Martial Arts Magazine Budo International 418 – December 2 fortnight – 2020 by Budo International Martial Arts Magazine

Ref.: • cesaR-13

Le tecniche di Muay Boran (Mai Muay Boran) sono abilità nate in battaglia che, in epoche passate, hanno aiutato i guerrieri siamesi a sopravvivere in innumerevoli scontri con soldati nemici, sia armati che disarmati. Dopo una iniziale di formazione nei concetti combattivi di base, Mae Mai (tecniche madre), tutti i tirocinanti vengono istruiti nelle strategie di combattimento avanzate (Mai Kred) del combattimento siamese. Kred può essere tradotto come dettaglio. Pertanto, queste strategie di combattimento hanno lo scopo di aggiungere molte informazioni dettagliate ai concetti di base inclusi nei principi delle Mae Mai. Ogni stile tradizionale comprendeva una serie di Mai Kred che i Maestri dell'antichità c o n s e r v a v a n o gelosamente; quei principi erano destinati a mettere in salvo in una situazione di vita o di morte e non venivano mai mostrati senza una motivazione seria. Questo approccio tradizionale all'insegnamento e all'apprendimento delle Mai Kred appartiene alla filosofia IMBA e tutti i membri seguono questa stessa linea di pensiero. Le Mai Kred sono presentate in questo video secondo la classificazione “classica” accettata dalla maggior parte degli insegnanti in Thailandia: ogni Mai racchiude diverse possibili applicazioni che hanno lo scopo di mettere l'allievo in condizione di difendersi e contrastare vari attacchi. Pugni, calci, colpi di gomito e ginocchio, prese: un Nak Muay esperto nelle Mai Kred è pronto ad affrontare molti di questi attacchi feroci e a reagire con devastante efficacia.

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Ref.: โ ข TAOWS-5

In this 5th work, Sifu Salvador Sรกnchez presents a small sample of what is practiced at the TAOWS Academy headquarters. "We have often tried to show some of the innovations in practice and in the teaching method. And of course, we have received praise and criticism alike. For a short time, we think that the best option is to leave only for those who come to our formations and trust us the depth of practice and the details. Most probably we are not aware now of the great advance in the study of the system, but I am very sure that in a few years, many Wing Chun practitioners from different branches will "copy" These ideas to show your students and schools. Those who think about the good of their students will benefit from them without any prerogative in return. Something that many do not understand is that for those who form TAOWS Academy, practice is the most important point of how much we do. It is the passion for Martial Arts that keeps us on track. The video contains the execution and applications of Siu Nin Tao, Chum Kiu Tao, Biu Jee Tao, Muk Yak Chong, Six & Half Point Pole, Bat Jaam Dao forms, and ends with a complete and interesting report on the study tours of the Kung Fu in China, with the participation of various local teachers. 63 min.

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“Reality is nothing other than the ability of our senses to deceive themselves.” Albert Einstein he subtlest and most expert linguists know it all too well. Their science, however righteous and exquisite it may be, does not give fair resolution to the essential problem of communication, that is, however accurate and refined your ability to speak or write is, what you emit and what the other receives, are always different things. The old game of passing the secret is well known to all: You whisper something in someone else's ear, who in turn whispers it to the person next to him and so on. Once the message has gone through enough people, its degradation is not only inevitable, but also a source of mischief making and laughter in itself. But you don't laugh so much when the misrepresentation of messages implies matters of greater depth. Human relationships, inevitably exposed to this perverse effect, are a source of breakups, quarrels and even greater misfortunes. Because however well and wisely you express your view, you do it from your own self, and what the other person receives, in turn, he or she passes it through his or her own filter. In all this mess, it's not at all negligible in the incredible capacity we have to justify ourselves in the most unusual and multicolored occasions. Justifying the unjustifiable is the first command of a mind which, systematically, prefers an error of its own rather than an alien success. In a dangerous and unpredictable world like that of our oldest ancestors, this system of selfaffirmation had its meaning, since moving along with some certainties was safer than yielding to doubt, for it was while you were in doubt that the tiger could show up and eat you. These men, the most assertive of our ancestors, tended to thrive, therefore they had a higher rate of survival and reproduction, therefore, we are all greatgreat-grandchildren of those prehistoric men, capable of looking at the world through the rim of their hole and that's why things for us are going the way they go! Given that this system is unconscious and is inscribed in our automatic mechanisms, the most accurate and pertinent systems of moral, ethical or philosophical organization are of little use, for time and again they collide head-on with the human reality that they seek to organize. The tendency to lie to ourselves is something truly spectacular and, consequently, the tendency to read our relationships with others in our own key is inevitable. However, there are true experts in the matter who, either by their personal program or by their homing instinct that drives them to cling mentally to where they feel strongest, turn things around in such a way that after passing them through their own filter, they can't be recognized any longer by no one. And no, do not believe that this occurs among the most stupid, quite

“To me, it's extremely interesting that men, perfectly honest, enthusiastic over their work, can so completely fool themselves.” Irving Langmuir the contrary; the more determined we are to have a mental self-control of things and the readier and abler we feel to use our understanding, the worse. Then there are those who can’t stand being put in front of a mirror, because as they take it all to heart and in a personal way, people tend to avoid the healthy act of questioning or exposing them to the slightest criticism. Of course, you no longer give your opinion unless you are asked for, and even when you do so, depending on who, you try to do it with the utmost care, so that it doesn't splash you afterwards. In short, that's their loss t, because one of the best advantages of living in a group, is to contrast with those who appreciate you, those, who, as the Spanish saying has it, "who loves you well, will make you cry" (in spirit, "You've got to be cruel to be kind", or the old "Spare the rod and spoil the child") because only our ears can open, like our soul, to those with whom we are capable of showing ourselves vulnerable, since we start from the certainty that on the other side, no spurious interest will come to contaminate that sacred moment in which we lower the barriers in front of love and friendship. Those, those of the “Don’t talk back to me!” are being victims of one of the subtlest forms of arrogance, because in such attitude they hide an autonomy generally as false as their alleged certainties; a way of being that will lead them without any option and as a last consequence, to a loneliness, in depth and de facto. To a greater or lesser degree, every leader necessarily suffers from this disease, a grievous affliction in the personal, certainly, but before which, if he does not know how to set limits to it, he will be subject to the coming of a deaf form of tyranny, in addition to a disconnection from the very reality he intends to manage or manipulate. Looking for clear mirrors, and above all "getting at the reach of them", is one of the healthiest, wisest and most difficult decisions, that every man who aspires to wisdom must make and maintain in his life. Because "the truth", far from being one and only, is a point of view, and us, aware as we are that the mind is unjust and tricky, must face its limitations with functional precautions like this, or what is the same, with the needed humbleness they reflect. Any other decision that implies exclusion and distancing, or withdrawal into chimerical autarchies, will inexorably lead to isolation and self-deception. Stubborn as our minds are n their points of view, we do not have it easy. So we better put the bandage on before the wound, it's worth it.

Martial Cinema Farewell Mr. Roper!! On July 25, John Saxon died of pneumonia in Murfreesboro, Tennessee at the age of eighty-three. Another Hollywood star who's left us! He worked under the direction of directors of John Huston's stature ("The unforgiving"), Otto Preminger ("The cardinal"), Don Siegel ("Death of a Gunfighter"), Sydney Pollack ("The Electric Horseman"), Blake Edwards (This happy feeling), Vicente Minelli ("The Reluctant Debutante") etc. However, despite having been under the orders of some of the "Hollywood heavyweights", the role for which he will be remembered is his portrayal of Roper in Robert Clouseâ&#x20AC;&#x2122;s "Enter the Dragon". John Saxon was born on August 5, 1936, in Brooklyn, New York. His parents longed to have a girl, and they were so disappointed with the little boy that despite his sex they decided to call him Carmine Orrico. John descended from an Italian family, his grandparents were Neapolitans and had emigrated to North America many years ago. He grew up in the Brooklyn neighborhood, where he had a rough childhood. Being ashamed of his name, he decided to change it to Ricky. From a very young age he dreamed of becoming a great film actor and when he turned 18 he decided to move to Hollywood. His parents, Antonio and Anna, thought it was a crazy idea, but Saxon had made his decision and he was decided to carry it out.

Text & photos: Pedro Conde

Martial Cinema

Text & photos: Pedro Conde

When he arrived in Hollywood he thought about calling himself Ricky Saxon, but his manager or promoter told him that it was not a good stage name, so he decided to change it to John Saxon, which sounded more American. This happened in the 50’s, at that time he was working in the Universal studios, where he had been suggested that if he continued with his perseverance in improving himself as an actor, he would become a Latin Lover. Being a sports fan, in the gym of the Universal Academy studios, John met a group of people who years later would become some of the American cinema "tough guys", thus his companions were people as well-known as Clint Eastwood, among others. There are numerous photos of the days when this group of promising young people began at Universal, dreaming most of them of someday becoming stars on the screen. Because of his sporting qualities, John would be rather assigned "tough-guy" roles than those of "Latin lover". In those days Martial Arts were not widespread; should they had been, John would surely have been a fervent practitioner, however, this was not an obstacle for him to practice what it was trendy at that time, that is, Yoga, Boxing and Wrestling, apart from Tennis and Swimming. Little by little, and of course, through his own hard work, he began to have certain important roles, taking part in films of big movie studios and working on various television series, including "Kung Fu", "Bonanza", "Ironside", " The Virginian”, “The streets of S. Francisco”, etc. John Saxon's filmography is very extensive, even after the premiere of "Operation Dragon, and due to the success he obtained with the film, he was hired by Antonio de la Loma to star in a film in Spain that would bear the title of "Metralleta Stain" (1975), in which he co-starred con Francisco Rabal and Blanca Estrada.

John Saxon had famous romances with actresses Gia Scala and Linda Cristal. He married Mary Ann Saxon in 1966, and Gloria Martel in 2008. He had a son from his first marriage, whose name is Anthony. He had set up residence in Los Angeles He defined himself as a sporty, homely person who, when he wasn't rolling a film, he'd tried to stay home with his family. He was an enemy of society parties or worldly manifestations, which apparently was against Hollywood standards, and this may not have benefited him at the time, but he didn't care, the only thing he cared about professional recognition. Curiously, John Saxon was able to spout some broken Spanish, in fact he had already been to Spain before filming

"Submachine Gun Stain"; there was only one proviso: at that time, he wasn't famous yet. He was in our country filming "Vado, vedo e sparo" (I arrive, I see, I shoot), a Spaghetti Western, that went completely unnoticed by the press in those days. During the filming of "Metralleta Stain" he was interviewed several times, including the following questions: Question: What do you think about BRUCE LEE's death? Saxon: The death of Bruce Lee shocked public opinion and moviegoers; it also was the subject of malicious comments.

Martial Cinema

“John Saxon's filmography is very extensive, even after the premiere of "Operation Dragon.”

Text & photos: Pedro Conde

â&#x20AC;&#x153;Because of his sporting qualities, John would be rather assigned "tough-guy" roles than those of "Latin lover". In those days Martial Arts were not widespread; should they had been, John would surely have been a fervent practitioner.â&#x20AC;? Question: There are people who believe that Bruce Lee died as a result of an attack and others that it was a suicide. What do you think of all that? Saxon: No, Bruce Lee died of a stroke, it was due to natural causes. I don't know why journalists took to seek other reasons and exaggerate the whole thing. Question: Did you ever think that "Enter the Dragon" would get that worldwide acceptance?

Saxon: I knew from the start that the film would be a blockbuster, but what I never thought is that it could turn into such a big success. I also think that the death of Bruce Lee and all that mystery that arouse around it intervened in a very direct way. To my view, the greater interest that aroused in the public was due precisely to the morbidity that accompanied the whole matter. That was the reason for which many people came to see the film. Among his qualities, we can highlight his memory, the country he would choose to live in was the United States, his

great defect was being stubborn. A vice he sure didn't have was gambling, or women, and he was very proud of the place he occupied in the cinema, specifying that he had achieved it by himself, without the help of "anyone."

ENTER THE DRAGON The racial problems in the United States are well known, and Bruce Lee couldn't star in any American film. Thatâ&#x20AC;&#x2122;s why he moved to Southeast Asia.

Text & photos: Pedro Conde

Martial Cinema When Warner began to see that the subject of Martial Arts could be a box office success, he prepared what would be a real blockbuster; this would be none other than the classic of the genre: "Enter the Dragon". The big problem arose when the roles were distributed, since the protagonist was an oriental (Bruce Lee), and the co-star an AfroAmerican (Jim Kelly). To counteract all this, the production company imposed on a Caucasian actor so that the white race would also be represented. This may sound ridiculous, but in 1973 there were very few American productions starring colored people, and none featuring Eastern actors. Given the theme of the film, they needed an actor of some prestige and who also knew the Martial Arts, and of course, he should also have a certain athletic appearance, perhaps too many ingredients for one person. They finally found the one they were looking for: John Saxon. Thanks to his portrayal in the film, he became a fashionable actor of the years 74-75. Although he was recognized and respected as an actor, thanks to "Enter The Dragon" he achieved worldwide fame and not precisely because of his abilities within the field of interpreting. Many people believed that Saxon was an expert in combat arts, but nothing is further from the truth; he really was a brown belt of Karate, which he had obtained in the army, where he had practiced some Martial Arts. So when the Warner gave him the role of co-star, they thought he was the actor who would give the film a certain class, in terms of performance or artistic standards. Of course, he would have to kick and punch to justify his presence in the film. Before leaving for Hong Kong, the scene delivering the tournament message to Saxon was choreographed and filmed in the United States. When the actor saw it, he was very satisfied, because he believed that they had done a brilliant job, but when he arrived in Hong Kong, he saw the ability that Bruce Lee had in this section to bring out the best in

each one, and even make people who were not experts seem on the screen like if they were off the charts actors. So he asked Bruce for help and begged him to replay the recruiting scenes. The "Little Dragon" liked that detail, and delightedly choreographed it and even gave him private lessons so that he had some basic knowledge for the rolling of the film. There are some curious anecdotes about Saxon during filming, one of them is that every time he fell to the ground and got up performing a pirouette, it was not him, but a stuntman (Yuen Wah), but the camera shot was so perfect that not even the actor's own wife was able to notice the change. The first days of filming Saxon had more than one confrontation with Robert Clouse, the Director, because during the day he was dedicated to acting, and at night he would rewrite the script with his wife. Saxon stole more than

one scene and a few lines from Jim Kelly, who accepted it reluctantly, but with resignation. One day, fed up with everything, Robert Clouse told him to please stop making changes to the script, not to touch it again because not a line of the script was going to be changed again; from that day on the problems with Saxon were over. By the way, the last scene he shot in the movie was precisely when he goes down with Han to the basements; this scene was not performed in the way the Director wanted, so Saxon had to postpone a flight to Thailand where he was going to spend a long-planned holiday with his family. The basement elevator, far from having a hydraulic platform, was made up of jacks that were lowered manually by four men, so it squeaked and made a lot of noise. Robert Clouse, not happy with the result, begged Saxon to stay to repeat the scene, and he had no choice but to cancel his trip and shoot it.

â&#x20AC;&#x153;When he arrived in Hollywood he thought about calling himself Ricky Saxon, but his manager or promoter told him that it was not a good stage name, so he decided to change it to John Saxon, which sounded more American.â&#x20AC;?

Martial Cinema The next day the scene ended satisfactorily, thanks to the men who moved the cats had been practicing all night and they had finally achieved the desired effect. Following the filmâ&#x20AC;&#x2122;s release and the death of Bruce Lee, John Saxon made statements about his relationship with him on numerous occasions. This is broadly his opinion on the great myth of Martial Arts, which he had the opportunity to have as a master during the shooting of the film. - "Bruce was very useful to me. I had a great interest in talking to him, especially in relation to Martial Arts. We were constantly talking about the different types of fighting and techniques; throughout the film he was very helpful to me and taught me many things that I think were part of the teachings that his students would pay large amounts of money to learn. As a martial artist, as he considered himself, he was quite an innovator, not only in this field, but in many others, because he was able to point out the defects and virtues of a person; it's the same thing he used to do with the different fighting systems, that's why he knew so many things. His concept was that of fighting in the freest, easiest and most fluid way he could, and not in a systematic manner as is done in some styles of Martial Arts. In addition, he was able to use any type of research he did on those systems and get to have something very creative and practical about techniques that, because they were excessively static, were not functional.

Bruce not only did this with Martial Arts, but he got very satisfactory results in the cinema. In any field he was capable of transmitting his convictions and ideas, his concepts of reality, and he'd tried whatever thing until he found what he was looking ofr. I agree with the opinion of certain people who say he was a genius; it certainly came very close to it in the field of Martial Arts. As an actor I can say that he had a lot to do with acting. In some respects, I think Bruce was closer to being a martial artist than an actor, but it doesn't rule out that he had a great understanding of acting. Let's say he was a theatrical man cinematically speaking, a real actor. He was very intelligent, he acted like an actor, and in a sense, like a director and writer, since he had written scripts for Martial Arts scenes. On one occasion he showed me some lines that he had written, the aspect that he presented of himself in the film was a very theatrical idea that I, as an actor, admired. I think that one of the most important questions I ever asked him was whether he would be able to work on a movie without having to demonstrate his great knowledge of Martial Arts, and he answered me very convinced in the affirmative. It would have been a great test that he should have faced one day, and that I think he would have carried it out like his matches, with force and talent; without a doubt he was capable of that and much more. I believe it would have been very difficult for him to

Text & photos: Pedro Conde

â&#x20AC;&#x153;The public would not have been able to identify him with another character, it's very difficult for the viewer to believe that you can play another character that has nothing to do with the one that led you to fame.â&#x20AC;?

â&#x20AC;&#x153;Bruce was very intelligent, in the long conversations I had with him, he explained to me his convictions, ideas and philosophy about life, always showing his natural intelligence and the great wisdom he had due to his immense knowledge.â&#x20AC;? John Saxon About Bruce Lee

Text & photos: Pedro Conde change his image of a superman. The public would not have been able to identify him with another character, it's very difficult for the viewer to believe that you can play another character that has nothing to do with the one that led you to fame. Bruce was a very insightful, happy and aware person, he knew that much of his triumphs had been achieved by his character. He told me how Hong Kong people loved

and admired him and he liked that, so he joked with taxi drivers, children, well, with everyone who recognized him and flattered him. Watching him was really gratifying, much better than seeing some people in high public positions who don't like to mix with others and say "Get away from me, don't bother!" By this I mean that fame was never a problem for Bruce Lee, he liked it to such an extent that he never had problems with anyone, only with

Martial Cinema opportunistic journalists who were looking for tabloid news. Bruce was very intelligent, in the long conversations I had with him, he explained to me his convictions, ideas and philosophy about life, always showing his natural intelligence and the great wisdom he had due to his immense knowledge. One of the things Bruce Lee constantly talked to me about was that itâ&#x20AC;&#x2122;s very important to get away from preconceived ideas, because reality is different. You ought to be almost as good as him to really appreciate his talent, what most people have to learn in order not to fall into imitation or repetition in an

unconscious way. Bruce Lee had a very clear idea of what spontaneity was, which is very important for all things, especially to treat people, including the treatment of your family and people who love you, although I cannot be a great judge of all this. We got along very well, I think he liked me and I undoubtedly liked him. It's a great pity that at the peak of his career he had to disappear, for he still had a lot to say, and not only in the Martial Arts field, but also in that of interpretation. I'm convinced he could have become one of the best actors in the world. By Pedro Conde

Text & photos: Pedro Conde

â&#x20AC;&#x153;He defined himself as a sporty, homely person who, when he wasn't rolling a film, he'd tried to stay home with his family.â&#x20AC;?

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WINGTSUN GREAT HITS

1) A perfectly designed pedagogical progression, step by step, so that any normal person can reach the top if they persevere and work I think this is the most attractive point of this system. Like a perfectly meshed machinery, each exercise develops a capacity to a certain point, and in the next degree, new exercises (especially the corresponding Chi Sao sections) take you step by step to another level. This is difficult to put into words and it takes a few years of practice and having progressed to technical degrees to appreciate it. Personally, the more I study, practice and teach, the more I admire how wisely designed the progression is up to the 3rd Technical Grade. Skills such as relaxation, training, learning to yield, explosive power, elastic energy, adaptability and many other abilities are skillfully developed in a graduated way so that everyone following the learning can get to obtain the sought results. Such smart design attracts the attention of students who have practiced other fighting systems, especially the so-called internal styles, because they find clear and very precise instructions as well as quick and verifiable results. This excellent method is the result of improvements built-in by the masters, generation after generation, and particularly, in what concerns the coding of the Chi Sao sections, it's the fruit of the work of G.M Leung Ting, G.M Kernspecht, and my sifu, VĂctor GutiĂŠrrez. Personally, I think it's the most elaborate and sophisticated form of training in pairs that I've ever seen, and experts from other styles agree on this.

2) A healthy method with a very low risk of injuries In Martial Arts training, injuries can come from three causes: 1.- Incidental: a fall, a stumble, a slip, etc. These types of injuries are fortuitous and occur both outside and inside the training hall.

2.- Due to a free fighting traumatism: That is to say, by a blow or a hold carried out during a free blow exchange (either with full contact, semi-contact, etc.). They are basically black eyes, broken nose, broken teeth, cracked ribs, contusions and dislocations. In WT, this type of injuries are rather unusual (except if the students train on their own without any direction or control) because free fighting is not usually practiced until reaching a certain level. The great distance between technical work and free combat is solved in a quite intelligent and logical way, which is using an intermediate step that we call Lat Sao, where we try to apply our technical arsenal, movements, angulations, etc., on an adversary in movement (unlike most styles, in which techniques are practiced on stationary adversaries who collaborate "excessively"). When free Chi Sao is practiced, thanks to the control of the blows that this exercise provides, trauma is very rare. Most likely, the detractors of our system will think that you will hardly get to do combat if you donâ&#x20AC;&#x2122;t practice hitting at full contact, but things aren't like that. My experience in the Martial Arts world tells me that it's precisely this "soft" and flexible way of training that attracts a greater number of practitioners and above all, that these practitioners "perpetuate" themselves in their personal training. In the end, with correct training, efficiency shows up as a consequence of practice; in a rather curious way, in advanced levels there are practitioners with a very high combat level and an incredible punching power, despite not having ever practiced full contact blows in free combat during their learning period. It's another of the great virtues that this training system has achieved through its constant evolution over the years. 3.- Because of musculoskeletal problems due to the Martial Art postures or movements. In many activities, abrupt movements are constantly made and very forced postures are often maintained, and this implies risk of injury or overload. Consider, for example, the postures of the cyclist on the bike or extreme movements such as the hyperextensions in rhythmic gymnastics. In some Martial Arts we find some difficult movements or positions that not all people can perform without suffering muscle or joint problems. In WT, no high kicks or acrobatics are used, no very low stances or jumps, which greatly reduces the risk. Repeated and rapid flexion-extension movements causing the knees to "snap" when kicking are not either used. Therefore, the discomfort doesn't go beyond the typical muscular soreness in beginners. In any case, the competent instructor should correct the postures of the feet, knees and the spine carefully, because beginners, due to their low body awareness, often adopt wrong postures. See most common mistakes: Leaning backwards = Lumbar discomfort Knees out when taking steps or doing twists = Knee injury Shoulders up when rolling = Shoulder tendinitis and neck pain

In any case, the movements and positions of WT are not very traumatic and comparatively it is a very safe style in that sense.

3) An exciting and passionate deep style. One thing Iâ&#x20AC;&#x2122;ve been able to verify is that the WT creates authentic fans, not to talk about "addicts". Many people start practicing by chance and as time goes on they feel more and more interested, to the extent that the art becomes a main aspect of their lives. That is something fundamental for me. The art of WingTsun enthuses people who had never thought of dedicating any more than a couple of hours a week to an activity like this and it turns them into real Martial Artists who seek the mastery and knowledge of this exciting style. What is so attractive about the WT? In the first place, the general concept, with its basic principles. Then you discover that these principles are embodied in specific training programs that, like "onion layers", when you finish a level, you are lead into another,

which is deeper and even more fascinating, where you develop skills that you did not even suspect you could acquire. Observing the elder colleagues and seeing what they are capable of doing acts as a very powerful stimulus. Especially when we get to know that their ability is not the result of an innate talent but of having followed the same programs that we are learning. As one perseveres in training there is a paradoxical effect: the longer you have been practicing and the bigger your progress, the more you like it. Now I have been practicing WT for 20 years and I am much more excited than I was at first. Every month I discover new things and the prospects for the future widen. In the WT you have many elements to cover: Martial Art, philosophy (Confucianism, Buddhism, Taoism), teaching, health applications, psychology, Chinese culture, etc. One single life seems short to dominate everything, but that does not hold us back, on the contrary. Still, that enthusiasm can be conflicting. Our family probably does not understand it and we will have to organize ourselves well and be intelligent so as not to neglect other aspects of life (family, work, friends, etc.), and above all, not to become a heavy Wingtsun nutty, who drones on about it endlessly or has no other interests.

4) A non-competitive activity that favors collaboration among people

Vanity doesn't get along with our development at WT, at least during training.

In WT, helping our partner to improve helps us to improve ourselves. The higher his or her level, the higher ours will be. This interdependence is very beneficial, it eliminates competitiveness and creates a climate of mutual help and good humor. While that doesn't prevent the question of who was better from arising, it gets neutralized by the desire for progress. More than seeing who is number 1, we seek to continually advance.

5) A skill that lingers for a long time even if you stop training. This is a very curious and striking aspect. I have contrasted it with students who for familiar, professional or geographical reasons had completely stopped training for 4 or 5 years, and when I practiced with them again I could observe that they had virtually lost none of the skills they

â&#x20AC;&#x153;In WT, helping our partner to improve helps us to improve ourselves.â&#x20AC;?

had previously developed. Some have compared this to the ability to ride a bicycle. Even if you spend years away from bikes, as soon as you get on one, you are immediately able to pedal without falling down. I don't know, maybe it's a type of neuromuscular memory or some. The fact is that, unlike other sports or activities, it's very motivating to know that what you acquire you do not lose.

6) A capacity that can be unconsciously applied Another curiosity is that when a high level in WT has been acquired, it seems that it can work on its own, in an unconscious way. For instance, if someone pushes or grabs you, even playing, your body reacts by looking for the hole before you realize what is happening. I know of colleagues that if you move their arms while they're sleeping, they will react as if they were doing Chi Sao. This is a very important skill for real combat, where there is no time to think or prepare.

7) A great adaptability to the characteristics of each individual Once developed enough skill, WT becomes a part of oneâ&#x20AC;&#x2122;s own personality, consequently each master does a "different" WT. My sifu had a student who had lost an arm from the shoulder down. He adapted the WT to his condition with great success. People with disabilities can find WT a very suitable way to exercise and establish social relationships in addition to learning a Martial Art.

8) WT is an excellent bridge between the external and internal styles In recent years I have become more and more interested in styles such as Tai Chi, Yi Chuan and Aikido. I have found many matching principles and technical elements. I have met instructors and students of these styles and with them I have found that the pedagogical system and the exercises in the Chi Sao sections help them to considerably improve their practice of internal styles. Likewise, in the last 3 years I have begun to practice internal training methods with more consistency and I have experienced a noticeable improvement in my WT. In this sense my provisional conclusions are: In the individual training, Yi Chuan has the most elaborate and useful internal work methods. As for training in pairs, I think WingTsun is the most complete and sophisticated. Tai Chi (Chen Man Ching style) has taught me new perspectives on how to use the hips to neutralize and yield as well as regulate weight loads. In my opinion the WT is a hybrid, that can be trained both externally (at the beginning) and internally (at the advanced level). Many principles of inner work are embedded as little information chips in the Siu Nin Tao form, especially the 108point version recovered by Sijo Leung Ting. But you're not aware of that until you get to know the inner styles. This mixed condition of the Wing Tsun allows it to serve as a bridge between external and internal styles. Thanks to the sections of Chi Sao, you move from the hard and segmented force to the elastic, soft and integrated energy. For internal styles, it is also a very useful training to express elastic energy in a more realistic context and in a multitude of different situations, filing and refining the neuromuscular mechanisms involved in the FAJIN or FALI.

“Once enough skill is acquired, the WT becomes a part of each one’s personality, consequently each master does a ‘different’ WT.”

9) WingTsun is an interesting tool to understand Chinese culture With a history of more than 300 years, WT developed during one of the most turbulent and decisive periods in Chinese history: the Manchu invasion, the birth of the Triads, the Tai Ping revolts, the pressure of foreign powers, the fall of the Empire, the Republic, the Japanese invasion, World War II, the coming to power of Mao, communism and the subsequent opening. In studying the WT history we are looking sideways at the path followed by Chinese civilization. Chinese cinema has also echoed the WT masters lineage. Thus we find films whose protagonists are: Ng Mui, Yim WingTsun, Wong Wah Bo, Leung Yee Tai, Leung Jan, Bruce Lee and recently several films have been rolled about Yip Man (with notable exaggerations). WingTsun is also an excellent way to access traditional Chinese culture, finding Taoist, Buddhist and Confucian elements in its theory and terminology, in the family relationships of disciples and masters, in its technical strategies and principles, etc. It is an interesting coincidence: in my opinion the good things, and the other "not so good", of WingTsun, are the same as the Chinese culture. In other words, we can absolutely see the idiosyncrasy of the Chinese people and culture reflected in WingTsun and vice versa. We have previously spoken about the defects of our system, but personally, I would like to keep the virtues: respect, patience, humility and perseverance. I believe that Kung fu is possibly one of the best instruments, if not the best, to learn about Chinese culture. A culture that is called to be a world leader in the 21st century due to its wealth, its influence, its population and its strength.

â&#x20AC;&#x153;I believe that Kung fu is possibly one of the best instruments, if not the best, to learn about Chinese culture.â&#x20AC;?

Avi Nardia begins a new series of works focused on CQB and high-risk situations. Some can be good shooters but bad fighters and it's preferable to develop the fighting spirit, not only teaching how to be good shooters, but also to handle aggressive situations to face reality and violence. To achieve these principles, acting with determination and confidence is essential. This first work explains in detail the regulations on the handling of the weapon, holstering and drawing the gun, ways of grasping the gun, loading, hand changes, changing magazines, one and two-handed work, covering and concealing yourself, shooting with precision while you are on the move, and shifting quickly and safely in conflict areas managing them proactively, not reactively. Avi Nardia Kapap Combatives takes us to the next level in realistic self defense.

Ref.: â&#x20AC;˘ kapap-11

ORDERS: Budo international.com

Country

WCI List of Schools Location

Instructor

Contact Number

Website

Banbury

Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Bicester

Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Devizes

Simon Lazarus

+44 (0)7726 296884

Team@WCiSwindon.co.uk

www.WCiSwindon.co.uk

Ditcot

Sifu Dace Bogdane

+44 (0)7846 371611

Team@WCiOxford.co.uk

www.WCiOxford.co.uk

Dunstable

Oskar Filipiak

+44 (0)7597 103612

Team@WCiDunstable.co.uk

www.WCiDunstable.co.uk

Gloucester

Simon Lazarus

+44 (0)7726 296884

Team@WCiSwindon.co.uk

www.WCiSwindon.co.uk

London

Sifu Norbert Kaliciak

+44 (0)7512 675311

info@wingchunkungfulondon.co.uk

www.wingchunkungfulondon.co.uk

London

Sifu Tibor Moravcik

+44 (0)7788 538272

wtibor@yahoo.co.uk

www.Systematibi.com

Milton Keynes Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Newbury

Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Oxford

Sifu Dace Bogdane

+44 (0)7846 371611

Team@WCiOxford.co.uk

www.WCiOxford.co.uk

Peterborough Andrew Docherty

Team@WCiPeterborough.co.uk

www.WCiPeterborough.co.uk

Portsmouth

Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Reading

Sifu Jason Cooper

+44 (0)7886 785740

Team@WCiBanbury.co.uk

www.WCiBanbury.co.uk

Salisbury

Simon Lazarus

+44 (0)7726 296884

Team@WCiSwindon.co.uk

www.WCiSwindon.co.uk

Shrewsbury

David Ridgway

+44 (0)7944 576120

Team@WCiShrewsbury.co.uk

www.WCiShrewsbury.co.uk

Solihull

Chris Lloyd

Team@WCiSolihull.co.uk

www.WCiSolihull.co.uk

Swindon

Simon Lazarus

+44 (0)7726 296884

Team@WCiSwindon.co.uk

www.WCiSwindon.co.uk

Watchfield

Daniel Tyler

+44 (0)7592 627695

Team@WCiWatchfield.co.uk

www.WCiWatchfield.co.uk

Welwyn Garden City Robert Riddell

+44 (0)7708 178943

Team@WCiWelwynGardenCity.co.uk

www.WCiWelwynGardenCity.co.uk

+44 (0) 7725 012397

+44 (0)7970 710235

Germany Dresden

Sifu David Maddox

+49 01575 246 22 18

post@safe-und-fit.de

Slovakia Bratislava

Sifu Martin Imre

chmatowt@gmailcom

www.facebook.com/iwchs.sk

Spain

Master Cameron

Support@WingChunInternational.com

Barcelona

www.safe-fit-sports.de

www.WingChunInternational.com

Jeet Kune Do

Clothes do not make the man? Some time ago, I wrote an article on make-believe or truth. Over the years, I am captivated by how much appearance takes precedence over reality. Indeed, I see that the more people claim to be, the more they are respected and publicized despite all their lies known to all. Martial arts and combat sports have become like everything else, a virtual world and reality show. We are witnessing this masquerade of reality shows where people are worshiped like real stars without having any talent or anything to say.

â&#x20AC;&#x153;Sad and disgusting to see how some former students can speak of "their teacher" when he is publicized and recognized, in order to want to use his notoriety to obtain recognition.â&#x20AC;?

Jeet Kune Do ur children are educated through these reality shows learning to talk with totally uneducated people and taking themselves seriously. They only teach disrespect, laziness, easy money, partying without worrying about finding work, etc. How can you worship people who respect nothing and have no moral value? I am totally revolted to see our world and our values being flouted by people just concerned about themselves and their well-being, who make believe that life is lying, betraying and using others to succeed. Unfortunately as mentioned above, these new values transmitted in reality TV, are found and plague the world of martial arts. We have seen this since the arrival of the internet, which has certainly made it possible to publicize many martial arts and excellent teachers, but which has also allowed people without any talent to pretend to be what they do not. Social networks and other progressive media have allowed them to invent paths, to award themselves imaginary degrees, to claim to represent a grand master or a non-existent system. Most even creating their own martial system by awarding themselves a rank at the same time. Thus, through my travels and especially during the halls of fame where I have the honor of being invited, I meet people who behave and refer to themselves as great masters. Recently, I met a "grandmaster" who had a 24th dan black belt. It was certainly totally ridiculous because it stops at 10th dan black belt but everyone hailed him as if he had an exceptional level. However, in view of his correct but not exceptional performance, he must have been a simple student who had proclaimed himself a grand master. What is most astonishing is that the more you exaggerate your rank the more you are recognized; no one ever checks your statements and your martial references.

I am totally revolted to see our world and our values being flouted by people just concerned about themselves and their well-being, who make believe that life is lying, betraying and using others to succeed.

Recently I was speaking with a student in private lesson and I was overwhelmed to learn that when he publishes the resumes of teachers, he never verifies the authenticity and the veracity of those. So I told him that some people I had had the opportunity to train had absolutely no skills and the path described. There is a huge difference between training in a seminar with a teacher and training with a teacher for years by actually following him. Meeting a teacher once at a seminar does not in any way make you a representative or a student of it. This seems logical and yet it is aberrant to find that in many martial arts resumes, people mention endless lists of names of "their teachers" when they have only met them once in taking photos with them. While it is certainly commendable and normal to quote the teachers who have marked our journey, to be honest, it is absolutely essential to specify the time spent and the real relationship with each of these teachers. Indeed, to quote a teacher met only once, in order to pay tribute to him for what he transmitted to us during this meeting, in no way means that we are his student or his representative, nor that this same teacher considers us a student. In addition, when a student who has trained with a teacher but their paths separate, it is dishonest to still use the name of that teacher to attract students by claiming to be his representative or still be certified under him. When paths separate, it means that there is a rupture, which concerns only those concerned: the pupil and the teacher. The student is no longer allowed, like the teacher, to use the old destroyed relationship to advertise himself. Thus, a teacher whose former student becomes a champion or becomes known, can only mention having trained him for a period, but in no case claim to have taught him everything, otherwise the student would always be with him.

Jeet Kune Do The next generations need healthy benchmarks to be able to live in peace and harmony with the whole world.

Just like a student who has trained with a teacher, no longer has the right to use his name or the system he has studied with him, except to pay homage to him. But in no case to try to justify its legitimacy. It is therefore sad and disgusting to see how some former students can speak of "their teacher" when he is publicized and recognized, in order to want to use his notoriety to obtain recognition. This is absolutely immoral and the opposite of the values of respect, humility and honesty imparted in the martial arts. We must build ourselves without lying and by accepting our strengths and weaknesses.

These weaknesses, we can improve them to become better and stronger. In any case, lies can change us and change our true level. This which seems logical, is in fact no longer true nowadays, even in martial arts. Indeed, everyone participates in this masquerade which consists in valuing the lie to the detriment of the truth. The more a person lies on his journey, the more he will be publicized and recognized. Thus we are witnessing self-proclaimed teachers who disarm, for example, a firearm by being 2 meters from the bearer of the weapon.

Jeet Kune Do We know that the person will be dead even before having time to approach because at the slightest movement the attacker will shoot. These demonstration videos abound on the internet and especially on social networks. The more aberrant these videos are, the more views there will be, and therefore more media coverage. Promising invincibility without training has become the norm. Just as lying has become a quality. These lies which are endorsed at the most level as during the demonstrations of martial arts where we are asked for the spectacular to the detriment of the true effectiveness. "People want to see what they see in the cinema in action films," is what the organizers tell us before each demonstration. But as Sijo Bruce Lee used to say, what is shown in movies that is spectacular cannot be done in real life. The spectacular aims to make violence beautiful and acceptable by valuing the hero. This hero who has changed sides. Indeed, in the cinema for several years, one values “the bad guy” like a hero and conversely the policeman has become the “bad guy”. When I was younger, the hero was the one who protect the weakest. The police were therefore our heroes like Starsky and Hutch. This is no longer the case. We must therefore ask the question whether the habit makes the man or if lying is the current norm? I think that in our increasingly violent societies, we have to transmit real values through martial arts, namely honor, honesty, respect and love of one's neighbor rather than hatred of the other and that lying is a guarantee of success. Only the work actually done deserves to be recognized for its true value. The next generations need healthy benchmarks to be able to live in peace and harmony with the whole world.

â&#x20AC;&#x153;Indeed, I see that the more people claim to be, the more they are respected and publicized despite all their lies known to all.â&#x20AC;?

Kenpo

The economy of movement in Kenpo Kenpo is a system that is based on many aspects. It's one of the arts about which more has been written all over the world. It has concepts, principles, logic, and movement rules, including an effective and devastating self-defense system, provided we understand and follow such rules and principles. It's one of the most complex systems, in which you not only learn to punch and kick, but also to study the movement in itself. In my opinion, that's the genius of Ed Parker's Kenpo self-defense system. This article will look at some of the aspects that make the "motion economy" such an important concept. I have chosen this topic because it's a term that although is frequently used in classes and seminars, it's not usually understood in its entirety nor is it given all the value it deserves. That is why I will try to explain certain principles that contribute to achieving the economy of movement. T h e m o t i o n f l u i d i t y, c o m b i n e d w i t h proper body mechanics, will improve your per for mance and help you become a magician of movement, aware of what it takes to be a strong and effective student or teacher. Only through a good use of time, that is, analyzing and observing the movements as a Kenpo student, will you be able to improve your understanding of these principles. There are no short cuts. As Parker used to say, referring to what we just explained about intelligent training: â&#x20AC;&#x153;If you want to be good, all you have to do is train hard for years, and youâ&#x20AC;&#x2122;ll end up being good.â&#x20AC;?

Kenpo The capital E “Capital E” is an expression that Richard “Huk” Planas uses very often. It alludes to “Efficiency”. Thus, in Kenpo we do not like to spend more time than necessary to do something, that is, we try to finish the fight with a single devastating blow. If the opponent has not fallen to the ground in the second or third movement, it is likely that we are losing the fight. The reason is the lack of compression or the misuse of body mechanics and movement principles. One of those principles is the path to cover, which has to be sufficient to achieve the objective, that is, the distance between point A and point B, or the distance a weapon must cover to hit a point, causing enough damage to stop or nullify any counterattack by the opponent. In the early stages of training, Kenpo practitioners learn, the notion that the closest weapon attacking the closest target will of no use without the proper path and the proper body mechanics. We can give an example: when the forward hand is too close to the adversary to execute an effective blow, then the rear hand is the one that has to apply the blow with economy of movement. We must move from the point of origin and understand perfectly our weapons, the objectives and the reactions of the opponent's body as a result of our blows.

Improving skill, not “overkilling” When other martial artists observe Kenpo, a common mistake is to believe that we hit our adversary too many times. They call this “overkill”. The goal is training to improve your own skill, not to “over kill” your opponent. So we must understand that the preset extensions are not important for the economy of motion. Extensions are in the system to complete the categories of the bases and movements in all the ways in which they can be applied. We should realize that after hitting an opponent ten times, if he is still standing and we have to keep hitting him, it is because Kenpo is not working well, once again, as a consequence of the lack of body mechanics and suitable principles.

“Proper body mechanics are the most important part of being effective. By synchronizing the movement of the upper and lower body, we increase the power and efficiency in each movement we make.”

Kenpo

Kenpo According to Planas, the extensions were made for people who didn't realize they were making that mistake. From my view, it’s best to train the extensions to work out the mind and create them yourself. The main reason for the extensions was commercial. If you are able to understand one hundred percent what you have learned in the Art, you will be able to extend or add movements if necessary, from things you have done in other techniques. You can do this by using things that you already know and that you have practiced many times, without having to learn more than necessary, as this is enough in itself to fill your head. More does not necessarily mean better. It is simply more quantity... and probably less quality. Let's now talk about a few principles that make Kenpo more effective and focus on the "economy of movement":

Charging When carrying out a downward block, we have to realize that we are “loading” or “charging” the hand when we carry it in the opposite direction in which we are going to perform the block. Therefore, to achieve the proper distance from which initiate the block movement, it is essential not to raise the hand and forearm above the solar plexus or the opposite elbow when charging. This should give us enough pathway to execute an effective block. It is related to the use of the "cat principle" with the hand and not only with the foot. As you should know, the cat stance made with the foot forward serves to make a minimum load of the foot, not a maximum. This puts your foot in a loaded position with a bent knee, in order to achieve the travel and mechanics required to execute an effective kick at a minimum distance. A pass through from behind would give the kick the maximum distance of movement. The key is that for the same reason we also apply it to the hand. It is common to see students raising their hand to shoulder height, which would be the same situation as the inverted step in the case of the foot, but this time it gives the hand more distance to travel. In this block that's not necessary. Another example is the so-called "Delayed Sword", which is usually the first technique that beginners learn. After having made an internal block, they unconsciously tend to remove or retract their hand because they made the block too far forward, to then perform the blow with the edge of the hand. This

Kenpo

â&#x20AC;&#x153;If you want to be good, you just have to train and years later you will end up being good.â&#x20AC;?

happens because the brain knows all too well that there is not enough distance to execute an effective blow and then automatically, the brain loads the hand for you, that is, although we do not know, the brain does know what it takes to get power. This is where learning about the economy of movement comes into play from the beginning. The motion economy rule includes this basic movement in which we don't limit ourselves to simply block, but we have to load at the same time. We have to block and hit in two movements; not blocking, charging and then hitting in three. Another principle used in this technique comes from the front kick, which is not only performed to make up the height of the opponents, but also provides us with more travel in the blow, to increase efficiency with the help of pairing with gravity.

Striking and charging principle It is a principle that is used in most systems. In the first lesson, the student learns to punch from the horse stance, to separate the hands from the lower body. He first starts with one arm stretched out in a fist position, and the opposite hand, also in a fist, loaded to the opposite side. When he punches with the withdrawn hand, he learns to reload the outstretched hand. This is what we call the striking and charging principle; when one hand strikes the other one has to be loaded for the next blow, as we never load or hit in separate movements. An example would be the of "Darting Mace" technique, in which, when the opponent grabs our right arm with both hands, we raise our left arm over his arms and we counterattack by grasping his right wrist with the right hand. We take step forward to a left neutral arc and drop the left forearm with the weight of the body on the opponent's arms, to cancel out their height, pulling our right arm backward and to the right side, or towards the charging position, while continuing to strike forward with the left arm, below the chin or on the opponent's jaw, and using the principle of borrowed force, when stretching the arm. This move places us in the striking and charging position. From this point, movements alternate with the principle of striking and charging; one hand strikes while the other withdraws to the charging position without losing the movement. Here we can clearly see how the hands alternate. Miyagi, at the end of Karate Kid II, brings Daniel-san a small drum with two balls attached. When the drum starts to spin, one of

Kenpo

the balls hits the drum while the other is charged and Miyagi says to Daniel-san: “This is the secret of my system.”

You never check or charge in separate movements I learned this principle for the first time training sticks with Planas. Checking and charging are extra moves if you do them separately, so when one hand strikes, the other should be loaded. An example would be the "Thundering Hammers". A very common mistake after the first blow is to check in a separate movement, raising the right hand above the opponent's right arm to then hitting him on his left kidney. The checking had already been done on the first blow: when the opponent bends over from the blow he's received, his arm hangs on our center line, which from this position is the only possible blow that he can deliver, whether intentionally or not. This attack is already covered or checked from the position of our first blow. When we lose that position by moving towards the top of his arm, we don’t check but open our center line and he can hit us.

Adding extra moves A spoon kick is a good example in which the point of origin is important. We attack with a hammer blow to genitals in reverse closed knee position with our foot between the opponent’s legs. When covering to get out, it is common to see students heel the opponent's groin

“When other martial artists observe Kenpo, a common mistake is to believe that we hit our adversary too many times. They call this “overkill”. The goal is training to improve your own skill, not to “over kill” your opponent.”

Kenpo

and then put their foot down, before covering out. This is wasted time. If it's a spoon kick, the move should be used to get away from the opponent, going to your cross guard to cover yourself as youâ&#x20AC;&#x2122;re getting out. Another thing that can be frequently seen in the "Five Swords" technique is the rear cross guard used as a stance, pausing momentarily before delivering a blow the right hand edge on the opponent's neck. Done this way, it will be just a waste of time. A faster and more fluid way is using the rebound principle the right fist, the right hand going backward and upward - and displacing the left foot, which means that when the foot moves, the whole body turns at the same time (and not later, which is what happens with the crossed guard) to get into position with the blow in a single movement. We always have to save movements instead of adding them, because all that can bring us is again a waste of time, thus giving the adversary the opportunity to move.

Composition Principle However, in a way, adding or including movements doesn't have to be necessarily bad. Let me give you some examples where adding moves may have a positive effect, provided it's done with the right mechanics and at the right time. The principle is called "Composition". We say that when we perform a "heel palm", we are doing a "heel palm-claw", and when we perform a "claw", it's a

Kenpo

Kenpo "heel palm-claw". There are many techniques in which we apply this, such as "Hooking Wings", "Thrusting Wedge", etc. Another example is the “Shield and Sword” technique, where we end up in a cross guard so that, when unrolling, we can use the twist of the rotation to execute a hammer blow with the right hand on the opponent's left kidney, and with the momentum of the last part of the rotation, we hit the right kidney with a circular kick, which is the same compound movement as the one done in "Five Swords", but horizontally. Note that in the rotation there should be two strikes availing themselves from the torsion principle. Another example would be the technique "Five Swords", in which in the change of position to forward arc two strikes are produced. The downward diagonal strike with the right hand edge, followed by a strike with the left palm base, which is the main reason for the change of position, and also allows us to prepare ourselves for the next strike charging the right hand.

The Crane Principle Every time we cross our body we can add movements if possible. This is what we call the "Crane Principle" (5). In the Leaping Crane technique this principle is put into practice twice. The first time is when we load the right hand to the left, and we hit the opponent's arm to cause pain and nullify it. The second time is the opposite of the first movement. We knuckle the opponent's left kidney and load the right hand to the right side, ready for an inward horizontal elbow strike.

“One of Kenpo movement principles is to do everything we can at once, as long as there is nothing to stop or diminish the effectiveness of the other movements.”

Kenpo “Every time we cross our body we can add movements if possible. This is what we call the ‘Crane Principle’.”

Many threes, a few fours One of Kenpo movement principles is to do everything we can at once, as long as there is nothing to stop or diminish the effectiveness of the other movements. There are a few techniques in which we do more than three things on the first move. For example, in the "Leaping Crane", we jump to the left to the crane position, using the left hand to deflect the opponent's right punch. Our right hand moves to the left to get charged, preparing itself for the blow to the opponent's left kidney, with the knuckles out and down. By moving the right hand to the left, we can take advantage of the charging movement and hit the opponent's right arm to distract him. Here is an example of four things that are done at the same time. The jump, the deflection, the arm strike, and the foot load for the next move. Ed Parker used to say, "I'd hit him with my left foot too if I didn't have to use it to keep me up." Another example would be the "Gift of Destruction", in which we jump forward with the left foot, pull the right hand, hit the opponent's right elbow with the left hand, and kneel the genitals. All of these things would have to be done on the first move. This is the way to maximize the movement.

Other important factors Proper body mechanics is the most important part of being effective. By synchronizing the movement of the upper and lower body, we increase the power and efficiency in each movement we make. We will then be hitting with the whole body. In Kenpo we say that we never hit with a hand, an arm, a foot or a leg, but that we always do it with the whole body, or in other words, we move the body as a unit. My advice is to do the techniques and forms in slow motion or at Tai Chi speed. By doing so, we can feel how we generate power by moving correctly, if we follow the principles of body mechanics. We are progressively increasing the speed, but the efficiency will continue there. Remember that speed is an illusion of proper movement. The control of the "timing" (proper time) is the most important basis; if timing is not controlled,

Golden Rules text By Carlos Jodar

there will be no effectiveness either. Upper and lower body mechanics may be fine on their own, but if it's not properly measured versus time, it won't do any good. There are many important factors to ensure victory. Let's remember the Kenpo motto: "speed, power and precision", but let's keep in mind power and precision first, accompanied by enough speed to achieve the goal. Obviously there are many more things to improve: you have to study art intelligently, be critical and ask a lot of questions. I wish you all the best on your way to reaching your full potential.

Ed Parkerâ&#x20AC;&#x2122;s Kenpo: The "Golden Rules" The innovative features and the refocusing of combat as a mobile whole in a scenario of forces without formal limitations, were in the 1960s a giant leap against the linear and extremely rigid styles of the Far East. The conceptual revolution was total! Ed Parker entered history with a crusade that sought to go beyond conventional views on combat. His transgression is still alive in his students and undoubtedly set a trend in terms of martial styles. What we understand today as an "effective" confrontational questioning between two forces, took an enormous momentum in those epic years when California was the cradle of remodeling, of the future. Any style worth its salt tries to extrapolate conclusions from techniques that empirically work. From all this are drawn principles that tend to be repeated and from which rules are stablished, whose acceptance will promote better options for the combatant. Grand Master Planas is a true legend of Kenpo, a style in which he has been able to follow the paths opened by his Master Parker, who soon disappeared, developing all the incredible potential implicit in the many paths that Parker was able to inspire and open in his day. Ed Parker's Kenpo is currently one of the most widely practiced Kenpo systems on the planet. At the time of its creation and development by Master Parker, it was a revolution within personal defense systems. This in turn generated heavy criticism of Parker within the classical systems, for not adhering to the traditional canons and creating an "impure" system eliminating and providing what it deemed convenient. In this way, it evolved to turn into a whole new system, with its own personality and a high percentage of Parkerâ&#x20AC;&#x2122;s personal innovation. Much of this evolution is due to the incorporation of theories of movement, which Parker structured to support and give a more scientific sense to the practical application of techniques. These theories are the backbone of the system and all of them aspire, in different ways, to enhance the effectiveness of the student in a confrontation. For the modern student, it is no longer enough to repeat a technique copying the master, but he or she must understand in a theoretical and scientific way why he or she makes each movement, what is its purpose and on what applied theory it is based.

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Ed Parker's Kenpo is defined as a "Study of movement based on a set of principles and rules." Much has already been written (though never enough) about the principles and concepts of Kenpo, but not so much about what we call the Rules of Motion. That is why in this article we will try to delve into some of the most used Kenpo rules within self-defense techniques. The term "Rule" by itself can be misleading. It has always been said that Kenpo is a free system that adapts to the student and does not respond to a unique, rigid and regulated way of working. This is so and in fact, every Kenpo practitioner not only may, but must, vary, alter and formulate the techniques of the program constantly, of course, as long as he maintains the principles of movement. When we talk about rules, we mean the safest way to do something in a given case. The rule indicates a factor to take into account in a specific situation that is constantly repeated in self-defense situations. They are usually formulated in a way that "whenever" you are in a certain situation you must do something. When we say "whenever", we mean 99% of

Kenpo the time, since we also teach that now and then rules can be broken for different reasons, and how it should be done. It may happen that without following a rule, the results are also good and that the technique works, but we must understand that following it would surely have had a greater chance of success. Putting an example with the principles of power, a punch without tur ning the body could generate a KO at a specific moment, but it is not the best way to execute it if we are to gain power. Therefore, in Kenpo we do not talk about something that is Good or Bad, but about something that is Good or Better. Taking into account this little introduction, we will talk now about some of the most used rules in Kenpo.

“Whenever the forward hand is used, Neutral position; and whenever the backward hand is used, Forward Arc position” These are the rules that teach the forms short 1 and long 1 respectively. It is a basic rule that teaches the student the correct body mechanics when using both hands. When using the front hand to block or hit, the Neutral position allows us to have more reach and keep our body at a 45degree angle, without exposing our center line to the opponent, as well as allowing us to charge our rear hand as a reinforcement weapon. By using the backward hand, the Forward Bow position offers us 3 essential advantages: it gives us sufficient reach thanks to the backward shoulder being matched in distance with the forward shoulder; it gives us torque power thanks to hip rotation in addition to reinforcing mass; and it offers us an angle of reinforcement in the back leg, which allows us to absorb in a stable way part of the force that is generated in the opposite direction when striking. Two examples of techniques that use these rules would be "Delayed sword" (forward hand rule) and "Calming the storm" (back hand rule). As exceptions to this rule, at the time of breaking it, there are several ways such as when we use the back hand to defend (second part of the long form: 1) We use the back hand in a vulnerable area (attack to the eyes in the long form). 2) Or when we use both hands simultaneously (short form 2).

“Whenever you strike with your elbow in depth, you should do a drag.” This rule is related to power principles. In a technical sequence it's usual to get from medium distance to short distance (or to piercing contact). That indicates that the blow before an elbow strike was most likely a technique performed with an outstretched arm or even with the leg. When moving to an attack that uses a short-range weapon, such as an elbow, it must be made an adjustment with the feet in order to stay within the proper distance. In addition to gaining the necessary distance for the attack, dragging the feet (shuffle) is vital to obtain power. The power principle that corresponds to the depth axis is reinforcing mass, therefore, it is essential to carry out a foot drag so as to be able to move the body, together with the blow in a horizontal plane, and thus generate maximum effectiveness in the elbow strike. In general, we can say that foot dragging is not a part of the technique and that it is carried out whenever needed. This rule is constantly used in the technique program such as "Shielding Hammer", "Flashing Wings", "Broken Gift", etc. As exceptions to the rule we can give examples such as when we strike with the elbow taking a step forward ("Brushing the Storm"), which would keep the power principle the same and it would only change the setting of the feet, or

when the opponent advances towards us and we do not need to gain distance, and the power is given by the borrowed force ("Glancing Spear").

“Never hit twice in the same area” This rule is related to the principle of action and reaction and to the concept of sequential opportunity. It is based on the natural spontaneous reaction of a person to being hit. When receiving pain in a certain area, the brain reacts by covering that area that has been damaged so that it won’t be hit again. Colloquially we usually say that "we take where it hurts". That is why normally if we hit someone in the face, that person tends to cover that area immediately after receiving the blow. Same thing happens, and in a more exaggerated way, with vulnerable areas such as eyes, throat or genitals. Also, a hit target may drift so far that it cannot be immediately reached again. That is why we say that when we knock on a door that we see open, it closes but in turn opens another that will become our next objective, and so on throughout our knocking sequence. This rule is found continuously in techniques such as "Thrusting Salute", "Flashing Mace", etc. Exceptions to this general rule can be found in particular cases, such as when we control the opponent's arm and he cannot cover himself ("Mace of Aggression"), in the compounds ("Gathering Clouds"), or when we do not allow him to cover himself ("Fatal Cross"), which allows us to hit the same area twice without problem.

“Whenever torsion is used as the main power principle, you must do a base pivot” The torsion rule is one of the most important rules and also most overlooked by students. As its name suggests, it refers to the ideal way to generate power. Torsion is the power principle corresponding to the width axis and is generated from the rotational force. In order for there to be enough power to generate a bigger hit, the body must always move along with the hit simultaneously, obeying the principle of directional harmony. In the case of torsion, in addition to this, another factor must also be taken into account: the base. What the rule is telling us is that you can't generate enough power if you spin in the air. Both feet must be on the ground before using torsion as the primary power principle. In the case that you have a foot in the air (either because you have just performed a kick or because you are simply taking a step), it is best to wait for your foot to touch the ground and just at that moment twist your body availing yourself of the power generated by the torsion to throw the blow. If we spin while the foot is still in the air, we will not generate enough power in our movement, as there wouldn't be a base on which to rotate with force. Many practitioners forget this rule, thinking that waiting to step on

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the floor is a waste of time and convinced that they eliminate an extra movement by spinning in the air and hitting at the same time. This is certainly a mistake, since in Kenpo we never sacrifice power when striking. In fact, generating power with precision is our top priority, ahead of speed. It's no use launching a blow, thousandths of a second before, if it won't be effective enough. Clear examples of techniques where many students forget to apply this rule would be the first movements of "Obscura Sword", "Circling Wing", or "Lone Kimono", among others. Some other ways to use torsion differently can be found only in cases where we use rotational force to kick ("Rotating Destruction"), or in cases where the torsion exists but the main power principle is different ("Leaping Crane").

“Never use a depth step before a cross guard at the start” This is the so-called cover out rule. It tells us the safest way to get away from the opponent after having performed a technique. The Kenpo cover out is a very characteristic foot maneuver in Ed Parker's system. In

most cases, after having performed a defense technique, we move away from the opponent to create a safe distance between him and us. This rule shows us the safest way to create this distance. It is assumed that when we move away from the opponent, he is still close enough to us and although we have hit him, we must keep in mind the possibility that he can still make an attack while we are moving away from him. If I walk away by taking directly a deep step back, at the intermediate moment when my feet are closer together, my body is frontally exposing my centerline to the opponent. This is very dangerous, since being still so close to him, a possible counterattack on his part in such vulnerable areas, could cause me many unnecessary problems. Therefore, our first step will always be a front cross guard, with the forward foot remaining in a twist position (cover step) which allows us to get away from him on guard, without exposing our vital points in the center line. Once we are out of the opponent's range, we will take the deep step to complete the double cover out and cover the 360º of the environment. This rule can be seen in practically all the techniques of the program, with very few exceptions, such as some techniques in

which we have created sufficient safety distance with the last hit, and the cover step ("Obscure Sword") is not necessary.

“Whenever our body or that of the opponent crosses from side to side, we take something with us” This is the so-called rule of the crane. It usually refers to a way of inserting minor movements between major ones using motion economy. On many occasions, during a technical sequence we want to hit a certain target, but our weapon is not loaded on the appropriate side, which forces us to cross the opponent's body to take it to the correct side from where to throw the attack. What the rule proposes is that since our hand must pass in front of the opponent, we take advantage of that route to execute an attack, generally minor, for it's not the main attack. By

taking something with us, we make the most of the movement, continuously causing damage to the opponent, so as not to allow him reaction time, and give way in a more secure way to the subsequent bigger blows that will end with the opponent. It's about causing as much damage as possible in every move we make, without wasting any of them. We use this rule in many techniques such as "Shield and Sword", "Triggered Salute" or "Flashing Wings", among others. As an exception to this rule, I would like to use another rule that is directly related to this one:

“Never let anything minor to cost you the technique” This means that the main rule is advisable as long as the insert used does not force the rest of the subsequent major sequence to be modified.

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Kenpo

â&#x20AC;&#x153;Whenever a movement includes a grip, you have to make sure that the grip is made before taking the stepâ&#x20AC;? This rule refers to very particular cases that occur in a lot of techniques. Many times we find ourselves in situations in which before or after hitting an opponent, we want to grab him and displace him in some direction, which includes not only grabbing the adversary, but also taking a step so that we can move us and move him. The normal thing in these cases is to see the student grabbing and taking the step simultaneously, which a priori may seem like the fastest way to do it, following the principle of

economy of movements. In many cases this is so and no problem arises. But other times is not. It often happens that when doing both things simultaneously, the grip is not assured and when taking the step, the student finds that he has not managed to catch the opponent and his distance no longer allows him to do so, so he remains exposed to possible attacks of the opponent, who in any case hasn't been neutralized or unbalanced. For this reason, this rule teaches us to ensure the grip first and take the step immediately afterwards, so as not to have any problem, since although in many occasions it can be good to do it at the same time, in Kenpo we do not like to play with probabilities or leave things to random.

Examples of this rule are found in techniques such as "Obscure Sword", "Defying the Storm", "Snakes of Wisdom", etc. In some cases where the exposure time we have is very short, or when we need to take the step to gain distance to grip with more stability, we would be forced to do both at the same time ("Dance of Death").

â&#x20AC;&#x153;Whenever we are between the opponent's arms, we cancel out his heightâ&#x20AC;? It is the so-called inner rule. We consider being between the opponent's arms to stand in front of him having defended his attack from the inside, which places us at the same distance from his two arms. Placing ourselves right in front of the opponent's strong side has its advantages and disadvantages. The most important advantage is that he offers us his entire center line, which includes the best

possible targets when hitting, from the eyes to the genitals. However, the biggest drawback of going out by the inside is that we find ourselves with a huge number of the opponent's reinforcement weapons with which he can hit us (head, arms, elbows, legs, knees, etc.). That's why getting into the opponent's arms is also much more dangerous for us. The rule tells us that the best option, if we are in that situation, is to cancel out his height and thus immediately nullify his possible attacks. The most common way to do it within the techniques program is by kicking his genitals as soon as possible, taking advantage of the fact that we have his central line available. This rule is followed in a variety of techniques such as "Delayed Sword", "Hooking Wings", "Checking the Storm", etc. This rule, like all the others, can be broken as long as it is done properly, such as in cases where we directly hit vulnerable targets just after blocking ("Five Swords") or in cases where we have the opponent's weapons and dimensions under control ("Parting Wings").

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Protection Personal protection, the ancient and the modern! By Shidoshi Jordan Augusto and Kyoshi FabiĂĄn GarcĂa

T h r o u g h a n t h r o p o l o g y, w h i c h studies the trajectory of man on the Earth, there is a slant that says that the first profession in the world was that of hunter and the second, that of farmer. Later came merchants, and then prostitutes and politicians. However, to protect the latter ones, bodyguards appeared, that is, those dedicated to private security. When we observe in depth, a b o v e a l l , t h e w o r l d t o d a y, societies blend into a kind of scenario where the imminent danger can be anywhere. Unlike ancient times, when danger already existed in an isolated way, today's world is in fact a hostile place to live.

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â&#x20AC;&#x153;Another important aspect that must be understood is that a VIP bodyguard is not the first defending line.â&#x20AC;?

Protection hen we read the newspaper or listen to the newscasts, it's impossible overlook the serious consequences that have arisen from the generalization of violence, understood as a physical threat that produces the risk of life for the different groups and segments that make up our society. For years, this growing wave has led to an increase in sectors that are dedicated to maintaining order directly or indirectly. Companies specializing in military actions, urban or not, have made fortunes by offering their jobs to emerging countries and companies with greater purchasing power. If we go back a bit in the past, we will see that the man who has become inert, selfish, false and bestial, within the so-called modern civilization, has extended his domain beyond conventional normality. Since the arrival of the "industrial revolution", everyday reality has structured a new type of thinking where crime, often manifested in reaction to social content, has prompted a line of action, perhaps more brutal, according to the refinement of the cruelty we're dealing with. What is called, sometimes crudely, "feeling of insecurity", leads us to a sociology or anthropology of fear. It is true that in the past, man himself was more primitive, which implied a kind of frightening beastliness and brutality. However, that hasn't changed, it's simply more hidden internally. If we look at the world of crime, for example, the same atrocities occur on a daily basis. Direct or indirect experiences with violent episodes of a physical and / or symbolic nature, such as thefts, assaults, aggressions, threats, kidnappings, attacks, torture and murders, make up a frame of radical change in the expectations and patterns of sociability. Increasingly, especially in large urban centers, extreme caution is evident, and that in turn generates mistrust and even rejection at the

â&#x20AC;&#x153;When we speak to someone with experience in the field of protection, someone who acted in the face of real dangers that outline death as something that happens in less than a second, the reflective reality is different.â&#x20AC;?

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Protection possibility of differentiated social contacts and interactions. Although the virtual reality of the Internet is alive, the danger is still real! The question is: Who is, or would be prepared to face these types of scenarios? Those who dream of protecting someone, imagining that it's like in the movies where everything works out in the end, are they aware of the energetic and cruel language that moves around the world? You have to think that "swimming in a sea of sharks" can be hazardous if you do not listen to the routine warning formulas. Behind this path, which can be seen in the wonderful videos, in the adrenaline that makes a young man feel like a "superman", there's a kind of world that, when reaching the bottom of its current and tragic experience, succumbs to violent, tenacious and cruel modernity. If we go back a bit - here I can only talk about Japanese theory under the bias of what I studied and collected in conversations with my masters and experienced professionals -, in the Middle Ages or before, protection was made by two types of professionals: Shugonin (守護人) and Genpisha (験日者). Although it was the same function, protection, the "Shugonin" (守護人) held an official position whose mission was that of permanently protect feudal lords or important businessmen, while the "Genpisha" (験日者) was sort of freelance protector paid on a daily basis. In any society, whether old or modern, "social classes" have always been the dividing point among reality, danger and protection. In common language, similar ideas arise when speaking, for example, in customary expressions like "most needy" or "most privileged" class. These ideas are not necessarily wrong, however, for Sociology, the issue is somewhat more complex. "Social class" is a term used to convey the impression that there are significant social distances in society. This means

Protection

â&#x20AC;&#x153;The members of these organizations are specially selected and trained to fulfill their mission, but beyond that they partake a feature that makes them very special: The conviction that they are serving their country.â&#x20AC;?

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that individuals and groups are different from each other and occupy different places in society. However, sociologically, we cannot speak of social classes without pointing out the existence of unequal relationships between them. In practical terms, this means that there is always a relationship dominance between one class and another. The difference in the possibilities of accessing to political power, economic power, cultural assets, education and other values highly prized in our society, marks the difference between social classes. If we transfer this to the reality of protection in itself, we will see that, from the beginning, the "one below" wants to go up and the "one above" doesn't want to go down. In the past, protecting someone meant acting energetically to face human reality with courage. Today, however much the same tone is kept, there's been some changes and things are not the same. If the notion of social class serves primarily to mark the real distances and inequalities that exist between the different layers of society, it also encompasses the idea of conflict of interest. It's in the Marxist thought that these clashes are best explored as a central theme for understanding modernity. For Marx and Engels, the history of all societies is the history of these fundamental conflicts, which they call â&#x20AC;&#x153;class struggleâ&#x20AC;?. According to this logic, to understand history it would be necessary to investigate how, at different times, the more and less privileged classes clashed to guarantee their interests. For Marxist thought, in the modern age, which began after industrialization and the establishment of capitalism, this struggle takes place mainly between the bourgeoisie and the proletariat. The ruling class of an era, according to Marxist thought, by controlling the economy, also controls all other aspects of social life, dominating the political and legal apparatus and exercising its dominance in the field of ideas, that is, defining the hegemonic ideology. So protecting someone in this moder n, technological age involves more than just acting or being able to act. We must think that they are two different things. When we speak to somebody with experience in the field of protection, someone whoâ&#x20AC;&#x2122;s acted in the

Protection face of real dangers that outline death as something that happens in less than a second, the reflective reality is different. Now allow me to introduce to you master FabiĂĄn GarcĂa, a personal friend who for years worked under such conditions. He will speak to us from the perspective of the real field of action.

Shidoshi Jordan has made a complete and precise description of the activity, which releases me from providing further details, therefore I will directly focus on dumping some experiences and opinions which I consider relevant, and which may just as well shed light on some of the aspects of this complex activity. In the first place, it'd be interesting to analyze the people engaged in carrying out this type of work. This might seem a minor aspect, but if we consider that when you hire a "bodyguard" you put your life in his hands, having this information turns out to be transcendental. I am not referring to their operational skills, which obviously need to be taken into account, but rather to their motivations. hroughout history, the most important authorities in all the countries of the world have always had their own personal guard. There are hundreds of examples, whose current version are the professional bodyguard teams that protect the authorities, and that the different countries possess in order to preserve the life and physical integrity of their dignitaries. These teams are part of the countryâ&#x20AC;&#x2122;s Armed Forces or Law Enforcement Units, or, in some cases,

Protection they belong to an independent agency, such as the United States Secret Service. The members of these organizations are specially selected and trained to fulfill their mission, but beyond that they partake a feature that makes them very special: The conviction that they are serving their country. In other words, these men are willing to give their lives in the performance of their duty for a higher good, and that conviction has a superlative value in this activity. In the civilian environment, conditions are different. This aspect, that I consider to be of crucial importance, is not easy to achieve but not impossible, since it's simply a job; of course, a high-risk job, but a job after all. This is how in the offer we can find highly qualified people, many of them with real combat experience, but determining the motivations that lead them to stay in this job continues to be very important. In my experience there are several reasons why people serve as VIP bodyguards in the civilian world. Some do it out of the need to keep doing activities that give them the level of adrenaline they need to feel alive. It may seem weird, but it's not. The production of epinephrine stimulates the release of dopamine, a substance that induces a general feeling of well-being. Ex-combatants have been exposed to large amounts of this hormone for long

periods of time and when they return to civilian life they need to carry out activities that continue providing it. It somehow becomes an addiction and they need to experience it continuously and regularly. This can be a problem, because studies indicate that there is no specific reason that justifies the emotional collapse after the war, other than several "layers" that overlap and that are undermining the mood of the ex-combatants, and addiction to adrenaline is one of them.

There are also those who devote themselves to this activity only for the remuneration they receive in return. In this category, two types of people can be pigeonholed: those who carry out the activity based on ethical and moral principles, and those who only move for money. The former are the best candidates, the latter could be framed, without doing it in a derogatory way, in the category of mercenaries. Iâ&#x20AC;&#x2122;ve always thought that when the only motivation is money, it just takes someone to offer a

â&#x20AC;&#x153;You have to think that "swimming in a sea of sharks" can be hazardous if you do not listen to the routine warning formulas.â&#x20AC;?

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Protection

higher sum for him to become the new boss, which is why these people are not the most suitable. Another important aspect that must be understood is that a VIP bodyguard is not the first defending line, but the last. I often say that, unlike most people think, when a bodyguard is forced into action to protect his VIP, itâ&#x20AC;&#x2122;s because the whole system has failed. Iâ&#x20AC;&#x2122;ve grown tired of watching courses in the civilian environment where custodial training focuses on selfdefense and shooting with firearms. And it doesn't matter much how many more subjects are included in the bodyguard training program (Protocol, tactical medicine, psychology, negotiation, etc.) if it is not taken into account that VIP protection is not an individual job but a team one. Serious safekeeping will include the protection team, an advanced echelon, an intelligence team, support teams, and a command and control body. Without going too deep, I will describe each of them. The protection team will be made up of at least one bodyguard and one driver trained in tactical driving. And I say "at least" because less than that is not functional from an operational point of view. Ideally we should count on as many men and vehicles as needed to cover the needs. The intelligence team is in charge of obtaining and processing all the information regarding the places that the VIP will visit, the people with whom he will interact directly and indirectly (for example, the waiters of a restaurant where he will have lunch), the itineraries to use, the possible and probable threats, the escape routes, the closest medical and police support, etc. For this, he will have in advance the VIP activities agenda. This may be one of the most important teams, since maintaining freedom of action and avoiding surprises depends on it. Just to illustrate, I bring up that the American "Secret Service" has two specifically ordered missions: The first is to ensure the continuity of the government by protecting the president, vice president and their families, among others. The second, and on an equal footing with the first, to investigate threats against those protected. It remains clear that not having a proper intelligence service is like trying to move in the dark.

Protection The advanced echelon works in coordination with the protection team. On the same day, it moves in advance to the different places charted in the VIP agenda, and its specific mission is that of verifying that the situation on which the planning has been carried out has not changed at all. The protection team will attend each event on the VIP's agenda only after the advanced echelon has released the go-ahead signal. Its mission is very important, because it must confirm that the information obtained by the intelligence team has not changed. The simple replacement of a concierge at the hotel in which the VIP will be staying should set off the alarm bells. The support teams can be very different, from vehicles with VIP stunt doubles (like Ella Slack, who over thirty years worked as a double for Elizabeth II of England), to aerial evacuation means, passing through teams recovery of hostages on alert. Finally, there is the command and control echelon, which is the brain of the personal protection services and, as its name indicates, is in charge of directing the operation and coordinating the actions of the different teams and echelons. It's necessary to understand the correct functioning of the personal security operations so that, if we don't have the required human or material resources to cover all the needs, we are aware of the risks. Choosing the right members of a personal protection service and having the means to set it up is difficult and expensive ... there are easier and cheaper ways to do it ... but it will not be a real protection service!

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The Canarian Stick Fighting, “Lucha del Garrote”, is one of the archipelago's best-known combat traditions, possibly due to its extensive participation in international events. A centuries old Martial Art that has been transmitted from generation to generation, and that has come down to us thanks among other things to the over 40 years research and rescue work carried out by Grand Master and investigator Jorge Domínguez. In its efforts to disseminate this martial and cultural heritage, the Canary Stick Fighting Federation, that is, the "Federación de Lucha del Garrote Canario" (in acronyms, FLGC), presents this second work, in which its President, Grand Master Carlos Barrera, shows part of the official program corresponding to the Third Star (3rd Dan), dedicated to Hooks or “Embuchados”. We will start with the basic hooking, the “Regatón” to our opponent’s “Burra”, the way of training them, as well as some variants and applications, and their cons. We will also see hooks with the tip and some variants, the “Volcadas de Garrote” or "Envolcadas" and their cons, hooking from below, finishing with “Zapatas” or “Trabas” (takedowns), and some hooks from the outside with "Pinzas" and "Majadas" with great effectiveness in combat. We could not resist including some hooks with change of hand since they are our favorites in combat, despite their difficulty.

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

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In the same way that many weapons have been developed to provide advantages in combat, the human body has also improved the ways of using its natural weapons, that is, its structural components head, trunk and limbs, for the purpose of attack and defense. In Japan, empty hand combat techniques have become so effective that they have been studied and applied against any type of opponent, whether armed or not. The study of angles, tractions, impacts and levers, as well as the damages they could cause were was so deep that unarmed arts achieved the same advantages as an opponent with the most dangerous weapons. Torite (“Hand that grabs”) is the art of defeating and capturing an opponent with your own hands, the part of JuJutsu employed by the police at different periods in Japan until World War II. An Art that seeks effectiveness to arrest a person, always looking to nullify from the start the opponent’s ability to attack, through a complete arsenal of techniques with empty hands and weapons, and a whole structure of arrests with ropes and sticks to facilitate the actions of the other companions. In this first DVD we will study the technique of empty hand vs. empty hand in different positions, against Katana, Wakizashi and Tanto, the use of weapons (Hishigi, Jutte, KusariFundó) or any type of stick, displacements, blows, and Hojo-Jutsu and Shibaru techniques

Ref.: • publi JTORiTe 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.

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Ref.: â&#x20AC;˘ OKICHITAW-1

Okichitaw is an indigenous martial art based on the fighting methods of the warriors of the Assiniboine and Plains Cree Indian nations. However, the current training method is more intended in giving direction and focus to the student through self-challenge and confrontation of own fears and limitations in a controlled environment, while developing physical and mental strength. Okichitaw uses the practitioner's full body mechanics to deliver the maximum amount of impact on the opponent. This action is used in conjunction with one's own body weight to perform aggressive attacks and takedowns. Jumping, rolling, and hopping are used to initiate and end attacks. Due to the variety of techniques and skills, and the strenuous nature of the exercises, Okichitaw demands and generates a high level of athletic capabilities, strength, speed, agility, commitment to technique, and mind alertness. In this first work, Chief George J. Lepine, responsible for adapting the Art to current times, shows us the traditional method of solo training, availing ourselves of what Nature offers us. Trees, soil, water and many other different things that we can find around us and that can help us to train with our "Mokiman" knife.

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Krav Maga

• Defensa contra amenaza con arma de fuego • Verteidigung gegen die Bedrohung mit einer Schusswaffe • Difesa contro minaccia con arma da fuoco • Défense face à menace avec arme à feu • Defesa contra ameaça com arma de fogo

Krav Maga

Sifu David Delannoy presents his second work, focused on Jeet Kune Do and Self-Defense and built like a puzzle. It highlights and puts into practice some very important points in self-defense, such as the three phases of an aggression, body movement and shifting, opening of the visual field, response to an aggression according to law, physical destruction, vital areas, etc. With respect to the doing away of the physical threat, one of the essential principles of the Philippine martial arts is applied: the overriding of the attacking member and the importance of immediate responding to an aggression immediately when they hit us. Our response to aggression is simply proportional and immediate to the attack. Then, we configure the puzzle by adding elements depending on the development of the situation. Sifu Delannoy explains in detail the vital points and essential areas, the pinching, how to protect against a boxer, displacements and visual field, protections and destructions against simple attacks, reactions to strangulations, grips and headbutting, how to use the attackerâ&#x20AC;&#x2122;s body as a shield, defenses against stick and knife attacks, the use of everyday objects to defend ourselves. In case of aggression, respect for life, lucidity and survival instinct are necessary parameters that make you make good decisions.

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

ORDERS: Budo international.com

Ref.: • fRisan-3

Master Gianluca Frisan presents a unique project dedicated to Pencak Silat and Kyusho, in collaboration with one of the greatest exponents of this Indonesian art, Mas Denis Brecevaz. Both teachers present the essence of the “Bela Diri” martial aspect of the Nusantara style, and analyze the way in which traditional warfare techniques hide Kyusho’s attacks to the neurological and vascular system. Kyusho is the “Turbo” of every technique, it's that which can exponentially increase the effectiveness and efficiency of our action. Just as the turbo for the engine is part of a more complex and complete system, Kyusho is part of any Martial Art, and although it cannot replace the practitioner's technical skill, it can nevertheless integrate it. You will find detailed information on various Kyusho pressure points, with references to the anatomy of the arms, head, trunk and legs. Information on the correct location, and the principles that you must know so as to achieve predictable reactions and be able to place yourself in a clear advantage against the aggressor. A first introductory and fundamental DVD to understand the integration and the perfect fusion between arts normally taught separately, but which are actually two sides of one coin.

ORDERS: Budo international.com

NEW!!! Our Free APP is already available: https://play.google.com/store/apps/details?id=com.budointernational.budomagazine Budo International Magazine is now available for FREE on your Android mobile device, in 6 languages (English, Spanish, French, Italian, German and Portuguese). With our new APP you can read and download FULLY FREE and more conveniently and quickly the latest editions of the magazine, access our complete catalog of DVDs, eBooks, and more than 800 multilingual digital videos in mp4 download and the Budo International Youtube channel with instructional clips and trailers. Keep up to date with all our editorial news.

Ref.: â&#x20AC;˘ VUNAK-7

The first time Paul Vunak released the Enigma Series, he had the world of martial arts take a paradigm shift and rethinking there training. Fast forward 10 years later and now we have the next phase of the Enigma Series. What tends to be the problem for most martial artist is trying to figure out what works? What doesn't work? What works for me? This is where Paul Vunak and Contemporary Jeet Kune Do steps in. The tur n around time and demand for learning to be functional now is the goal. To be a complete street fighter or martial artist that can train for a life time but have the necessary skills now to protect yourself and loved ones. Contemporary JKD is Vunak's particular brand of learning to fight in all ranges of combat that address the needs of self defense today with a twist. That is Asymmetrical Violence. The game changer that allows you to fight outside of the realm of dojo, ring, and above your weight class. R.A.T. programs, Wing Chun, Thai Boxing, Brazilian Jiu-Jitsu, Close Quarter, Trapping & Kino Mutai. This is the same military technology handed down to SEAL Team 6, the Department of Defense, the DEA, US Marshals, SWAT, the Army, Air Force, Marine Corps and Counter Intelligence. The ground breaking approach that changed fighting 30+ years ago is now enhanced!

ORDERS: Budo international.com

The KMRED group, which in recent years has been focusing its work on the problems of the standing up combat at short-range, presents its fourth DVD, in which it's discussed the integration of LETHWEIâ&#x20AC;&#x2122;s "tools" into its "R.E.D. Training" methodology. As usual, it is not about "SHOWING OFF" the athletic and even cinematic skills of its instructors. Nor is it about demonstrating thousands of different techniques that make practitioners dream. The stated goal of the group is to provide avenues of work for people who are really interested in the "content" of the selfdefense area. You will also find at the end of this DVD, the positioning and choices of the group regarding some of the themes that feed all the ghosts in self-defense, such as defenses against threats with firearms, etc. 55 min.

Ref.: â&#x20AC;˘ KMReD-4

ORDERS: Budo international.com

Jukoshin Ryu. An effective self-defense system. The Jukoshin Ryu style of Jiu Jitsu was designed to be a powerful and definitive tool in hand-to-hand combat. Its precise movements, fast, direct and convincing, are focused on doing away with all the options of our opponent allowing us to fluidly face all kinds of attacks and defending ourselves from one or more adversaries, which makes it one of the most efficient self-defense systems currently existing. Without superfluous movements or frills, Jukoshin Ryu makes numerous tactical options accessible to its practitioners, so that the student will always find those techniques that best adapt to his or her particular condition. That's why Jukoshin Ryu is a system suitable for everyone, regardless of sex or physical condition. What you are going to see in this video is a small sample of the different ways of solving hand-to-hand combat situations when we are attacked with or without weapons, and how to reduce our adversary as quick as possible, so that we are able to immediately continue our combat if necessary. I hope you enjoy it. See you on the mat!

Ref.: â&#x20AC;˘ eDSAN1

ORDERS: Budo international.com

Ref.: â&#x20AC;˘ kline4

When most people hear the word Kyusho, or the words Pressure Points, it is one of two things that come to mind ... Self Defense or a healing modality such as Acupuncture or Massage Therapy. In each instance, they are correct. There are some who focus mostly on the self defense aspect and other whose focus is more into the healing. I personally know of several people who trained with me and became so excited about manipulating the Pressure Points for self defense that they enrolled in Acupuncture classes, Massage Classes and Chiropractic Classes. Each area of study requires extensive focus on the mechanics of the body and how the practitioner can "assist" the body into healing itself. This is not an end all be all and each patient must be accountable for their health and lifestyle habits. This video will focus on how we can use the same 5 points for both healing and self defense. This is where knowledge of anatomy, basic principles of motion, and developing a sensitive touch come into play. Pressure Points have multiple uses for both health and self defense and can be a great complement to one another. For each to be effective, the practitioner must develop a quiet, relaxed mind, which can assess each situation to hopefully bring about the result desired.

ORDERS: Budo international.com

In this work, Grand Master Réné Latosa emphasizes how to use the Latosa-Escrima concepts: balance, speed (timing and distance), power, focus (attitude) and transition, to boost all the movement aspects used in the successful execution of any offensive or defensive action. Using Latosa-Escrima concepts is important because each person is physically and mentally different, so using a system or method based on techniques may not work for all people. As in any process in Martial Arts, anything and everything can be refined through development and practice. You’re the ones who make this weapon work in an efficient and effective way. You are the ones who adapt to the situation. The priority is to make sure that you are safe and that you are going to win. Martial Arts were not developed to strike and defeat anyone, but to provide us with the strategy to win.

Ref.: • LAT-4 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com

INTERNATIONAL

CATALOG

BUDO INTERNATIONAL PUBL.CO. DVD CATALOG MARTIAL ARTS, COMBAT SPORTS & SELF DEFENSE INSTRUCTIONAL DVDs TITLES ARE AVAILABLE IN DVD FORMAT AND DIGITAL VIDEO ON INSTANT DOWNLOAD (mp4)

This catalog is provided by Budo International Publ. Co.

Ali content of this catalog is owned or controlled by Budo International Publ. Co. and is protected by worldwide copyright laws.

Table of contents - DVD Kung Fu ................................................................................................................................................................ 3 - DVD Tai Chi ................................................................................................................................................................... 8 - DVD Shaolin Kung Fu ................................................................................................................................................ 11 - DVD Wu Shu ................................................................................................................................................................ 13 - DVD Wing Chun .......................................................................................................................................................... 15 - DVD Wing Tsun ........................................................................................................................................................... 18 - DVD Other Styles China ............................................................................................................................................. 21 - DVD Judo and Ju-Jitsu .............................................................................................................................................. 23 - DVD Iaido..................................................................................................................................................................... 27 - DVD Karate .................................................................................................................................................................. 29 - DVD Aikido .................................................................................................................................................................. 36 - DVD Kobudo ............................................................................................................................................................... 41 - DVD Ninjutsu ............................................................................................................................................................... 44 - DVD Other Styles Japan ............................................................................................................................................ 46 - DVD Kyusho Jitsu ...................................................................................................................................................... 50 - DVD Capoeira.............................................................................................................................................................. 54 - DVD Brazilian Jiu-Jitsu .............................................................................................................................................. 56 - DVD Staff and Cane .................................................................................................................................................... 59 - DVD Kali Arnis Eskrima ............................................................................................................................................. 61 - DVD Nunchaku ............................................................................................................................................................ 65 - DVD Other Weapons .................................................................................................................................................. 67 - DVD Pro, Military, Police ............................................................................................................................................ 70 - DVD Krav Maga ........................................................................................................................................................... 77 - DVD Systema .............................................................................................................................................................. 81 - DVD Knife Fighting ..................................................................................................................................................... 83 - DVD WomenÂ´s Self Defense ...................................................................................................................................... 85 - DVD Other Self Defense Styles ................................................................................................................................. 87 - DVD Jeet Kune Do ...................................................................................................................................................... 91 - DVD Kenpo .................................................................................................................................................................. 94 - DVD Kajukenbo ........................................................................................................................................................... 97 - DVD Martial Arts Vietnam .......................................................................................................................................... 99 - DVD Other Martial Styles ......................................................................................................................................... 101 - DVD Pencak Silat ...................................................................................................................................................... 105 - DVD Tae Kwon Do .................................................................................................................................................... 107 - DVD Hapkido ............................................................................................................................................................. 109 - DVD Other Styles Korea ........................................................................................................................................... 111 - DVD Muay Thai ......................................................................................................................................................... 113 - DVD Kick Boxing ...................................................................................................................................................... 116 - DVD Grappling Wrestling ......................................................................................................................................... 119 - DVD MMA - Vale Tudo .............................................................................................................................................. 121 - DVD Other Contact Sports ....................................................................................................................................... 124 - DVD Health - Wellness ............................................................................................................................................. 126 - NEW DVDs! ............................................................................................................................................................... 129

TITLES ARE AVAILABLE IN DVD FORMAT AND VIDEO ON INSTANT DOWNLOAD (mp4). This catalog is provided by Budo International Publ. Co. All content of this catalog is owned or controlled by Budo International Publ. Co. and is protected by worldwide copyright laws. More info: www.budointernational.com - Contact Email: shop@budointernational.info

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DVD Kyusho & Tegumi in Wing Chun Siu Nim Tao Ref. DVD/KYUSHO28 Price Inc. Tax......22,00 EUR

DVD Keysi Risk Situations Fighting Technique Ref. DVD/KEYSI2 Price Inc. Tax......22,00 EUR

DVD Tong Long Pai. Southern Praying Mantis Ref. DVD/SAPIR1 Price Inc. Tax......22,00 EUR

DVD Creole Fencing Ref. DVD/ECRIOLLA1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Lat Sao Advanced. TAOWS Academy Ref. DVD/TAOWS4 Price Inc. Tax......22,00 EUR

DVD RMA Systema SV Empty Hands & Knife Ref. DVD/SKOGOREV-11 Price Inc. Tax......22,00 EUR

DVD Paul Vunak PFS Asymmetrical Violence Ref. DVD/VUNAK1 Price Inc. Tax......22,00 EUR

DVD Kyusho and Boxing Connection Ref. DVD/KLINE3 Price Inc. Tax......22,00 EUR

DVD Kyusho, First Encounter Ref. DVD/KFRISAN1 Price Inc. Tax......22,00 EUR

DVD Tai-Chi and Qi-Gong Forms Ref. DVD/LYN7 Price Inc. Tax......22,00 EUR

DVD Gham Long Pai Kung Fu Ref. DVD/VDSPEK1 Price Inc. Tax......22,00 EUR

DVD Advanced Aikido, Kisei Dojo Ref. DVD/KISEI2 Price Inc. Tax......22,00 EUR

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DVD Kapap Israeli Jiu Jitsu & Martial Arts Ref. DVD/KAPAP9 Price Inc. Tax......22,00 EUR

DVD Traditional Taekwondo Hyeong Ref. DVD/TKDOWINT1 Price Inc. Tax......22,00 EUR

DVD Krav Maga RED Vol.3. Knife Defense Ref. DVD/KMRED3 Price Inc. Tax......22,00 EUR

DVD Kyusho Handicap Ref. DVD/KYUSHO27 Price Inc. Tax......22,00 EUR

DVD Shaolin Kung Fu Essential Ref. DVD/TOMBOLATO1 Price Inc. Tax......22,00 EUR

DVD Hwa Rang Do Gumtoogi Sword Fighting Ref. DVD/HWA3 Price Inc. Tax......22,00 EUR

DVD Kajukenbo Essential Ref. DVD/LPRIETO1 Price Inc. Tax......22,00 EUR

DVD Martial Science Ref. DVD/RONDY1 Price Inc. Tax......22,00 EUR

DVD Kaisendo Self Defense Ref. DVD/KAISEN5 Price Inc. Tax......22,00 EUR

DVD Jun Fan Gung Fu Ref. DVD/DELJKD1 Price Inc. Tax......22,00 EUR

DVD Keysi Original Ref. DVD/KEYSI1 Price Inc. Tax......22,00 EUR

DVD Ip Man Wing Chun Kung Fu Ref. DVD/IMWC1 Price Inc. Tax......22,00 EUR

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DVD Pukulan Pencak Silat Serak. Weapons Ref. DVD/SERAK2 Price Inc. Tax......22,00 EUR

DVD Kenpo, My Favorite Techniques Ref. DVD/LARRY4 Price Inc. Tax......22,00 EUR

DVD Kids Self Defense: Dealing with strangers Ref. DVD/TRUST1 Price Inc. Tax......22,00 EUR

DVD Kyusho Pyramid Vol.1 Ref. DVD/KLINE1 Price Inc. Tax......22,00 EUR

DVD Kyusho Pyramid Vol.2 Ref. DVD/KLINE2 Price Inc. Tax......22,00 EUR

DVD WTU Chum Kiu Form & Applications Ref. DVD/WTU2 Price Inc. Tax......22,00 EUR

DVD Brazilian Jiu-Jitsu, Poker Of Aces Ref. DVD/GSBJJ1 Price Inc. Tax......22,00 EUR

DVD Best of Commando Krav Maga Ref. DVD/AIZIK5 Price Inc. Tax......22,00 EUR

DVD Kyusho Sanchin Kata Vol.2 Ref. DVD/KYUSHO26 Price Inc. Tax......22,00 EUR

DVD Viet Vo Dao Long staff Vol 2. Quyen Tu Tuong Con Phap Form... Ref. DVD/VIET8 Price Inc. Tax......22,00 EUR

DVD Advanced Grappling Vol.1 Ref. DVD/TBELTRAN-1 Price Inc. Tax......22,00 EUR

DVD Advanced Grappling Vol.2 Ref. DVD/TBELTRAN-2 Price Inc. Tax......22,00 EUR

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DVD Kali Ilustrisimo Laban Laro Drills Ref. DVD/FLORES3 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Self Defense Ref. DVD/WTINCE1 Price Inc. Tax......22,00 EUR

DVD Kyusho and Kali. Empty Hands Vol.2 Ref. DVD/KYUSHO25 Price Inc. Tax......22,00 EUR

DVD Systema, Fighting Basics Ref. DVD/SYSWEITZEL1 Price Inc. Tax......22,00 EUR

DVD Shaolin Luohan Shi Ba Shou Form Taolu Ref. DVD/YANTI1 Price Inc. Tax......22,00 EUR

DVD Shaolin Qin Na Ref. DVD/YANTI2 Price Inc. Tax......22,00 EUR

DVD Meitoku Yagi Meibukan Goju Ryu. Okinawa Karate Kobudo Vol.1 Ref. DVD/RS607 Price Inc. Tax......0,00 EUR

DVD Katsuya Miyahira Shidokan Shorin Ryu. Okinawa Karate Kobud... Ref. DVD/RS608 Price Inc. Tax......0,00 EUR

DVD Shuguro Nakazato Shorin Kan Shorin Ryu. Okinawa Karate Kob... Ref. DVD/RS609 Price Inc. Tax......0,00 EUR

DVD Eiichi Miyazato Jundokan Goju Ryu. Okinawa Karate Kobudo V... Ref. DVD/RS610 Price Inc. Tax......0,00 EUR

DVD Kanei Uechi Uechi Ryu. Okinawa Karate Kobudo Vol.7 Ref. DVD/RS613 Price Inc. Tax......0,00 EUR

DVD Yoshimatsu Matsuda Shorin Ryu. Okinawa Karate Kobudo Vol.12 Ref. DVD/RS618 Price Inc. Tax......0,00 EUR

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DVD Masaji Taira Bunkai Master. Okinawa Karate Kobudo Vol.16 Ref. DVD/RS622 Price Inc. Tax......0,00 EUR

DVD Eihachi Ota Shorin Ryu. Okinawa Karate Kobudo Vol.18 Ref. DVD/RS624 Price Inc. Tax......0,00 EUR

DVD Yoshitsune Senega Uechi Ryu. Okinawa Karate Kobudo Vol.20 Ref. DVD/RS626 Price Inc. Tax......0,00 EUR

DVD Jundokan Old School 1984. Okinawa Karate Kobudo Vol.22 Ref. DVD/RS628 Price Inc. Tax......0,00 EUR

DVD Hojo Undo Supplementary Training. Okinawa Karate Kobudo Vo... Ref. DVD/RS625 Price Inc. Tax......0,00 EUR

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DVD Kung Fu

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DVD Tong Long Pai. Southern Praying Mantis Ref. DVD/SAPIR1 Price Inc. Tax......22,00 EUR

DVD Pachi Tang Lang Chuan Ref. DVD/PACH1 Price Inc. Tax......22,00 EUR

DVD Kung Fu Tang Lang Ref. DVD/TANG1 Price Inc. Tax......22,00 EUR

DVD Sanda Ming Chuan Kung Fu Ref. DVD/SANDA Price Inc. Tax......22,00 EUR

DVD Tao Yin Internal Kung Fu Ref. DVD/YIN Price Inc. Tax......22,00 EUR

DVD Shaolin Hung Gar Yap Moon Kuen Ref. DVD/SEWER1 Price Inc. Tax......22,00 EUR

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DVD Hung Gar Kung Fu Zum Kap Kuen Form Ref. DVD/SEWER2 Price Inc. Tax......22,00 EUR

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DVD Gham Long Pai Kung Fu Ref. DVD/VDSPEK1 Price Inc. Tax......22,00 EUR

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DVD Combat Kung Fu Free Style Ref. DVD/CMBT Price Inc. Tax......22,00 EUR

DVD Kung Fu Chin Na Vol 2 Ref. DVD/PC3 Price Inc. Tax......22,00 EUR

DVD Kung Fu Chin Na Vol 1 Ref. DVD/PC2 Price Inc. Tax......22,00 EUR

DVD Kung Fu Masters Historical Series Taiwan 1964 Ref. DVD/BC18 Price Inc. Tax......22,00 EUR

DVD Kung Fu Pa Kua Pa Men Chan Form Vol 1 Ref. DVD/PAMEN1 Price Inc. Tax......22,00 EUR

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DVD Kung Fu Pai Lum Tao Ref. DVD/PAI Price Inc. Tax......22,00 EUR

DVD Kung Fu Toa Forms & applications Vol 2 Ref. DVD/TOA2 Price Inc. Tax......22,00 EUR

DVD Kung Fu Mou Sii Lion's Dance Ref. DVD/MOU Price Inc. Tax......22,00 EUR

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DVD Ling Gar Kung Fu Self Defense Ref. DVD/LYN2 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Ref. DVD/WENG Price Inc. Tax......22,00 EUR

DVD Hung Gar Gung Gee Fook Fu Kuen Form Ref. DVD/SEWER4 Price Inc. Tax......22,00 EUR

DVD Kung Fu Toa Forms & applications Vol 1 Ref. DVD/TOA Price Inc. Tax......22,00 EUR

DVD Kung Fu Choy Li Fut Forms Ref. DVD/LIFUT1 Price Inc. Tax......22,00 EUR

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DVD Choy Li Fut Leopard & Tiger Form Ref. DVD/PR4 Price Inc. Tax......22,00 EUR

DVD Hung Gar Kung Fu Gong Gee Fook Fu Kune Form Ref. DVD/HUNG1 Price Inc. Tax......22,00 EUR

DVD Hung Gar Gong Gee Fook Fu Kune Form Vol 2 Ref. DVD/HUNG2 Price Inc. Tax......22,00 EUR

DVD Kung Fu Weapons Ref. DVD/KFW Price Inc. Tax......22,00 EUR

DVD Ling Gar Kung Fu Chin Na Ref. DVD/LYN4 Price Inc. Tax......22,00 EUR

DVD Kung Fu Splashing Hands Ref. DVD/NEIL1 Price Inc. Tax......22,00 EUR

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DVD Hung Gar Kung Fu Ref. DVD/PA1 Price Inc. Tax......22,00 EUR

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DVD Tai Chi

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DVD Tai Chi

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DVD The 18 movements of Shaolin Kung Fu Ref. DVD/HONG Price Inc. Tax......22,00 EUR

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DVD Olympic Wu Shu Ref. DVD/WUSHU1 Price Inc. Tax......22,00 EUR

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DVD Wing Chun

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DVD Ip Man Wing Chun Kung Fu Ref. DVD/IMWC1 Price Inc. Tax......22,00 EUR

DVD Kyusho & Tegumi in Wing Chun Siu Nim Tao Ref. DVD/KYUSHO28 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Lat Sao Advanced. TAOWS Academy Ref. DVD/TAOWS4 Price Inc. Tax......22,00 EUR

DVD Kyusho Jitsu in Forms Siu Nim Tao Ref. DVD/KYUSHO12 Price Inc. Tax......22,00 EUR

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DVD Wing Chun Kung Fu Biu Jee Ref. DVD/RANDY3 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Concepts and priciples Ref. DVD/RANDY4 Price Inc. Tax......22,00 EUR

DVD Wing Chun Traditional vol 1 Ref. DVD/WCH1 Price Inc. Tax......22,00 EUR

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DVD WTU Chum Kiu Form & Applications Ref. DVD/WTU2 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Universe. Siu Nim Tao Form & Applications Ref. DVD/WTU1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Self Defense Ref. DVD/WTINCE1 Price Inc. Tax......22,00 EUR

DVD Kyusho Gock'Ng 'Sing Ref. DVD/KYUSHO14 Price Inc. Tax......22,00 EUR

DVD Chi Sao Wing Tsun TAOWS Academy Ref. DVD/TAOWS3 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Ref. DVD/WENG Price Inc. Tax......22,00 EUR

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DVD Wing Tsun

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DVD Wing Tsun Lat Sao Advanced. TAOWS Academy Ref. DVD/TAOWS4 Price Inc. Tax......22,00 EUR

DVD WTU Chum Kiu Form & Applications Ref. DVD/WTU2 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Self Defense Ref. DVD/WTINCE1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Universe. Siu Nim Tao Form & Applications Ref. DVD/WTU1 Price Inc. Tax......22,00 EUR

DVD Wing Revolution Combat Fundamentals Ref. DVD/WR1 Price Inc. Tax......22,00 EUR

DVD WingTsun The Mith of the Wooden Dummy Ref. DVD/WTK Price Inc. Tax......22,00 EUR

DVD Wing Tsun Right or Wrong? Ref. DVD/LT Price Inc. Tax......22,00 EUR

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DVD Chi Sao Wing Tsun TAOWS Academy Ref. DVD/TAOWS3 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Alliance and Escrima Ref. DVD/WTAL Price Inc. Tax......22,00 EUR

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DVD WingTsun Wooden Dummy Street Aplications Ref. DVD/WTS10 Price Inc. Tax......22,00 EUR

DVD WingTsun Re-Evolution Ref. DVD/WTS11 Price Inc. Tax......22,00 EUR

DVD WT Re-Evolution 2 Ref. DVD/WTS12 Price Inc. Tax......22,00 EUR

DVD WingTsun Combat Program Ref. DVD/WTS13 Price Inc. Tax......22,00 EUR

DVD WingTsun Anti-grappling Ref. DVD/WTS2 Price Inc. Tax......22,00 EUR

DVD WingTsun Street Shock Vol 1 Ref. DVD/WTS3 Price Inc. Tax......22,00 EUR

DVD WingTsun Street Shock Vol 2 Ref. DVD/WTS4 Price Inc. Tax......22,00 EUR

DVD WingTsun Lat Sao Ref. DVD/WTS5 Price Inc. Tax......22,00 EUR

DVD WingTsun Chi Sao Vol1 Ref. DVD/WTS6 Price Inc. Tax......22,00 EUR

DVD WingTsun Chi Sao Vol2 Ref. DVD/WTS7 Price Inc. Tax......22,00 EUR

DVD WingTsun Advanced Combat Ref. DVD/WTS8 Price Inc. Tax......22,00 EUR

DVD WingTsun AntiGrappling & Chi Gerk Ref. DVD/WTS9 Price Inc. Tax......22,00 EUR

20/134

DVD Other Styles China

21/134

DVD Other Styles China

DVD Tong Long Pai. Southern Praying Mantis Ref. DVD/SAPIR1 Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Ref. DVD/CHANG Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Advanced Program Ref. DVD/CHIAO3 Price Inc. Tax......22,00 EUR

DVD Bao-Din Shuai Chiao Combat Ref. DVD/CHIAO2 Price Inc. Tax......22,00 EUR

DVD Shuai Chiao Black Belt Program Ref. DVD/CHIAO1 Price Inc. Tax......22,00 EUR

DVD Chinese Kempo Karate Ref. DVD/HAYEN1 Price Inc. Tax......22,00 EUR

DVD Fu Shih Kenpo Vol.2 Tiger Forms & Self Defense Ref. DVD/FUSHIH2 Price Inc. Tax......22,00 EUR

DVD Sanda Ming Chuan Kung Fu Ref. DVD/SANDA Price Inc. Tax......22,00 EUR

DVD Gham Long Pai Kung Fu Ref. DVD/VDSPEK1 Price Inc. Tax......22,00 EUR

22/134

DVD Judo and Ju-Jitsu

23/134

DVD Judo and Ju-Jitsu

DVD Unlimited Ju Jitsu Ref. DVD/LOU2 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Kyoo Soku Seishin Ryu Ref. DVD/NUNES Price Inc. Tax......22,00 EUR

DVD Judo Atemi Ref. DVD/JUDOIT Price Inc. Tax......22,00 EUR

DVD Power Jiu Jitsu Juko Ryu Jiu Jitsu Vol 2 Ref. DVD/JUKO2 Price Inc. Tax......22,00 EUR

DVD Kodokan Judo Mifune Ref. DVD/BC24 Price Inc. Tax......22,00 EUR

DVD Kapap Israeli Jiu Jitsu & Martial Arts Ref. DVD/KAPAP9 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Introduction Ref. DVD/JUDO1 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Te Waza Hand Techniques Ref. DVD/JUDO2 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Koshi Waza Hip Techniques Ref. DVD/JUDO3 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Ashi Waza Foot & Leg Techniques Ref. DVD/JUDO4 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Sutemi Waza Sacrifice Techniques Ref. DVD/JUDO5 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Katami Waza Ground Work Ref. DVD/JUDO6 Price Inc. Tax......22,00 EUR

24/134

DVD Judo and Ju-Jitsu

DVD Mastering Judo Shime Waza Strangulation Techniques Ref. DVD/JUDO7 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Kensetsu Waza Joint Locking Ref. DVD/JUDO8 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Ne Waza Clinic Ref. DVD/JUDO9 Price Inc. Tax......22,00 EUR

DVD Mastering Judo Master Okada Interview Ref. DVD/JUDO10 Price Inc. Tax......22,00 EUR

DVD Loubet Jiu-jitsu Ref. DVD/LOU1 Price Inc. Tax......22,00 EUR

DVD Judo Classics Jigoro Kano Ref. DVD/BC16 Price Inc. Tax......22,00 EUR

DVD Budo Goshin Jutsu Ryu Ref. DVD/DAB5 Price Inc. Tax......22,00 EUR

DVD Traditional Ju Jitsu Vol 4 Ground Combat Ref. DVD/DAB4 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Ryu SDA Vol 2 Ref. DVD/JJRYU2 Price Inc. Tax......22,00 EUR

DVD Jiu Jitsu Ryu SDA Vol 1 Ref. DVD/JJRYU Price Inc. Tax......22,00 EUR

DVD Traditional Ju Jitsu Vol 3 Upright Techniques Ref. DVD/DAB3 Price Inc. Tax......22,00 EUR

DVD Traditional Jujitsu Vol 1 Ref. DVD/JUJ Price Inc. Tax......22,00 EUR

25/134

DVD Judo and Ju-Jitsu

DVD Ju Jutsu Do Combat Ref. DVD/SAN3 Price Inc. Tax......22,00 EUR

DVD Juko Ryu Jiu Jitsu Vol 1 Ref. DVD/JUKO Price Inc. Tax......22,00 EUR

26/134

DVD Iaido

27/134

DVD Iaido

DVD Toyama Ryu Iaido Ref. DVD/TOYAMA2 Price Inc. Tax......22,00 EUR

DVD Toyama Ryu Batto Jutsu Ref. DVD/TOYAMA1 Price Inc. Tax......22,00 EUR

DVD Iaido Kihon Waza Ref. DVD/IAIDO7 Price Inc. Tax......22,00 EUR

DVD Iaido Shinai Ref. DVD/IAIDO5 Price Inc. Tax......22,00 EUR

DVD Advanced Iaido Mugen Kai System Ref. DVD/IAIDO4 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 3 Mugenkai Ref. DVD/IAIDO3 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 2 Sen No Sen, Go No Sen Ref. DVD/IAIDO2 Price Inc. Tax......22,00 EUR

DVD Iaido Vol 1 Ref. DVD/IAIDO Price Inc. Tax......22,00 EUR

DVD Yari and Shinai Ref. DVD/IAIDO6 Price Inc. Tax......22,00 EUR

28/134

DVD Karate

29/134

DVD Karate

DVD Shoryn Ryu Karate Kyudokan Ref. DVD/SHORIN1 Price Inc. Tax......22,00 EUR

DVD Okinawa Bujutsu Motobu Udunti Ref. DVD/SU Price Inc. Tax......22,00 EUR

DVD Okinawa KenpoOdo Ref. DVD/ODO1 Price Inc. Tax......22,00 EUR

DVD Okinawa Shima-Ha Shorin-Ryu Karate Jutsu Ref. DVD/OSHIRO1 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kumite Ref. DVD/KANA7 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 7 Interview Ref. DVD/CHINEN7 Price Inc. Tax......22,00 EUR

DVD Kyokushinkai Karate Ref. DVD/KYOKU1 Price Inc. Tax......22,00 EUR

DVD Karate Shito-Ryu Hayashi-Ha Kata & Bunkai Ref. DVD/SHITO3 Price Inc. Tax......22,00 EUR

DVD Best Karate Kumite Ref. DVD/BIERMAN3 Price Inc. Tax......22,00 EUR

DVD Sport Karate Kumite Ref. DVD/BENE1 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate International Ref. DVD/KANA Price Inc. Tax......22,00 EUR

DVD Okinawa Goju Ryu Seibukai Karate Ref. DVD/NAKA Price Inc. Tax......22,00 EUR

30/134

DVD Karate

DVD Goshin Jutsu Kata Ref. DVD/BIERMAN2 Price Inc. Tax......22,00 EUR

DVD Shito Ryu Karate Pinan Kata and Bunkai Vol 2 Ref. DVD/SHITO2 Price Inc. Tax......22,00 EUR

DVD Shito Ryu Karate Pinan Kata & Bunkai Vol 1 Ref. DVD/SHITO1 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Yamashita Ref. DVD/YOSU Price Inc. Tax......22,00 EUR

DVD Uechi Ryu Karate Ref. DVD/UECHI1 Price Inc. Tax......22,00 EUR

DVD To-De Karate The hand of the infinite Ref. DVD/TODE Price Inc. Tax......22,00 EUR

DVD TY-GA Karate Stretching & Kicking Ref. DVD/TYGA Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 6 Self Defense Ref. DVD/CHINEN6 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 5 Kumite Ref. DVD/CHINEN5 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 4 Bunkai-2 Ref. DVD/CHINEN4 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 3 Bunkai-1 Ref. DVD/CHINEN3 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate Vol 2 The Meaning Ref. DVD/CHINEN2 Price Inc. Tax......22,00 EUR

31/134

DVD Karate

DVD Goju Ryu Karate Vol 1 Kihon Waza Ref. DVD/CHINEN Price Inc. Tax......22,00 EUR

DVD Mastering Karate Dan Kata Ref. DVD/KANA6 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kyu Kata Ref. DVD/KANA5 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Kihon Ido Ref. DVD/KANA4 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Ashi Waza Ref. DVD/KANA3 Price Inc. Tax......22,00 EUR

DVD Mastering Karate Te Waza Ref. DVD/KANA2 Price Inc. Tax......22,00 EUR

DVD Karate-do Shotokan Kata & Bunkai Vol3 Ref. DVD/SHJ3 Price Inc. Tax......22,00 EUR

DVD Karate-do Shotokan Kata & Bunkai Vol2 Ref. DVD/SHJ2 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate Kata Bunkai Vol1 Ref. DVD/SHJ1 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 70's Ref. DVD/BC6 Price Inc. Tax......22,00 EUR

DVD Ishin Ryu Karate Ref. DVD/BC23 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 50's Ref. DVD/BC14 Price Inc. Tax......22,00 EUR

32/134

DVD Karate

DVD Karate 1924 Kata & Vintage Footage Funakoshi Ref. DVD/BC13 Price Inc. Tax......22,00 EUR

DVD Okinawa Shorin-Ryu Karate Chibana Ref. DVD/BC20 Price Inc. Tax......22,00 EUR

DVD Goju Ryu Karate GYamaguchi Ref. DVD/BC9 Price Inc. Tax......22,00 EUR

DVD Karate JKA Masters 60's Ref. DVD/BC3 Price Inc. Tax......22,00 EUR

DVD Karate-Do The early years Funakoshi Ref. DVD/BC1 Price Inc. Tax......22,00 EUR

DVD Kyokushin Karate Mas Oyama Ref. DVD/BC5 Price Inc. Tax......22,00 EUR

DVD Okinawa Isshin Ryu Karate Kata Ref. DVD/CAN2 Price Inc. Tax......22,00 EUR

DVD Shotokan Karate Nakayama, the last interview Ref. DVD/NAKENT Price Inc. Tax......22,00 EUR

DVD Uechi Ryu Karate K.Uechi Ref. DVD/BC21 Price Inc. Tax......22,00 EUR

DVD Wado-Ryu Karate Ref. DVD/BC15 Price Inc. Tax......22,00 EUR

DVD World Karate Championships 2004 Pack Ref. DVD/WKF2 Price Inc. Tax......22,00 EUR

DVD Karate-do Shinshinkan Okinawa Kata Ref. DVD/CAN1 Price Inc. Tax......22,00 EUR

33/134

DVD Karate

DVD Karate Wado Ryu - I Dori, Tanto Dori, Shitei Kata Ref. DVD/WADO1 Price Inc. Tax......22,00 EUR

DVD Classic Martial Arts Masters of Budo Japan & Okinawa Ref. DVD/BC8 Price Inc. Tax......22,00 EUR