training itself.

Remember that real encounters or street fights don't permit the use of protections or rules and it must be realized that those who usually make demonstrations breaking bricks or other objects are not really showing their true fighting ability, but just one more feature of their training level.

"A street fight lasts until you have hit your opponent strong enough to stop him."

Street fights have demonstrated that a single blow or more are never sufficient because the aggressor, even seriously injured, much too often keeps on fighting. It's the survival instinct, the state of mind, the level of adrenaline, or the amount of alcohol in the blood or drug intake, that make that mysterious force or energy we all possess to manifest there, in that moment.

However, in certain occasions, a quick and accurate blow is sufficient and it is well known that street fights are usually very quick in its outcome; sometimes it's just a matter of seconds. A street encounter that lasts over 15, 20 or 30 seconds, starts to be a worrying situation.

Security in the Attack In a successful attack, there are three vital precepts: 1. Trap or snare 2. Pressure 3. Isolation • The trap or snare method, grasping or hitting the opposite hand wrist down and crossing it over the opponent's body; the arm is held at an angle of 45 º. Make sure that the attacker's body weight is leaning forward on his front leg; this will prevent him from kicking you and will also avoid that he can hit you with his free arm.

Now you can safely get into his defensive perimeter and hit: • Pressure method. Its goal is simply that of deflecting the opponent's perimeter from the own attack line. Normally it is used a hand blow (slap) to the adversary's forearm or elbow to open a gap in his side.

The slap must always be given downward or sideward (crossed), never frontally with a push, as this would set the opponent's

balance on his back leg giving him the opportunity to use his leg.

In any case, the slap downward or else horizontal, keeps the weight of the opponent on his front leg, preventing him from making use of the rear leg to kick.

It is safer then to hit within the defensive perimeter before withdrawing and reconsider the position.

Note: Only single blows.

• Isolation method. It's basically a powerful blow to the opponent's hand, forearm, triceps and biceps, causing severe pain and leaving his arm motionless.

Then it is possible a combination of attack over and through the perimeter defense. This is the most positive method to ensure a fully successful attack.

It is very important to understand that if the attack on the opponent's advanced arm fails using any of these methods, it is essential to withdraw and try again from another angle.

Only when the advanced arm of the opponent is disabled, you can attack the body.

Everything else is simple fencing. If your enemy manages to block your assault, destroy his blocking arm.

Note: Always accompany these three methods with a progressive advance.

Remember that self-defense is not a game, do not get engaged with the opponent's arm; if it is in the trajectory of an attack, use any of these methods.

Kicking Chinese styles show a lot of kicking. If you have practiced Northern Shaolin, you’ll know it requires high kicks while other descendant styles involve low kicks.

I personally have no preference; depending on the situation, I will use one or the other, or even a combination of both. Anyway, we have to keep in mind that, in street clashes, we must use our "best" arsenal from waist down to carry out attacks to the lower area; likewise, we'll make use of our weapons from hips up for attacks to the middle and upper area.

In Fu-Shih Kenpo, when you've performed a high kick, you always add a low kick: hip, knee or shin. You never carry out a high kick without being preceded by a low kick, or vice versa.

The kicking philosophy in Kenpo Fu-Shih tends to follow the hand work philosophy. For example, performing a direct kick from the hip in the frontal position, similar to the front kick, hitting the ankle, shin or higher, at an angle of 45 º to dislocate the patella.

Before trying another kick, hook the inside part of your opponent's shin, ankle, or calf with your heel. Roundhouse kicks with the instep or ball of the foot to the adversary's femur, thigh or behind his knee. These blows are mainly used to neutralize a possible counterattack from the opponent’s advanced leg.

Kenpo "Remember: Self-defense is not a game"

Again, and as in hand techniques, you mustn't attack the body's defensive perimeter of your opponent until you have diverted his lead leg or have inflicted a severe punishment on it.

This should not be considered exaggerated, punishment is essential; do not compromise with the opponent's advanced leg. Inflict maximum damage before attempting body kicks; this way, if your attack to the body does not success, at least your opponent cannot fight back or go on with another attack.

In Fu-Shih Kenpo, all kicks are initiated with the lead leg, so no big change in balance is needed. It is faster than kicking with the back leg and allows you a bigger mobility; shuffling your feet rapidly forward or sideward represents a stress on the legs in movements to the right or to the left.

There is no tendency to move the hip when striking as seen in the Japanese and Korean styles, because most Europeans are more solid and sturdy than Asians and therefore they put a bigger emphasis on the speed of legs and body shifting than in the power of the kick itself.

Given that legs have a force approximately five times greater than arms, I can't understand the obsession some people have in putting so much power in the kick, when a moderate leg hit can inflict a serious damage.

"A street fight lasts until you have hit your opponent strong enough to stop him."

ne year ago, Grandmaster Martin Sewer had been invited by the International Martial Arts Institute to attend the annual World Black Belt Hall of Fame Event in Malaysia. We recall that Martin Sewer has repeatedly been invited to Kuching, Malaysia, due to his constantly growing reputation within the international martial arts community. On last year's event, he did not only place first in the grandmaster category at the tournament, but he was named “Grandmaster of the Year 2012” as well. We further recall, how this memorable event was overshadowed by the news that a local kung fu school burnt down due to an accident. When Grandmaster Martin Sewer learned what happened, it didn't take long until he took the initiative to support the reconstruction of the kung fu school by donating the “Lai Si” (“good fortune money”, which he receives annually on his birthday). It was a glorious year for Martin Sewer and his students back in Switzerland couldn't have been prouder. All the more exciting it was, when Martin Sewer was invited back to the international event in Kuching in 2013.

Just arrived, Martin Sewer was already being asked by one of the leading persons within the organization, Grandmaster Dr. Song, to demonstrate his skills. The audience consisted of numerous masters and grandmasters in martial arts, as well as various VIPs from Malaysia itself, like for example the Deputy Minister of Public Health. Martin Sewer demonstrated parts of the famous Tit Sin Kuen, a legendary secret form.

After his performance he was not only appointed Senior Advisor of the event, but also awarded with a new rank in the World

O

“Even though Martin Sewer is from Switzerland and is therefore from the west, he has passed all obstacles on his way to become Dr. Chiu Chi Lings top-student and successor. He has dedicated his whole life to the traditional Hung Gar Kung Fu and is committed to promote and spread his knowledge and skills in the Hung Gar”

Black Belt Hall of Fame and received the golden medal, due to his work with and commitment to the original Hung Gar Kung Fu. Even though the day had already been long and eventful, Grandmaster Martin Sewer couldn't go to bed without receiving yet another award. A delegate of the World Kuoshu Federation Bangladesh presented him with an award as official VIP guest at the Martial Arts Institute's event. Only then, exhausted from a long journey and an eventful evening, Grandmaster Martin Sewer could retire for the night and get some well-deserved rest.

On the second day of the event, the highly anticipated demonstrations-tournament finally took place. As the year before, Martin Sewer competed in the grandmaster-category and won the first place in his category once again by performing the well-known Tiger-Crane-form. The significance of the Tiger-Crane-form, in Chinese called “Fu Hok Seung Yin Kuen” is reckonable in regard to the fact that the genuine Hung Gar Kung Fu is often referred to as the “Tiger-Crane Kung Fu”. In 1975, Martin Sewer's Kung Fu grandfather (Chin.

“Sigung”) Chiu Kow, who was a popular folk hero and man of honor, won the National Chinese Wushu Championships with the same form as well. The victory of the officially designated style successor Martin Sewer in the grandmaster category was thus a worthy continuation of the success story of the Hung Gar lineage.

The announcement of the tournament's results followed the official Hall of Fame festivities. In 2012, Martin Sewer was awarded “Grandmaster of the Year” and in 2013 he was nominated as “Grandmaster Instructor of the Year”. Due to this nomination, he was asked to demonstrate his Hung Gar Kung Fu again, but this time he

Hung Gar

Kung Fu did not only have to present his skills through performing, but also by teaching the attendant grandmasters in a hands-on seminar.

This seminar, which took place behind closed doors, gave Martin Sewer the opportunity to prove himself among his peers. Obviously, with success! Same as already after the demonstrations, the attendees left the seminar speechless and reflective at the same time and even several days later people participating the event talked about the exercises and the humorous lightness, which characterizes Martin Sewer's lessons. On the third day, the already boisterous atmosphere moved towards the height of the event. Thanks to his performances and the hands-on seminar, Martin Sewer was indeed elected “Grandmaster Instructor of the Year 2013”. But this was not all and those, who are tempted to express their congratulations at this point, still have to wait for a while. The greatest honor had yet to come.

After all the awards and honorary titles had been distributed, the festivities for the reopening of the kung fu school which had burnt down the year before began. Everybody was cheering and it was a poignant moment for the local students as well as for Martin Sewer's students back in Switzerland, as they had indirectly made a valuable contribution to the reconstruction of the school through the Lai Si donation of their Sifu.

As the event gradually came to an end and probably quite a few of the participants were already thinking about their journeys back home, a big surprise for Martin Sewer and his students was yet to come. In front of all attending grandmasters and other spectators Grandmaster Martin Sewer was awarded with a certificate of the rank of 9th Duan in the art of Hung Gar Kung Fu by the International Martial Arts Institute, with the comment “this is the least with which we can honor you”. Shortly after having received this extraordinary honor, the news was circulating in newspapers and on social media platforms.

Whereas being exceptionally honored and respects the assessment of his skills by the International Martial Arts Institute, Martin Sewer stated in an interview after the ceremony that he will continue nonetheless to work with the 8th rank, which his teacher Dr. Chiu Chi Ling has awarded him with. While Martin Sewer himself as well as his students were surprised about this last award, some of the more experienced grandmasters from Asia and in particular Hong Kong, were not surprised at all. “How could it be any different”, to quote one of them, “even though Martin Sewer is from Switzerland and is therefore from the west, he has passed all obstacles on his way to become Dr. Chiu Chi Lings top-student and successor. He has dedicated his whole life to the traditional Hung Gar Kung Fu and is committed to promote and spread his knowledge and skills in the Hung Gar. He's publishing books, articles and is actively involved with the martial arts community. This is how it has to be.” Other attending grandmasters nodded approvingly and one added: “I do not know many who are able to achieve so much, but this crazy Swiss managed to accomplish it.”

Isaac Florentines newest film Ninja: Shadow of a Tear is no Chinese Hong Kong cheap Chop Suey action flick. It is a full blown Hollywood actioneer with all the goods a top notch film needs to be remembered for years to come.

Ninja “Shadow Of A Tear” Directed by Isaac Florentine Starring Scott Adkins and Kane Kosugi Produced by Millenium Films Avi Learner and Boas Davidson Frank DiMartini Action, twists, technical excellence, a believable story, great cinematography, historically correct, and David White did an amazing job writing the screen play.

Produced by Avi Learner and Boas Davidson of Nu Image Millenium its going to fill dojo's once again like Bloodsport and Enter The Dragon did in the 70's and 80's.

Explosions, kicking like you have never seen before good story line and amazing acting by Hollywood's newest Undisputed martial arts hero SCOTT ADKINS (Boyko in the Undisputed Series).

Scott's martial arts skills have gone way up in quality from being good to being amazingly awesome. In fantastic condition he will have the girls going wild over the pretty boy that fights like a man on a mission. Coupled with the newest bad guy Kane Kosugi yep that's right Kane Kosugi is Sho Kusugi's son.

Sho was the star of so many of the 1980's first Ninja craze flicks and put classic films like Revenge of The Ninja, Pray For Death and loads more on the map and made Ninja a house hold word across America. Kane is a star in his own right in his native Japan and now he hits Hollywood with a kick and a punch just like his old man did 30 years ago. These two deliver an on screen dilemma of like and respect, to hate and pure distraught for each other as Casey tries to discover who was responsible for the death of his pregnant wife Namiko and child.

The story is one of revenge as Caseys (Scott Adkins) wife is killed by

a gang and Casey trails the bad guys from Japan to Thailand and into the Burmese Jungles.

The fight s c enes , mix ed with excellent acting by Adkins and Kosugi make for pacing that doesn't leave you out of breath. But then again when the action starts look out as all hell breaks loose and the kicks are high, fas t and amaz ing grav ity defying. Sword fights that are bloody but not gorri. OH did I mention no wires in the filming of the fight scenes. You won't believe it. This is a bow to both Scott and Kane for their amazing clean crisp fast technical skills that only comes from hours of training in a dojo.

The main murder weapon is a manrikigusari or a 30” chain that is used to strangle and take down an opponent used by Ninja of the 16th Century. The cool thing about this one though is that it is made out of barbed wire the calling card of the

bad guys gang that leaves a nasty mark on the necks of its victims.

Supporting rolls by Jahwad and Tim Man who both give great performances as well as a rounded out cast of quality martial artists that really deliver a historically and technically excellent film that any who has trained or studied Ninjitsu will look at with a discerning eye and give it a thumbs up approval.

Sweden's Tim Man also was the fight choreographer and he needs to stand and take a deep bow for doing such an amazing job in all these fights.

Another layer of interest to the film is Florentines passion and painstaking attention to detail of his stories as he researches his stories with meticulous detail to insure they are correct and he does it again in this one as he shows true and

accurate logo's of Ninja and the true story of Fujita Saiko the last of the Koga Ninja lineage who died in 1966 and who was the last of the real Ninja during WW2.

The film has reminders of Enter The Dragon, two broken bottles and an amazing step in side kick and although there is no room of mirrors there is no doubt that Florentine was paying homage to the Little Dragon in the last fight scene. And as well he pays homage again to Bruce Lee when he emulates Fist of Fury in one of the dojo fight scenes where he fights a bunch of guys all at once which by the way was done in one take and kudos to Ross Clarkson the camera man who did an amazing job behind the camera as only he can do.

If you liked Ninja #1 you are going to love this one that is for sure. The film delivers and in my not so

unbiased opinion it is Florentines best film yet.

Will it be as big a smash hit as Enter The Dragon or Bloodsport or not? Well that is going to be up to you the fans to make that call but one thing for sure don't miss this one for some stupid over done Computer Graphically enhanced phony balonie martial arts story we all know is pure BS with impossible moves no one can do. What a refreshing relief to see no crazy wire work that makes you go OMG another Chop Suey flick made in America. Leave that crap to the guys in Hong Kong.

Come on Hollywood wake up and give this guy a budget that will set the martial arts film making on its heels once again. No one can tell a story and delivers on the action better than the way Isaac Florentine can do it and I mean no one.

Arts of Southeast Asia

One day, one of my young beginner students asked me after a class what was exactly what he had to do in or der to become a gr eat martial artist. And I thought, "Hey, this is an interesting question...!" Surely I could have offered him right away a number of good sounding advices to achieve his goal.

However, I asked the student to come back the following week and repeat his question and then I would have an answer for him. For his next class, I had outlined for him what follows:

International Masters • Motivation You must have a good reason to learn Martial Arts. This reason can vary from one student to another, whether it is self-defense, self-improvement, self-confidence, or developing a special quality. It is important that you know your real motive (it will not be published in any newspaper ...), so first you have to describe your goal as accurately as possible.

Without a real motive, and being just attracted to the Martial Arts by enthusiasm, you will not last long enough in the practice of any of these disciplines.

• Understanding the Path After a while in the process of training, you already know that one thing leads to another, and that the ball is round, so to speak. It seems that your new condition affects your technique, since you do not get tired so quickly and therefore you can perform a greater number of repetitions. So now you understand how by improving your coordination, you can do things you previously only could admire in others. This new approach allows you to change old habits, because you've already learned how to correct them. In your workout, you go step by step fitting and moving in the direction of your goals. Now you can have an idea of how the way looks...

• Mastering the Basics The tools of the Martial Artist are his physical techniques.

Bruce Lee intended to make a masterpiece of each one of these tools. It is never too early to begin improving your basics, even if you've learned just a few. Your self-confidence will grow with your new skills, through the mastery of these basic concepts. It's not learning a number of techniques ... what matters is not how much you know, but the way you use that knowledge. It's necessary to know the basic concepts and pay them a special attention during practice.

• Practice One of my most respected teachers, someone who could be described as an exceptional martial artist, is about 70 years. In one of the toughest training camps I know, I watch him perform regularly a six hour training program. That time of practice can lead athletes with a third of his age to physical exhaustion. When I ask him how is it possible that he, at his advanced age, can still keep training for so long, he replies: "I have to practice to stay well."

How to become an exceptional martial artist?

Arts of Southeast Asia It can't be better explained. Practice is the WAY that leads to being "good", to "excel".

Motivation, theory and technique are useless without a constant practice of your Martial Arts.

• Patience Nobody becomes excellent overnight or by a sudden and brilliant inspiration. You must practice regularly mastering the basics.

Therefore, maintaining and further developing takes its time.

The effects of time can either rust or polish your work. It's up to you to decide how to use your time. If we analyze the personality of the great martial artists, we realize that they conquered their excellence thanks to his daily activity and diligence in many small steps. They spent a long time to develop their martial art.

Once you have understood the importance of

the previous four steps, time, coupled with knowledge, will be the factors that will take you from being “good" to be "excellent". Time cannot be hastened. Beware of not being like little children, watching a freshly planted flower every few minutes to see if it has grown. You have to take your time and practice to find your own path to mastery in the Martial Arts.

ABOUT THE AUTHOR: Bob Dubljanin is one of the main instructors in Europe of Southeast Asia Martial Arts (Kali, Muay Thai, and Silat Pentjak) and Jeet Kune Do. Since 1993 he has been imparting workshops and seminars in Germany and other European countries. For further information and queries about current seminars, visit us on the Internet: www.soai.de, or e-mail us: info@soai.de

Posture 11: “Downward Facing Dog” Chatuspadásana From our last posture in which we opened and allowed for energies to transverse up the spine toward the brain, this posture now opens further pathways and neural communications. But it also serves another purpose and that is of proper oxygenation of the blood, body and especially the brain (which controls every other function in your body).

Naturally as we go through life most people tend to slouch in their posture as the spine curves forward at the shoulders and the shoulders themselves close toward the front of the body. This brings with it many adverse health issues from mild discomfort to incontinence and constipation, as it causes fatigue, compressed restriction and suffocation of organ and bowel function. Other physiological issues that will occur are; bad memory, lack of concentration and poor sense of balance; and these are just the observable side effects of your brain not getting enough oxygen from your bloodstream.

Starting with the brain, our brain has a lot of structure similar to our other body parts, and it needs to be fed well and continuously too. There are other things that our brain needs and if we are going to intentionally care for it, we need to increase the circulation of blood to the. This is vital as our blood carries oxygen to the brain and oxygen is vital to brain

growth and healing. Proper brain function requires a critical balance of correct breathing for oxygenation, correct carbon dioxide and nitric oxide levels for circulation and a program of brain activities or exercises for growth stimulation (as depicted in prior postures).

To intentionally increase oxygen and circulation in the brain we should first understand how we physically breathe. We are built to breathe easily and without conscious thought; through our noses and with mouth closed. The natural way that a newborn baby breathes is by belly, or diaphragmatic breathing (we will involve even greater capacity and affect in later postures, by using Perineum breathing in greater detail).

Our sinuses, oral cavities, and the upper parts of our lung structure hold a certain level of chemical control agents, such as carbon dioxide and nitric oxide that help control blood vessel tone and circulation. When we breathe normally and deeply diaphragmatically, we move air and oxygen down to into the lower areas of our lungs where most of the circulation of blood occurs. It is also where most of the oxygen and carbon dioxide exchange takes place so we must relearn to breathe naturally using our diaphragm muscle to get the proper amounts of oxygen into our blood to be carried to our brain and other body parts. When we use our mouths to breathe, we do not rebreathe the stored carbon dioxide and nitric oxide that help circulate blood to the brain to oxygenate our

brain cells. It is the carbon dioxide and nitric oxide (Nitric oxide helps dilate blood vessels in our lungs so that we can get good circulation there for exchange of oxygen and carbon dioxide), that open blood vessels in the brain so we can get proper oxygen levels in our brain.

Now due to gravity and poor posture, the downward pull of the head and organs into the pelvic floor begins to round our shoulders because the pectoral muscles, which are large strong muscles contract. As they tighten our shoulders are pulled forward. Our mid back muscles, middle trapezius and rhomboids, which are weaker, are less often utilized (as well as the rotator cuff muscle group). Muscle imbalances such as these will result in poor positioning of the shoulders commonly resulting in chronic shoulder/neck tension and pain as an overabundance of energy and over stretching occurs. This is highly symbolized in the prior posture “Standing Forward Bend” Pádahastásana.

There is also the problem of Compressive Asphyxia (from this chest compression), is the mechanically limited expansion of the lungs via this compression of the torso, causing less oxygenation to the blood and brain. In severe cases this can lead to death or lost consciousness from anoxic brain damage, via neck or chest compression. This is stated only to illustrate that poor posture can affect us silently and over time from

physical issue…but not solely. We also compress energetic transmissions that further debilitate the organs, bowels and functions of the body.

In addition, the energies will freely rise up the spine to the brain, in a slumped or rounded posture, but it will not release. This will lead to a loss of focus or concentration as too much energy rising up the three main pathways (Ida, Pingala and Sushuma), without ability to release and balance to flow back down the frontal pathways.

“Downward Facing Dog” Chatuspadásana As we ended the “Standing Forward Bend” or Pádahastásana Posture, allow the hands to “walk” forward away from the feet and to a slightly wider than shoulder position.. Also as you hand walk forward, allow the heels of the feet to lift from the ground so as to not only unground and allow enegy to rise, but to allow greater distance between the feet and hands.

This distance should be to allow your hips to angle upward as thebody forms a triangular aspect with the ground. Once situated allow (if possible) the heels to againrest flat on the ground.

The palms are placed flat on the ground to allowthe energy to pass through the heels of the hands as opposed to the feet. This serves to bring the energetic focus to the upper body, arms and brain. Once this base is situated and stabilized, pull your head in past the arms as far as comfortable to stretch the chest (Pectoral Muscles), as it strengthens the Mid Back and Shoulder region (mid back muscles, middle trapezius and rhomboids, as well as the rotator cuff muscle group).

This posture will help correct poor postural rounding of the shoulders and compressions of the internal organs, diaphragm and bowels by not only stretching the chest; strengthen the back, but also to release the gravitational pull and compression in the torso. As the pressure is released, the bowels first open as the organs pull away and stretch them; this is beneficial for regularity and proper elimination. Performed on a daily or semi daily basis, the positioning in and out of this posture will act as a pumping action as well.

As the pressure is release from the bowels, it is then released from the diaphragm as well, serving to decompress and allow the muscle greater range of motion, thus deeper breathing into the lower portions of the lungs. You will also find that this posture inhibits the amount of air you can breathe through the mouth as it expands the amount of air you can inhale through the nose (proper method).

Another benefit is a freer flow of blood to the brain as gravity is now in conjunction and not working against it. Combined with the greater

breath capacity and the decompression of all organs and bowels, the flow of oxygenated blood to the brain as well as throughout the body is greatly increased as the pressure is decreased.

By using the slower movemnets and postures of Yoga the breathing will not be elevated as inmore rogorous exercises like running or walking fast. It will allow slow deep relaxed diaphargmatic breathing that will increase the oxygenation and overall health of the individual. This is due to slight increase in circulation and increase oxygen to your brain, whereas more rigorous exercise may be good for you too, they also cause your muscles to absorb much of the oxygen in your system, and that hinders increasing the oxygen being carried to your brain.

Breathing and Intention: Starting in the “Standing Forward Bend” or Pádahastásana Posture, exhale through the nose allowing the body to relax. Inhale slowly and deeply through the nose as the hands walk out from the feet to slightly wider than shoulder width, to relax the organs and expand the chest for the larger breath capacity. As you pull your head in past the arms, exhale slowly as gently out as you focus your attention on the increased blood flowing into the head.

On each breath in for this posture, allow the head to situate between the arms and feel the energies travel down the frontal torso, through the perineum and down through the heels. As you slowly exhale and pull the head in feel for the energy rising from the sole of the foot, up the inner thigh, through the perineum and up the spine to the head and palms. Do not hold the posture too long at first as your body is not used to the increased blood flow or demands, but in time you will.

Next issue: “Lunge Pose” Jánurásana

Yoga Instructor: Carolina Lino - Ponta Delgada, Azores Photo by: Tiago Pacheco Maia - Ponta Delgada, Azores

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

Five brand new Wing Chun DVDs 1 DVD: “Bot” Jom Doh Basics Complete “Bot” Jom Doh Form, 108 Motions, Historical Information about the Wing Chun Broadswords, Detailed Knife Blocking and Striking Techniques, “Bot” Jom Doh Footwork, Details of the footwork orientation of the form, One-man “Bot” Jom Doh Drills 2 DVD set: “Bot” Jom Doh, Applications, Drills, Concepts & Principles Applications of the motions from the “Bot” Jom Doh form, Knife vs. Knife, Knife vs.

Pole, Drills, Concepts and Principles, Specially created Knife drills for the Wooden Dummy, Detailed Knife Blocking and Striking, Knife techniques as compared to their empty-hand counterparts, Cutting Principles

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

You can order the entire series as a set of 6 books, or by individual volume, and the new DVDs can also be ordered individually or in sets directly from us through our website:

1 DVD: CRCA Wing Chun “Biu Jitsu” Groundfighting Contents: The concept of “Reverse Engineering,” Chokes; Rear, Front Standing, “Guillotine,” Head-and-Arm, Side-Mount Shoulder Choke, and many other Groundfighting drills and techniques.

2 DVD set: “Look Deem Boon” Gwun Volume 1 ( 55 min. ) Content: Pole Details, Pole Drills, Pole Footwork, Form Overview, “Look Deem Boon” Gwun Form, 6 ½ Strikes of the Pole, Applications: Pole vs. Pole

www.shop.crca.de One Volume SingleWeapon DVD Biu Jitsu DVD DVD Set (all 5)

€ 49,90 € 39,90 € 25,90 € 149,90

The shipping & handling costs are not included for more information please contact us: Copyright © 1989 CRCA Enterprises Publisher CRCA-Lopez / Mario Lopez, Atroper Str. 56, 47226 Duisburg, Germany E-Mail: info@crca.de

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

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