Martial Arts Magazine Budo International 435 – September 2 fortnight – 2021 by Budo International Martial Arts Magazine

Ref.: • CHURIROMA1

Master Daniel Guijarro presents for the first time and with the blessing of his own, the ancient tradition of knife fencing, the Cachaba and gypsy rod and gypsy fight of the Churi Romá School, from the lineage of the fencing of the Paulos, from the San Juan Montoya family in Ferrol, Galicia. This family fencing, inherited from the work of the "Barateros" and the bandits and whose first records date back to 1425, was kept secret, remaining as an exclusive practice and teaching only within the families themselves. In this first introductory work we show the 3 forms of fighting, or School Fencing: "Cachaba, La Vara" stick - cane, "Esgrima Cuchillo"knife- and "Puño Limpio"- empty hands. The Cachaba and Vara Gitana has always been considered an art of honor and traditional righteousness. It is a direct, fast, very short, forceful and effective fencing, with 15 codified movements. In La Churi, the knife in Romani, the goal is always to seriously injure the opponent, all attacks are direct, cuts or thrusts made to vital points. It is also known in our tradition a system of empty hand defense, a gypsy pugilism, with significant differences with respect to traditional boxing, that you can discover. An ancient art that has remained secret until today, with formulas in which the effectiveness is guaranteed by necessity.

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Ref.: • SAPIR-2

Sifu Sapir Tal, with more than 45 years of experience in the practice and teaching of traditional Martial Arts, gives us a deep introduction to the secret and deadly Jook Lum Gee Tong Long Pai style, or the Southern Praying Mantis Kung Fu style, taught by Grand Master Henry "Poo" Yee RIP. In this exclusive video you get a deeper look into this style and Sifu Sapir Tal's training methods, along with specific techniques taught by Grand Master Henry "Poo" Yee. Along with the Basics (stances, the 4 gates, the 3 contacts, the Short Powers, Body motion & exercises), we will see the Sticky Hands, part of the Form & applications, empty hands applications, knife defense, body hardening and Chi Kung. We show different uses of techniques and principles of the style and how they can be used in real life situations. Our Martial Arts system allows us to borrow the strength from our opponents and return it to them multiplied. The core of our style puts the emphasis on controlling the center line, keeping everything attached through the use of sticky hands and footwork. We do not anticipate the opponent's blows, but react to any attack, however it might be launched. The principle here is contact. The impact of our blows reverberates within the point of contact with the opponent's body magnifying the damage, and our Kung Fu becomes a bullet. As Sifu would say, "there is neither defense nor attack, only Kung Fu".

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“The classical heroes reflected in concave mirrors give rise to the esperpento. The tragic sense of Spanish life can only be understood by an esthetic which is systematically deformed.” Ramón María Del VALLE-INCLÁN “Bullfighting is probably Spain's greatest poetic and vital wealth.” FEDERICO GARCÍA LORCA n addition to its language (577 million people speak Spanish in the world!) Spain has bequeathed to human culture arts and artists in the most varied disciplines: Its greatest painters, like Velázquez, Goya, Murillo, Sorolla, Picasso, Antonio López... the list is endless! Or its own lyric-dramatic genres, such as Zarzuela, often defined as the Spanish Opera, and the world-renowned Flamenco music and dance... Or even its brilliant composers and musicians: Maestro Rodrigo and his Aranjuez gardens, Falla, Camarón, Paco de Lucia... And what could it be said about Joan Manel Serrat? Such a wonderful man! Or about Nino Bravo and his unique voice, and Plácido Domingo, and many others... And above them all, at least for me, my longed for opera singer Alfredo Kraus, the greatest lyric tenor! And just as well, so as not to leave aside one of the three classical arts, what about poetry and literature? Machado, Galdós, Cervantes, Espronceda, Calderón de la Barca, Quevedo (the brilliant and modern "Jiminy Cricket"...!) Impossible to make a fair list, such is the talent, grace and brilliance that have illuminated these lands, and which can't be casual in any way. If somewhere generalizing is a sin, it's in Spain. Speaking about the Spanish world without understanding the world of bulls, a tradition with so many nuances and richness, even with a language of its own with which the Spanish language itself is indebted, is as pathetic as pretending to understand the Japanese world ignoring the idea of the Samurai, just because those guys were mostly into killing people instead of bulls. I'll just leave you here a couple of sentences of Juncal, the fictitious and cool bullfighter to whom great Paco Rabal gave life on the screen, opening some door to what the bull and bullfighting mean to Spain: "When the black legged one comes out, all you have is craft, technique, survival instinct and art. And you go crazy. From Pedro Romero to Chamaco, all of them they felt what you feel now".

“Contradictory? This is Spain, dear friend. It’s just one more facet of the polyhedral nonsense.” ARTURO PÉREZ-REVERTE “Against Franco we were better.” MANUEL VÁZQUEZ MONTALBÁN

To the statement «besides ridiculous, bullfighters seem to me murderers», Juncal answers: "The whole world surrender at their feet. Everything revolves around bulls. Musicians exist to compound taurine “pasodobles”; poets to sing to matadors; doctors to heal them; architects to build bullrings; painters to depict bullfighters, and women to love them." The idea of death as a live show, in a modern society like ours which pretends to ignore its presence, contrasts with the alarmist and coarsely realistic idea that Juncal himself gives us in this other sentence, and without which it is impossible to understand the "tragic meaning of life", implicit in what is the Spanish world: "Death is at the service of bullfighters to give them immortality and glory, like the gods of Rome". How to appreciate life without having death present? The Spanish soul does not escape this question; on the contrary, it plunges into it with unbridled passion, and however much reprehensible and even punishable it may be in the context of sentimentalism and current single thought, it permeates and floods the very essence of the soul of this country, its culture, its Art and idiosyncrasy. Bullfighting is the bone marrow of the Spanish world that walks among capes, showing with "duende" (magic), all the lights and shadows that adorn the dialectic of that intangible which is the soul of Spain. The Spanish realm is polyhedral in such a way that suggesting the summary to consider the simplicity, in a "generalada" (that is, in a sweeping and high-handed act of generalization) as a friend of mine used to say in his own slang, is nonsense. The Spanish thing is varied about to become contradictory. Take gastronomy, for example, a subject that everyone who has traveled to Spain recognizes, beyond the many Michelin stars that crowd the national geography. While Galicia is the land of the boiled and the Basque Country of the grills, Andalusia is the land of fried

“Bullfighting is the bone marrow of the Spanish world that walks among capes, showing with "duende" (magic), all the lights and shadows that adorn the dialectic of that intangible which is the soul of Spain.”

foods, Valencia of rice preparations and Castile of roastings. The richness of the product is exceptional, ranging from the "pata negra" hams of the Extremaduran pastures and its unmatched Pimentón de la Vera (paprika), to the seafood and fish of Northern Spain, the Valencian orchard, the saffron of La Mancha or the Segovian suckling lamb. Reducing the character of the Spanish world to common places and an ordinary simplicity, is like pretending that the Spanish cuisine is composed of paella with chorizo and sangria. Not to talk about its wines! Be it white, red or sparkling; sweet, or bitter distilled; north, south, east, and west! Spain drinks wine and that reflects the joy of life, the love of carpe diem, the taste for friendship and the encounter, that makes it a country with more bars than any other. Socializing in Spain is a rite, a therapy and a vaccine against the loneliness, frigidity and helplessness of modern societies. To celebrate life is to celebrate the exuberance of the nonsensical, disproportionate and extremist popular festivals that crowd its entire geography. From the Fallas Valencianas, where the works of an entire year of immense sculptures that can measure up to 41 meters high, true masterpieces which satirize the characters and social life of the outgoing year, are burned in a single night, to the well-known Pamplona's San Fermines - bullfighting bacchanalia, where you eat and drink as in "The Grande Bouffe" - though these Michel Piccoli in red scarf are much happier than those in the film, that’s for sure! There is no village within this bull skin that doesn't cultivate, at least once a year, excess and abundance, nor a country that enjoys in a more strident way than the Spaniards. All that gastronomy, climate and a festive atmosphere ended up by making tourism, Spain's main national industry. But in this life, you have to be good for anything, and not a year goes by without some English tourist breaking his neck in Mallorca, while practicing "balconing" with a rather high blood alcohol level; or some huge Bavarian drowning in a local cove; or even all those Hemingway emulators in the Pamplona's running of the bulls, who throw themselves in front of the herd with no experience at all, to frequently go back home on crutches or in a wheelchair. Firefighters from all over the world come to Valencia every year to study why no incidents occur on a night in which, almost simultaneously, more than four hundred huge bonfires are lit throughout the city, among explosions and spectacular fireworks (by the way, something the author of these lines as well as his suffering dog are fed up with). Even excess should be moderate! And so it is in a country where drinking is a daily even, however it has far fewer problems with alcoholism than the generally circumspect Nordic citizens, than the Irish or even the Americans. Spain is a place sown with castles, Roman theaters, Gothic and Romanesque cathedrals, incomparable monuments, such as the Alhambra, or the Generalife, which depict long periods of diverse cultural dominations. Even the eternal nomads of India, the gypsies, settled down when they got here, making certain corners of Al Andalus their own, to which they filled with dance, art, music and magic ("duende"). Spain, the Christian land par excellence, was also Muslim for almost eight hundred years, and Jewish, no doubt; and all

the blood and cultures were mixed in it, because the sensuality of its climate invites to the encounter, as much as to the war. The old keys to their ancient houses in Toledo are still kept by some Sephardi Jews, and they even keep their old language, such is the nostalgia that these lands leave on those who must leave. And among all of them, Galician people are who have most departed, leaving their homeland behind. Word on the street is that when the Americans got to the moon, they already found a Galician there. In Argentina, all Spaniards are called "Gallegos"! Tireless workers, sharp as a needle and smarter than the hunger from which they managed to get away. Like the rest of the planet, Spain is getting denaturalized, immersed in the chaos of the Kali Yuga we are living through. A depolarizing and unifying apocalypse that in forced marches equals from below all cultures, in the foolishness of the cellphone and the "wisdom" of Google. It resists nevertheless the debacle, castled in its many peculiarities, in the health of its way of life, which, despite the pandemic, places it at the forefront of the world’s life expectancy alongside Japan, both however aged societies that decline hopelessly because of their low birth rate. Hopefully, it will be the great-grandchildren of Creole mestizos to pay our retirement pensions, for it seems that North Africans here, for the time being, were mostly on their way to France. To each his own Karma! This old bull skin, already tanned by time, will resist even the infamous rulers who are running it, because it has calluses on its hands, what now they call resilience, and which is "f*ck&%" endurance. They say that every Spaniard is an anarchist in the street and a dictator in his house... well, that was before! Now, like the rest of the inhabitants of the planet, the Spanish man goes out on the street with a safety helmet, because it's raining sticks, and at home, as before, as always, is his wife who continues to be the boss. The Spanish woman is powerful; from the matriarchs of the North (the Basque Country, Asturias or Galicia) to the Carmen of the South... "Ah, charming woman from Malaga, I'd like to kiss your lips!" For "when the Spanish lady kisses, she REALLY kisses..." Attention! Salute! But losing are their domains of yesteryear, in the unstructured family of this new millennium, that of the inclusive language, of the LGTBIQ+', of the “everything is valid” and the "everything’s the same, nothing is better, no matter if it’s a donkey or a great teacher" as goes the tango." Spain is unbinding by the grassroots, forgetting its glorious past, or deliberately blurring it so that it fits into the smallholder plans of these new proposals of fatuous regional empires. Spain is lost in its existential doubts, and even wants to commit suicide by banning bullfighting, the "piropos" (compliments) and the gallant cockiness of its conquerors. But as for the dilemma of its identity, still, and hopefully for a little more (may it last as long as I live!), Spain remains a magnificent place to pass through this valley of tears, taking, even if occasionally, a good laugh. Long live Spain! Olé!

“This old bull skin, already tanned by time, will resist even the infamous rulers who are running it, because it has calluses on its hands, what now they call resilience, and which is "f*ck&%" endurance.”

Karate Kata. Beyond the forms. Miguel Ángel Establés Elduque & Alfredo Tucci

Most probably, the first Kata in history took place around a bonfire, way back at the dawn of the Homo sapiens, when a proud hunter, encouraged by his fellow chasers (and very likely after having engulfed a few mammoth T-bone steaks washed down with several gallons of some spirits of macerated roots and fruits), decided to feature live once more for the audience the way he had finished off the beast they'd just swallowed. In almost every culture, ritual dances recall or represent specific actions: mythical at times, or as a catalogue of detailed movements; staging situations like battles, struggles; occasionally accompanied by music or simply by the rhythm of drums or any other type of percussion instruments. The farther away from their roots, the greater the aesthetic and formal value these warrior dances acquire, sophisticating their movements and even forgetting the reasons in which their origins rest, to become a simple pure folklore.

e all know quite well the value of repetition, not only as a learning system (as the primate and hominid mirror cells indicate), but also as a spell of energies and customs that gain an added value as a result of this reiteration. The egregor they generate not only have an echo in this visible plane, but, as every spiritual culture explain, they also have their impact in the invisible worlds. Imitation of animal movements underlies in many ways, both explicitly or implicitly. This, which is much more visible in Kung Fu, does not go unnoticed to those who possess a certain sensitivity in other styles such as Karate. Every physical movement has kinetic keys that undoubtedly can be explained, but it also has an energetic configuration of its own, a nominal “signature”, a vibration characteristic to it. It's not the same seeing the execution of a calm Tai Chi form, for example, as to see a quick Shotokan Kata; both forms transit through formulations and recall forces that summon very different types of energies. "signature", a characteristic vibration. It’s not the same seeing the performing of a calm form of Tai Chi, for example, as to see a fast and dynamic Shotokan Kata; both forms pass through formulations and refer to forces that call forth very different types of energies.

Even within Karate itself, a form like Tensho (転掌) has nothing to do with a Kanku Dai (観空大) for example. While the first Kata takes the performer (and the spectator!) into a world of intense concentration and power, similar to a mountain, or even to the shape of an animal like a bear, the second one recalls the agility of a mountain goat, or the releasing of personal boundaries. Every Kata possesses rhythms, sequences and energy lines that frequently develop in increasing cycles of rising, acceleration, and explosion. In karate, for example, they always start from stillness to return to it. These are forms in which a circle is closed, so it's frequent that they end up in the same place where the action starts. There is an implicit message in these rhythms, in their sequencing and even in the fact that, ultimately, everything returns to its origin. In Karate, as well as in other Martial Arts, Forms are an exercise of will and control, it's mobilizing our personal energy according to the form itself, and act within a predetermined scheme, without ceasing to pour into it our own personality and nature. A same Kata looks different depending on who performs it, even though all of them practitioners of the same style stick strictly to its most accurate and mathematical execution, because the individual energy of the performer will always stand out in the eyes of those who observe it. The Kata are thus a mold within which martial artists express their personality, their inner strength and even the way they live their existence. The daring person turns on, the quiet one calms down. What we are is necessarily projected to the outside, imprinting our personality to the movements we carry out. And a good Kata must be thus performed! For without capturing that spirit that pushes us from within, our forms will lack life, and however correct they may technically seem, without that soul, they will not transmit anything. However, adjusting to the standards, that is, passing through the funnel of the predetermined,

allows both the student to learn the Art, and the Master to realize himself within it. The Forms are dances, with their own energetic signature, but they are also technical concatenations, perhaps far from any idea of reality in combat, even if there are thousands of explanations or Bunkai. Correctness in the stances, and in general in the technical execution, serve as a formal teaching frame so that the Art can flourish. We are not unaware of their formal sense, many and very interesting are the explanations that Masters have bequeathed to us. Bubishi itself defines how certain movements, even defensive, turn out to possess their meaning within the framework of the attack on vital points. We cannot therefore disregard its other values, even aesthetic. The Kata, like all “forms”, give space and cause to many ways of experiencing them, including the sports competition forms themselves. There are also those who consider Kata as a simple method to hand down teaching from generation to generation, but when you have already lived long enough in this activity, you have seen much too often how some instructors (and even "consecrated grandmasters"), betraying their teachers who had taught them the correct way, try to modify traditional Kata, and so, with a proven lack of real understanding, and with no further argument than their capricious will, they dare to alter the whole form, by altering this blocking technique here, that punch there, and so on. "Now we do it my way ... It's the right way!" - they say with unbearable arrogance. What is out of the question is the success of this formulation in Karate. I guess those who ever thought that the lovers of the efficient aspects in Martial Arts would make the Forms disappear must be extremely

disappointed! Kata is a polyhedral thing, wanting to reduce it to one thing, is a frequent beginner’s mistake in this martial world. From a purely personal perspective, over the years and in the life of each practitioner, they offer very different aspects and angles from which to appreciate this treasure, which will certainly continue to endure in our Art. Practicing them gives us the freedom to train on our own, to put our mind, emotion and body in unison once again, emulating and showing the fight, to execute the mystery that each Form hides in its movements for each one of us. Connecting with ourselves, with the medium and with the personal history that each one drags, be it new or old, we emulate in it a dance of power that makes us stronger, sober and more illustrious in a world full of shadows, in which, at the end, we are all alone. Karate and Kata are one and the same. So I was taught by the person who will now continue these lines, a Karate pioneer in Spain, who has taught in Venezuela

and USA, a man of proven life and martial experience, whom I have challenged to write with me this article, Sensei Miguel Ángel Establés. Karate e Kata sono uno e lo stesso. Così mi è stato insegnato dalla persona che ora continuerà queste linee, un pioniere del Karate in Spagna, che ha insegnato in Venezuela e negli Stati Uniti, un uomo di provata vita ed esperienza marziale, che ho sfidato a scrivere con me questo articolo, Sensei Miguel Ángel Establés. I leave you in good hands, OSS! Thank you, Alfredo, thank you ever so much! Wow, my dear old friend, you bet it's not an easy challenge for sure! Especially after your magnificent presentation (as it couldn't be otherwise) has already masterfully pointed out the most interesting aspects of those strange and so poorly understood warrior dances known as Kata that partake of such a strong relevance in the martial praxis, such as their possible historical origins, their particular structural schemes, and even the subjective transcendence of practicing them. You have set the bar high for me, and there isn’t much left I can add, other than curiosities of general interest about Katas. But, since you asked me with such gallant chivalry, I pick up the glove and, even devoid of any literary inspiration, my mind relaxed by summer idleness, I will try to timidly and discreetly sum up my personal vision, which is as far as I can get. It goes without saying that “challenging me” to collaborate with you is always a real honor, although in this case, on a second thought, I don't know whether to qualify it as a prerogative or rather as a scolding for something I might have done... or not done! (Did I forget to congratulate you on your birthday, or wish you a Happy New Year?) For there’s nothing more arduous and demanding than trying to set the coordinates of something so intangible, ethereal,

and permeable to whatever description as the “forms” in Martial Arts. It's well known to everyone that you write with detachment, clearance and integrity, and, although open to new forms, you hate all that new slang and philological dispersion so trendy among modern people. Loving classical rhetoric, you don’t disdain Spanish literary customs and manners, much less the rich collection of Hispanic popular proverbs that you master and often display in your interesting and thought-provoking editorials, to which you give that festive touch that reveals your carefree and taunting spirit. And on behalf of the friendship and trust that tie us, and in the certainty that you won't be offended, I'll give it to you straight: this is not a challenge my pal, this is a trap, an ambush! All the same, as my Scottish friend Angus McLeod says, “a man's a man for a' that, and a' that!” Looking for valid arguments, I've considered it would be interesting to get into

the subject by pointing out some basic ideas, even if only to clarify concepts. Let's see: According to the Japanese martial tradition, a Kata (型) is a pattern or sequence of defensive and offensive movements, with or without weapons, usually practiced alone, especially in those disciplines that do not require the presence of a training mate, such as Iaido, in which Kata is the main form of training. The same applies to other Martial Arts in Japan and Okinawa, such as the various styles of Karatedo and Kenpo, which have based their teaching program in Kata. Only in the case of Judo, Kata forms (eight in all) must be practiced in pairs, and their purpose is that of perfecting the most difficult techniques, applying them on a training partner. To do this, the practitioner who executes them (known as Tori) requires the collaboration of a peer (called Uke). I find it particularly curious (on line with the “scolding” with which I joked before) that the top of the ideogram, 刑 (Kei),

means “punishment”. When placed on the character 土 (Tsuchi, also Do), which means “soil”, “earth” or “ground”, the combined meaning conveys the idea of “strictly imposed standards, practices involving physical exertion, or physical punishment programs that are carried out on the ground”. In Japanese, the word Kata (also written 形 - Katachi) means “form”, not so much in its simplest sense of “way or procedure of doing something” (shikata - 仕方), as in its meanings of “pattern”, “model”, “mold” or “guide”. In Japanese Martial Arts, it refers to an imaginary combat against one or more opponents, in a choreographed pattern that takes place along a line of development, also imaginary, called “Embusen” (演武線), and applying the martial movements that conform the technical background of the various disciplines. As Shidoshi Alfredo tells us, Kata “gives us the freedom to train without anyone”, with the added advantage that we can

address it more thoroughly by committing ourselves totally to every punch or kick we perform, something rather dangerous when practicing with a partner. In turn, this solo work of seeking the technical perfection of each movement in time and space, strengthens the capacity for concentration and favors the development of the “void” or “Mushin” (無心), the ideal state of mind that the true warrior attains during combat, and that traditional Martial Arts seek to access through the “Shugyo”! (修行, “Austere Practice”). The expression itself is an abbreviation of the Zen term “Mushin no shin” (無心の心), literally “mind with no mind”. This attitude characterizes by the absence of thoughts and emotions, which allows the mind to remain open and adaptable to all circumstances. That same spirit is to be found in other oriental arts of Japanese influence. The Korean terms Hyeong or Hyung (형),

Pumse or Pumsae (품새) and Teul or Tul (틀), which like Kata, mean “form” or “pattern”, refer to the Kata used in Korean Martial Arts to develop the “Mushin”, the void, in order to train coordination and mental and physical strength, as well as to develop the body-mind unity, which has always been the primary objective of all the martial disciplines of the Far East. They say that, when ancient masters performed a Kata in front of the students, they used to say: “I will show you MY FORM” (in other words, “the way I understand and feel this Kata”). It's in that concentration, which mobilizes the personal energy of the practitioner to unconsciously delve into the arcane that each Kata hides, and that each one perceives and experiences according to his or her own capacity and development, where, in the opinion of the scholars, lies the secret that turns the practice of Martial Arts into a true Dynamic Meditation. In the art of Karate, all the technical and tactical (even esoteric) baggage is condensed within the Kata, which are the basis of the training and evolution of the practitioner. Kata training promotes a uniform workout of basic techniques and helps to set concepts. In this respect, it could be said that Forms constitute indeed a kind of dynamic encyclopedia of the art itself, and as such, they basically serve to save and transmit all their martial heritage. Logically, Kata are also practiced in group, during regular lessons in the Dojo and to the voice of the instructor, especially in the first levels, in which the constant repetitions of the sequences help the students to fix the “embusen”, the steps, rhythm, breathing, etc. It's also part of the instructor’s job to explain the sequences of techniques and their practical application, because, obviously, in order to properly understand a Kata, it must first be decoded and interpreted, according to its “Bunkai” (分解), a term that literally means “analysis” or “deconstruction” (i.e., disassembling each movement for analysis). Practicing “Bunkai” with your training partners is essential to grasp the movement.

The problem is that many instructors, because of ignorance or out of arrogance (something unfortunately very common within this collective) end up applying their own judgment (if any) to change the original meaning and even the movements themselves at will. Some others go to the extent of creating their own Kata forms... “Because I'm worth it!” In Karate, almost all Kata are of Chinese origin, shaped by the Okinawan masters to their own defensive arts and readapted by the Japanese to their particular concept of combat. It seems only logical to think that the idea of Kata originated from simple chains of attack and defense movements, with which the former Chinese masters of Martial Arts taught their techniques to their pupils. Over time, the arts of self-defense developed more and more, and perhaps the fact that the number of movements to be learned and practiced was increasing, gave rise to the development of individual forms containing the concatenated sequences of self-defense movements. And, as Shidoshi Alfredo rightly points out too, as they moved away from the origin, they were acquiring an increasingly aesthetic and formal mood, something that yesteryear masters, out of respect for their arts (and for themselves) favored and sought more and more. According to the excellent research work carried out by the laureate Spanish medical doctor Pablo Pereda González, now deceased, specialist in Physical Education and Sports Medicine, anthropologist and writer, among other faculties, regarding the historical origins of Japanese Martial Arts, and especially the Okinawan To-De, the development of the Kata would be linked to certain spiritual techniques used in Taoism. The truth is that, traditionally, Okinawan Martial Arts always participated in a deep humanistic spirit, and its development was from the beginning strongly influenced by elements of Taoism, Confucianism and, especially, Zen Buddhism. To this end, ancient masters designed codes of conduct or “Kun” (訓), and established traditional spiritual practices in their teachings to help their students raise their awareness,

become good citizens and improve on the personal level. This circumstance is evident in the traditional and eminently defensive disposition of Karatedo, whose Kata all begin with a defense movement, implying that the practitioner must use such knowledge only in case of being attacked. This spirit is reflected in the second point of the “Niju kun” (二十訓), the 20 precepts of the Shoto Kan Karate, which Master Gichin Funakoshi established for his students to learn and give meaning to his style: “In Karate there is no initiative”. Karate ni sente nashi 空手に先手なし “Sente”, 先手 , initiative, first movement. Actually, this concept (often mistakenly translated as “In karate there is no first attack”) tells us about the attitude that the Karate practitioner must hold at all times, which comes to be summarized in “not inciting or starting confrontations”, and thus avoid aggression. Niju kun itself highlights in its eighteenth principle the importance of mastering Kata over all the rest: “Seek correction in Kata, real combat is something else.” Katachi wa tadashiku, jissen wa betsumono 形は正しく実戦は別物 Perhaps the misunderstanding of this mystic Japanese approach (which, on the other hand, is to be found in all their activities), accounts for that sort of mysterious and at times superstitious atmosphere that surrounded the Kata

when Karate first reached the West. I met a few fans who regarded them as true religious rites, or even spells filled with magical powers. As for the unusual situations that sometimes these patterns get us in, and the even more unusual way they point us to sort them out, we must proceed from the assumption that a Kata does NOT pretend to be the faithful representation of a simulated combat, but a sample of the possibilities we have in the course of a fight, to shift from one position to another and chain one technique to another, within a nomothetic sequence of displacements and martial techniques in a perfect fluidity. The aim is to help us make the most rational use of our defensive capabilities at any given time, while encouraging us to visualize different scenarios in which we can apply each movement. In short, the goal of Kata training is, in principle, to internalize their movements and techniques so that we can adapt and implement them automatically when necessary. In other words, once learned the Kata, and mastered its Bunkai, the karateka is free to "read" it in his or her own way and implement it in the most diverse scenarios.

Moreover, the study of the Kyusho Jitsu (急所術 - vital points) or Dim Mak (点穴 - "touch of death") has revealed that many of the rare techniques that appear in the Kata and that no one had understood so far, are actually attacks on vital points of the body, seeking to cause a definite effect on a possible aggressor, far less violent than a dreadful punch or a devastating kick. Although these strange movements are trained in some schools, either as part of the daily basics (Kihon, 基本), or during the Kata practice, nobody uses them in combat (Kumite, 組手), currently focused almost entirely on sports competition, whose only goal is adding a point on the scoreboard. For years, the lack of knowledge of the real reasons for some of the actions proposed in Kata, has led many instructors to change the movements for others, in their opinion better, more direct and, above all, more ostentatious, without understanding the true transcendence of the original movement. In my modest opinion, though, what has derailed the relevance of the Kata forms as sources of high knowledge, has been their inclusion in competitions and

tournaments. In order to establish a unity of criteria, the Kata had to be unified by avoiding the differences that exist between the various schools, and adapted to sports standards. This resulted in the movements gradually losing their true meaning while highlighting their aesthetic aspects to compensate for the loss of entity. Today, competition Kata forms tend to stage increasingly acrobatic and eye-catching techniques and higher kicks, as well as gradually wider, explosive and faster movements of dubious practical and effective application in a real defense situation. What they actually transmit is increasingly moving further away from the objective for which they were created. Purists rightly claim that these measures are distorting the true sense of Kata, by overlooking superior defensive actions and modifying them for the sake of competition aesthetics, thus losing part of the motor adaptation needed for self-defense.

For Sports Karate lovers, however, the Kata that is currently practiced is much more dynamic, practical and fun than "the old and boring system". A matter of concepts, no doubt, and like almost everything in Martial Arts, the concept of Kata can be approached from many angles, so, we could talk at length. I remember a cold December evening in Tokyo, while I was having dinner with Sato Sensei at a small restaurant nearby his dojo, when three young Western Karate students sat at a table next to ours and started chatting about training. Evidently they were eager to speak with the Master, whom they had recognized from the start, but, out of respect, they let us kindly finish our dinner with absolute tranquility. Finally, after dinner, they got up, and with all courtesy, asked him if he would kindly clarify a little doubt they had about Karate. Sato Sensei had no objections and kindly invited them to join us. - Sensei, what is Kata? - they asked him. - Well, that depends on you ... What do you want it to be? the Master replied with a smile ...

Biographical sketch of Sensei Miguel Ángel Establés It seems like only yesterday that young Alfredo Tucci, enthusiastic about Oriental Medicine, attended the conference given by a certain Miguel Ángel Establés on Madrid's Gran Via Avenue. Miguel shone with his own light in the crowded room, and captivated all and sundry with his knowledge, charisma and oratory. At the end of his lecture, I approached him, showing my interest in learning Oriental Medicine. Miguel lived in Catalonia at the time. During the following months, and every time he came to Madrid to do consultation, I accompanied him and took his notes for the patients. Thus, from admiration, friendship arose and with it, the camaraderie with which we have accompanied each other for the past four decades. Shortly after, he moved to Madrid, where he remained for long years. Miguel's biography is steeped in milestones, which make him a man touched by fate, someone whose passage through the lives of others has always been decisive. In 1957, at the age of 13, he started practicing Judo, the only Japanese Martial Art available in Spain at the time. Years later, along with his lifelong friend, Sensei Luis Zapatero, he was one of the Karate pioneers in Spain. Miguel traveled to Japan where he studied Japanese language and culture, as well as Karate, which he was passionate about. A young and risky adventurer - skydiver, scuba diver and a founding member of the Venezuelan Aeronautical Rescue Service (S.A.R.) - Miguel worked in the rescue brigades in the tropical Venezuelan jungles, side by side with his close friend and companion of adventure, Dr. Nedo Paniz, who was General Coordinator to the S.A.R. On his return to Spain, he chaired the Goju Kai association of Master Yosuke Yamashita, of whom he was a right-hand man for many years. She also studied Oriental Medicine in Caracas (Venezuela) with Master Diego Tejera, and in Boston (USA) with Sensei Michio Kushi, and revolutionized the whole thing when he arrived in the Spain of the 80's, that was thirsty for guides and information on the subject. He started teaching Karate at 07:00 in the morning at the mythical Karen Taft center, on Calle Libertad in Madrid. So it was easy, as usual, how I started my Karate walk. Miguel was also technical director of the first large classy modern clubs of Spain, the Abascal Club, and later, the Castellana Squash Club. Miguel has done too many things, too many to fit into this semblance. Personally and for many years he has assisted me with his knowledge of languages in the making of this magazine; he is also a certified Sensei of the Kawazuki Togo. Miguel Ángel Establés is a cultivated and polite man, of wide-ranging cultural knowledge; when you least expect it, he surprises you with a hidden quote, an exceptional fact, or a curiosity about the most varied subjects, especially if it deals with something that no one has ever paid enough attention to. A great master of the old Cervantes tongue, he wrote the book "Las tribulaciones de un señor de provincias aficionado a la lectura" ("Tribulations of a provincial squire fond of reading"), in which is evident his respect and extraordinary knowledge of the Spanish language and, of course, that magnificent sense of humor that has always characterized him. Merry by nature, he is always ready to sing you a song in ancient Neapolitan, in Japanese or in Catalan without turning a hair; or to dress a kilt and do the same with the old Loch Lomond in Glaswegian, or even with the history of Bonnie Prince Charlie in Gaelic. Father of five children (already a grandfather), he has exercised and exercises as affectionate patriarch of his offspring, along with his beloved Julia. Hardworking and stoic like no one else, Miguel Angel is above all an exceptional human being and a dear companion in this matter of living. You don't have a friendship of forty-three years with just anybody! All those who have surrounded him have admired him, but he, who is not inclined to tinsel and flattery, has always disdained fleeting laurels; however, he knows like few how to celebrate love and friendship, savoring every sip of life, with his face sometimes happy, sometimes with a frown. Big ones are like that, just like him... Enormous! Thank you for many years of friendship and teaching! Alfredo Tucci

Thel ar ges tMar t i alAr t s Medi ai nt hePl anet

Nowal s oavai l abl e mont hl yi n Rus s i anl anguage! www. budoi nt er nat i onal . c om

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.

ORDERS: Budo international.com

What does “being physically fit” mean? As professional military members, we are expected to maintain our physical fitness throughout our career, at a level that allows us to perform the various physical and intellectual tasks that are incumbent upon us. Now, succeeding in this bet requires understanding the real meaning of being in good physical shape! The aim of our article is to draw on scientific studies from various countries in order to transpose them on the training system set up within our units. Differences, similarities and coherence will appear to you clearly and precisely as you read the paragraphs dealing with the subject. According to the U.S. Department of Health and Social Services, fitness is defined as “a set of attributes that individuals possess or acquire that are related to the ability to engage in physical activity.” Being physically fit depends on how well a person completes each of the components of health.

Krav Maga

n terms of fitness, these components include: Cardio-respiratory gymnastics (1) Muscle strength (2) Muscle endurance (3) Body composition (4) Flexibility (5)

Therefore, you can determine if a person is physically fit by determining their performance in each component. Quick Facts on Fitness: • Maintaining physical fitness can help prevent certain diseases. • With exercise, body composition can change without changing weight. • The heart of sportsmen and athletes shows different changes depending on the chosen sport. • Muscle strength increases due to fiber hypertrophy and neuronal changes. • Stretching to increase flexibility can mitigate a number of medical complaints.

Krav Maga “As the heart gradually strengthens over time, the respiratory system does not adjust to the same degree. Lung function does not change radically, but the oxygen absorbed by the lungs is used more efficiently.”

For the understanding of each one, we will detail and analyze these 5 components individually.

Cardiorespiratory performance (1) Cardiorespiratory endurance indicates the extent to which our body can provide fuel during physical activity through the body’s circulatory and respiratory systems. Activities that help improve cardiorespiratory endurance are those that cause a +/- high heart rate for an extended period of time. Swimming, brisk walking, jogging, cycling… People who regularly participate in these activities are more likely to be physically fit in terms of cardiorespiratory endurance. It is important to start these activities slowly and increase intensity in a gradual way. Physical exercise increases cardiorespiratory endurance in several ways. The heart muscle is strengthened, so as to be able to pump more blood by heart rate. At the same time, small additional arteries are developed in muscle tissues, so that blood can be delivered to muscles that work more effectively when needed.

How does heart health change with exercise? The heart changes and improves its effectiveness after persistent training. However, more recent research shows that different types of activities alter the heart in subtle ways. All types of exercises increase the overall size of the heart, but there are significant differences between endurance practitioners (& athletes), such as rowers, and strength practitioners (& athletes), such as

Krav Maga football players. The hearts of endurance practitioners (& athletes) have enlarged left and right ventricles, while strength athletes show a thickening of their heart wall, especially the left ventricle.

How does lung health change with exercise? As the heart gradually strengthens over time, the respiratory system does not adjust to the same degree. Lung function does not change radically, but the oxygen absorbed by the lungs is used more efficiently. In general, exercise encourages the body to become more effective in taking, dispensing and using oxygen. This improvement, over time, increases endurance and overall health. The American College of Sports Medicine recommends aerobic exercises 3 to 5 times a week for 30 to 60 minutes, at an intensity that maintains the heart rate at 65-85% of the maximum heart rate (FCM).

Health benefits of cardiorespiratory fitness Risk Reduction: • Heart disease • Lung cancer • Type 2 diabetes • Stroke

Muscle strength (2) • The US Department of Health and Human Services defines muscle strength as "the ability of the muscle to exert force during an activity". • There are several ways to measure muscle strength. Generally, the best way is to lift or push something of a certain weight into a certain position and compare the results with a certain population. • In general, if a muscle is worked out in a steady and regular way, its strength will increase. There are several ways to build up your muscles through rigorous activity, but everything that makes your muscle work until it gets tired, increases its strength over time.

How does muscle structure change with exercise? Muscles consist of elongated muscle cells. Each muscle cell contains contractile proteins, actin and myosin, that give the muscle its strength. These fibers contract together, producing what is called a force stroke. The total force depends on how many of these units contract in unison. To build muscle, the following criteria must be met: • Muscles must be regularly exercised. • The trainee’s daily protein intake must be enough (no need to rush on the 5 kg protein powder can! A balanced diet is preferable.)

Krav Maga The exact mechanism of muscle building is not fully understood, but the general principles are well known. Muscle training results in an expansion of muscle cells and an increase in actin and myosin production (actin filaments are thin while those of myosin are thick filaments, without going into too much detail). In addition, in untrained muscles, fibers tend to trigger asynchronously, in other words, they do not pull in unison. As they are trained, they learn to shoot together, increasing maximum power.

Muscle endurance (3) Fitness can include muscular endurance, which is the ability of a muscle to continue to exercise its strength without getting tired. As mentioned above, strength training strengthens the muscles. Endurance training, on the other hand, does not necessarily generate larger muscles. Indeed, the body focuses more on the cardiovascular system, ensuring that the muscles receive the oxygenated blood they need to go on

Krav Maga functioning. Another important change in muscles specially trained for endurance concerns the different types of muscle tissues, namely, fast-twitch fibers and slow-twitch fibers: Fast-twitch fibers - Contract quickly but get tired quickly. They use a lot of energy and are useful for sprints. They are whitish because they do not need blood to function. Slow-twitch fibers - Best for endurance work, they can carry out tasks without getting tired. These fibers appear red because they depend on a good supply of oxygenated blood and contain reserves of Myoglobin (a protein close to hemoglobin, able to transport oxygen to the muscles, essential for muscle work) Different exercises promote fast contraction fibers, slow contraction fibers, or both. A sprinter will have relatively faster contraction fibers, while a long-distance runner will have slower contraction fibers.

Body composition (4) Body composition measures relative amounts of muscle, bone, water and fat. An individual can potentially keep the same body weight, but radically change the relationship of each of the components that make up his body. For example, people with a high muscle ratio (lean mass) weigh more than those with the same size and waist circumference and less muscle. Muscles weigh more than fat. No need to invest in fat mass to weigh less! The proportions of water, protein and minerals in the body can be checked by various chemical and radiometric tests. Water, fat, protein and mineral densities are measured or estimated.

Flexibility (5) Being flexible is important because it improves the ability to bind smoothly movements and can help prevent injuries. Flexibility is specific to each joint and depends on a number of variables, including the tightness of ligaments and tendons. There are several ways to improve flexibility. A daily stretching routine can be the simplest and most effective way to achieve full body flexibility. This topic will be covered in detail in next month’s article

Conclusion In general, fitness means different things to different people. The important message to remember is that regular physical activity will benefit your health. The more exercise you do, the healthier you will be! We are all able to get into a physical dynamic… so DO IT!! Stéphane Denis Wingate Coach Master in Physical Education & Sport www.stephane-denis.eu

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 The Delannoy School of Martial Arts (EDAM) I have been thinking about writing this article for years, but I was thinking about the right way to most accurately describethe principles and goals of the École Delannoy d'arts martiaux (EDAM). We formed the club in October 1996, under the original nameof the association d'Ile de France de Jeet Kune Do et ar ts mar tiaux philippins; then from October 1999 it became the école Delannoy. Our goal was and still is to develop, on French territory and abroad, the arts taught by Sifu Dan Inosanto and hisrepresentatives. It is therefore our duty to train and help as much as possible, all the students who come to the club of Aulnay-sous-bois or on the semainars given across the territory or internationally, so that they can each achieve their goals. We had to rethink our strategy for training students and especially instructors.

“How can you honestly accept undeserved titles? Where are the values of martial arts in these usurped titles? How can these people look at themselves in a mirror knowingtheir true level?”

Jeet Kune Do “Through this article, I wanted to share with you my sadness in the face of this drift in the martial arts. I also wanted, throughthe presentation of my school, to tell you that everyone at oursmall level can make a difference and thus give back to the martial arts their true meaning and their values.”

ndeed, in a society of excessive consumption whereeverything must go quickly and where everything can bebought, it is very difficult, if not impossible to make certain people in training understand that everything is deserved and that to acquire a real martial level takes a tremendous amountof time. But how to cope when dream merchants sell instructordiplomas to people who are not trained, and especially whohave no skills to teach and transmit both technical knowledgebut also the pleasure of learning and the philosophy of martial arts and combat sports? Only titles and business prevail in our world today. Self-sacrifice, humility, thirst for knowledge and honesty are replaced by the desire for power, the desire to obtain a maximum of master's titles, to represent multiple disciplines not lear ned or mastered, to represent federations without anycompetency in them. How can you honestly accept undeserved titles? Where are the values of martial arts in these usurped titles? How can these people look at themselves in a mirror knowingtheir true level? I assure you, these people have no qualms, no guilty feelings, no regrets about their dishonest attitude as long as they makemoney. Only business matters. What is detrimental is that students reproduce what they have learned from their teacher. So everything becomes due in our disciplines. If a student wants to train and thinks that it will take too long with a teacher meeting the training deadlines, he will go to a teacher who will sell him the desired diploma (s) or the responsibilities in the global or national organizations withoutany hesitation.

Jeet Kune Do It is truly sad and heartbreaking to see this blatant change. The internet world has made it possible to open up knowledgeand share technology around the world at an incredible pace. It is a real chance to be able to finally open up the practice to the whole world, through this tool, to people in particular whodid not have the financial, material, familial and professionalcapacity to travel. Nonetheless this created an unhealthy business of sellingtitles, world disciplinary representation, etc. to people whohave never trained themselves and who have not acquired anylegitimacy to represent this or that professor. There is an increasing of federations awarding themselvesworld championship titles, titles and grades issued by themselves in disciplines they have never practiced. It makes me immensely sad to see this downfall, me who waslucky enough to start martial arts at a time when we respectedour

teacher; we didn't ask for anything because everything wasearned and arrived unexpectedly. Before, at the risk of sounding like an old fool, when wejoined a club, we never asked when we were going to be an instructor. If a student dared to demand anything, he was kicked out of the dojo. We learned patience, the suffering felt in our body duringtraining. But this suffering was accepted because we saw our progressover time. Although of course not everything was perfect because therewere dishonest teachers too, at least respect for the teacher and listening to him was present. Furthermore, each student like myself accepted criticisms or advices from our

Jeet Kune Do teachers in order to progress. It also allowedus to constantly question ourselves because nothing is neverwon forever. Everything is earned and everything is lost if we do not practice and if we are no longer corrected and guided by ourteacher. One day one of my instructors who no longer came to train told me: "I train with my students so I always train"

My answer was simple: "Who corrects you and helps you in your progress? ". Indeed, how is it possible to teach without being corrected, advised and criticized when necessary? For me it is impossible and very disrespectful to appear in front of our students if we no longer train, if we are not able to do what we ask them, I we are no longer certified, if we are no longer authorized and legitimate to teach.

I am increasingly shocked to see these distributions of titles of grandmaster or others which do not mean anything anymore, because after 2 years of practice, people claim to be masters for example because they reached a bought level with money in a poor country where teachers just want to support theirfamilies. It is a shame to take advantage of the misery in the world to buy undeserved titles.

Why not help these teachers by going for some serioustraining and getting when they deem worthy a deserveddiploma thanks to our work and not to dollars? I will close with this, the philosophy of our club is thateveryone is welcome to train and learn, nevertheless nothingcan be bought, everything is earned. T h u s , y o u r m e m b e r s h i p f e e o r re g i s t r a t i o n f o r training will beused to give you access to achieving

Jeet Kune Do your goals and joiningthe club, but in no case to ensure a diploma. With us, students are treated like our children, regardless of their age and social status. Respect is the very basis of ourclub. On the other hand, respect being bilateral, do not expect or demand anything if you are not respectful yourself. Martial arts as we practice them are used to achieve good physical condition, well-being in everyday life and to be able to protect yourself in the event of aggression thanks to reflexes. Of course, as I repeat over and over again, there is no guarantee that in the event of an assault you will get awaywithout any damage.

Indeed, at the risk of displeasing some, we must never promise things over which we do not have complete control. In case of aggression, sometimes we will not defend ourselvesbecause petrified by fear but we will save our life by running away or by protecting ourselves in order to limit the impact of the blows. The one who promises invincibility in the event of an assaultis often someone who is so petrified on the street that he tries to hide his fear by persuading others of his invincibility. This is extremely commercial but extremely dangerous not to be honest when teaching students who are gullible about the word of their teacher whom they trust completely.

Through this article, I wanted to share with you my sadness in the face of this drift in the martial arts. I also wanted, throughthe presentation of my school, to tell you that everyone at oursmall level can make a difference and thus give back to the martial arts their true meaning and their values. I will always be there to try to transmit, in the shadows, thesehuman values of respect, hard work, humility ... that

myteachers have passed on to me during my 37 years of martial arts practice. My respects to all practitioners who transmit these values essential to the preservation of martial arts and combat sports, so essential in our individualistic, egoistic and violent societies. All life whatsoever is respectful and precious.

“I will always be there to try to transmit, in the shadows, thesehuman values of respect, hard work, humility ... that myteachers have passed on to me during my 37 years of martial arts practice.”

Paul Vunak Chapter 5: Filipino Art of Kina Mutay As we look back on the history of the Philippines, we see much war and bloodshed. During many of the battles the Filipinos were forced to wage, they found themselves outnumbered and outgunned. Imagine having to fight trained Samurai warriors using only farming equipment! Consequently, their ideology was to find a way to put them on equal footing with their adversaries. They were forced to be incredibly innovative when dealing with the harsh reality of the times.

When we use the word "circumvent" we are actually saying, "Find a way to cheat." In the world of weapons, the Filipinos developed an amazing way of "cheating." Instead of blocking strikes, they would actually smash the opponent's weapon hand. By way of analogy, if the opponent was a snake and the weapon was the fang, this method was called “defanging the snake.” While the rest of the world would go toe-to-toe weapons fighting, blocking strikes and trading blows, the Filipinos would simply and directly smash the hand.

Kina Mutay

Paul Vunak

hey used the same ideology with when fighting with empty hands. Instead of blocking punches and kicks, they used nerve destructions against the incoming blows. Instead of trading punches and kicks with their opponents, they would get inside and implement their knees, elbows, and headbutts. Now that we are beginning to understand the central theme of the Filipino paradigm (David overcoming Goliath), let us delve into the world of grappling, and into the topic of this chapter Kina Mutay. The term Kina Mutay literally means "the art of pinching and biting." In Jeet Kune Do we refer to it as "biting and eye gouging," because we prefer to pinch the eyeball. Many Filipino Escrimadores possessed an invaluable attribute that most people simply do not have: incredible grip strength. This was a byproduct of wielding heavy sticks, swords, and knives all day. One of the most famous Filipino grandmasters, Floro Villabrille, could actually husk coconuts with his bare hands. This grip strength, combined with biting, is the Filipino way of “cheating” when it comes to grappling. By no coincidence, Bruce Lee also possessed incredible grip strength. He used a lot of innovative equipment to develop that tendon strength in the fingers and forearms. When discussing eye gouging and biting, the first thing people say is, "Well, anyone can bite!" This bland assertion is true anyone can bite. But the difference between just plain biting and Kina Mutay is how to bite, where to bite, and when to bite. When a Kina Mutay practitioner bites you, it is with an uninterrupted bite. This means he knows the exact places on the body to bite, and with precise timing. He grabs you with his incredible grip strength and bites in areas that would take literally minutes to disengage. There are over 140

Paul Vunak areas on the human body that a Kina Mutay proponent can bite you and hang on for as long as he desires. While he is biting, he is implementing his knowledge of kinesiology along with the attributes of sensitivity and grip strength to hang on like a pit bull. In the world of wrestling, Brazilian jiu-jitsu practitioners are clearly the kings. Their subtle body movements, ground sensitivity, knowledge of leverage, escapes and finishing moves are in a league of their own. Combining the art of Brazilian jiu-jitsu with the Filipino art of Kina Mutay creates a hybrid grappling art that is perhaps the most formidable on the planet. Kina Mutay allows us to circumvent the jiu-jitsu game. You could rely on Kina Mutay in a streetlight against a bigger, stronger ground fighter to either beat him on the ground or create enough space to get back to your feet (even if your only goal is to run). When there are no rules, weight classes, or referees, "cheating" may be the only way to survive.

TRAINING METHODS OF KINA MUTAY HOW TO BITE In training in Kina Mutay we must first ascertain the essential principles and then work each individually. We will first focus on how to bite. A Kina Mutay practitioner is always cognizant of how much flesh is in his mouth. The average person who doesn't know how to bite properly will try to use all his teeth and take too much "meat" in one bite. Conversely, a Kina Mutay person will angle his face so the pressure is applied directly on the incisors. The actual motion of the bite is a repeated circular

Paul Vunak

ripping of the flesh, which results in numerous smaller bites. When applied cumulatively, unimaginable damage is inflicted. The best way to practice this technique is to get a large piece of beef roast and put it inside a t-shirt. Next, get a timer and explode into your bite. The goal is to tear through the entire piece of beef as quickly as possible. In the beginning of this drill, you will encounter several hurdles. First, you will notice your teeth hydroplaning across the surface of the meat without actually penetrating. Varying the angle and pressure of the actual bite (using the attribute of sensitivity) can mitigate this problem. Secondly, halfway through the practice session most people discover one side of their jaw muscle suffering a terrible cramp. When this happens, roll the face to engage the incisors on the opposite side. The more times you practice this drill and the better your body mechanics become at tearing (small circular bites), the faster you will be able to gnaw through the beef. In the beginning, it may take you two or three minutes to get through the meat. After 20 or 30 pot roasts (and many barbecues!), you will find you can tear your way through the average five-pound slab of meat inside seconds. The next point is the single most-important concept of Kina Mutay: biting someone "uninterrupted." To help define uninterrupted biting, picture having your opponent in a bear hug with your arms wrapped around his torso; or imagine the opponent in your guard, and your arms in a vice grip around his neck while biting his throat. If you do not have a firm grip on the opponent while biting, his visceral response will be to simply pull away. The result will be a small puncture on the opponent that will hardly do the damage that we require. Applying this vice grip while

Paul Vunak making the small tears with the incisors gives us the ability to hang on and bite the assailant until next leap year!

WHERE TO BITE This brings us to the next principle: where to bite. Yes, you can use your teeth just about anywhere on an opponent's body, but to bite uninterrupted you must target specific areas. What constitutes a "good" area to bite? We have two criteria to determine this: 1. It should be extremely sensitive to pain. The cheek, neck, ear, nipple area, latissimus dorsi (muscle of the back, found just below the armpit), and the groin are all extremely sensitive regions with many nerve endings. 2. It should be an area that allows you to position yourself so your opponent cannot counter your bite by pulling away or pushing you off. The importance of biting a sensitive area while hanging on cannot be overstated. Using some basic positions in jiujitsu, we will present just a few of the many possible bites: a. You are in the top position, mounted: You can bite the face and neck. b. You are cross-side on your opponent: From here you can bite the cheek, ear or neck. c. In the north-south position: You have the groin bite. d. You have the opponent in your guard: Target the cheek, ear, or neck. e. You are in your opponent's guard: You have the nipple bite. f. You are on the bottom and your opponent is cross-side: You can bite the Lat muscle if his elbow is across your body or his neck if his elbow is elsewhere. Remember, the key is to hold your opponent so you can bite as long as you want. His visceral response will be to get the source of his pain (your teeth) away from his

Paul Vunak body as quickly as possible! Thus, he will try to pull away or push you off, depending on your position, which creates space between his body and yours. You then can take advantage of this space and push or kick him off. This is the fastest way to get out from under him if you are pinned underneath someone much stronger and heavier than you. If, however, you fail to hang on to your opponent while you bite, you are not biting uninterrupted. Your opponent will be able to pull away before your bite causes the damage required to get the reaction you need.

WHEN TO BITE Now we come to Kina Mutay’s most-significant training drill. Once you understand the concept of uninterrupted biting, and how to use small circular tears to inflict maximum damage, it's time to institute Kina Mutay in actual sparring. We have illustrated the basics of how and where to bite; the following drill will help you learn when to bite. Start by rolling on the mat and doing a typical jiu-jitsu practice session. While grappling, begin seeking the appropriate areas of the body to bite (we call this target acquisition). This process could take anywhere from one second-to-five minutes. Timing is critical; only by actually rolling will you develop the proper timing to engage in Kina Mutay at will. Once you have selected the target area, your next step is to hold your training partner as firmly as you can (grab your own wrist to strengthen the hold). This ensures that your bite will be uninterrupted. Now simulate the bite by pressing your face firmly against the target as long as possible. The moment your training partner feels the vice grip/bite applied, he should instantly attempt any possible defense (e.g., pushing your face away, breaking the hold, etc.). If your technique is applied correctly, it should take your partner at least ten seconds to escape the "bite." The second half of our Kina Mutay equation is the (uninterrupted) eye gouge. To train the eye gouge use the exact same methodology - first wrestle slowly seeking target acquisition. Each of the positions advantageous for the bite also works well for the eye gouge, with the exception of north-south. Grab your opponent's neck in your vice grip and gently press on the eyeball until your opponent pulls your hand away. As you get better at eye gouging, have your training partner wear swim goggles and practice the eye gouge more aggressively. One often-overlooked point of Kina Mutay is the tremendous psychological damage a vicious bite or eye gouge will inflict on attacker. When you bite someone, you cause pain. When you bite uninterrupted so your assailant can't stop what you're doing, you create panic. Add to this that you are biting in a sensitive area (both physically and emotionally) and you are in essence destroying him emotionally – completely demoralizing him. Using Kina Mutay is an absolute last resort. In this day and age, the thought of having somebody's blood in your mouth is certainly objectionable. However, in a life-ordeath situation - perhaps in an alley while pinned on the ground implementing a bite at a propitious time could be what creates enough space to shed an attacker, get to your feet, and escape. There must be a clear distinction in the martial arts between selfpreservation (doing whatever it takes to save yourself and your loved ones) and selfperfection (the sport and training of martial arts). When we think about bludgeoning somebody with a stick, stabbing him with a knife, or biting a hole in someone's face, the subject is q u i t e d i s t a s t e f ul (pardon the pun). However, when protecting yourself or the lives of your loved ones, a simple question begs just one answer: Is there anything you wouldn't do?

“Using Kina Mutay is an absolute last resort. In this day and age, the thought of having somebody's blood in your mouth is certainly objectionable.”

“Remember, the key is to hold your opponent so you can bite as long as you want. His visceral response will be to get the source of his pain (your teeth) away from his body as quickly as possible!”

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 attacker’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.

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The first time Paul Vunak released the Enigma Series He had the world of martial arts take a paradigm shift and rethinking there training. The ground breaking revelation of understanding the concepts of training your combat skills in two categories on Self Perfection and Self Preservation was born! How does one train for now and how does one train for a life time in the martial arts. This balance for learning how to fight now and not 10 years from now was a point that is invaluable to so many martial artist, fighters, instructors, law enforcement, military and everyday people like you who want to protect themselves and loved ones. Fast forward 10 years later and now we have the next phase of the Enigma Series. Paul continues to show you what its like to take the guess work out of your training. 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? Stepping into the abyss of the martial arts world without any knowledge can be daunting for anyone new to fighting to decide what should i do. This is where Paul Vunak and Contemporary Jeet Kune Do steps in. The turn 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 Jeet Kune Do 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. 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. 56 min. Enigma 2 Vol.2 includes: Kina Mutai bite flow, Uninterrupted bite, Cross side for Kina Mutai, BJJ fundamentals, Kina Mutai Flow Drill 1, Flow Drill 2 (Standup to ground with knife, Trapping to Thai Clinch, Knife disarm against thrust, Grappling Knife on the ground), Thai Clinch to Pummeling Drill, Flow Drill 3 (Trapping to Clinch, Drill 3 with Lap Sao), Adding strikes to Lap Sao Drill, Defense against Jab-Cross Drills and more.

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Martial Arts and Reality By Shidoshi Jordan Augusto and Kyoshi Fabián Garcia egardless of the martial art that is practiced, one thing is certain: everyone believes that they can defend themselves against a real and violent attack. Is this true? Jean-Paul Sartre, in his mind, said that "violence, however it manifests itself, is always a defeat". However, what happens when we are faced with a real danger that involves the risk of a loved one, a family member? ... And then? Violence can be seen as a necessary denial of separation from an unbearable situation. However, "violence" means the intentional and excessive use of aggression to threaten or commit an act that can result in an accident, death, or psychological trauma. If we look closely, the word violence comes from the Latin “violetia”, which means “vehemence, impetuosity”. But in its origin, it's related to the term "violation" (violare). Violence manifests itself in different ways, in wars, torture, ethnicreligious conflicts, prejudices, murders, hunger, etc. It can be identified as violence against women, children and the elderly, sexual violence, urban violence, etc. There is also verbal violence, which causes moral damage, often harder to forget than physical damage. If we look at it from a Martial Arts

perspective, they all had their origins based on local need. They arose in response to some mechanism of release, defense, protection. Since ancient times, violence can erupt anywhere, varying in the sense of greater or lesser recurrence, and also its criminal nature, in a broader sense. It's clear that such attitudes do not only occur in specific places. This has long since ceased to be characteristic of places where low-income populations are concentrated. It's not new that the facts show that both the poor and those with better economic and social situation can be the target of violence or even be the agent to practice acts of violence. Since man has encountered the need to establish borders, different contents are condensed that open new horizons of interpretation for various contemporary social phenomena. If we look at it from the prism of Martial Arts (at least the best known), we will see that these were deeply influenced by the social paradox, where the starting

point and arrival of the flows and controls of people and goods (a limiting boundary and an expanding border), translate the tensions between the centripetal and centrifugal forces of the modern State itself, developing control mechanisms and, therefore, a broad development in the forms of warfare. Which in turn, historically, in a single country, we can see that national borders divide the “territorial bodies of nations” and produce contact zones between border populations, symbols and images, border markets and state otherness. It’s common in Martial Arts to hear that this or that "style" comes from a certain region, with its geographical, climatic influences, etc. In countries like Japan, for example, internal wars brought a long period of disputes and violence. The Sengoku period (Japanese: 戦国時代, sengoku jidai, literally "The country's war period") was one of the most turbulent and unstable phases in Japanese history,

marked by constant warfare. It’s undeniable that, from then on, the Japanese Martial Arts gained growth and sophistication. But on the other hand, far from the fascination and beauty of Martial Arts, a war can bring irreparable damage to a person's mind. To what extent would us, Martial Arts practitioners, be prepared to deal with this kind of situation? Would we be ready to endure physically and mentally such harsh reality? What is it like to be a victim of irreparable violence? Under the modern gaze, or related to current times, Karl Marx, unlike Weber and Durkheim, addresses the issue of violence from the prism of social classes, that is, of class struggles. Is it just that? You have to think that classes are made up of individuals, and these are or can be potentially violent. The problem is that violence always goes from less to more, which makes it difficult to measure this issue, which is related to intensity. Violence, according to Max Weber's sociology, is more known as irrational actions with no justification for the violence, rather than as irrational action. All of us, throughout our training, have heard wonderful stories from masters who, in favor of the "weak and downtrodden," used Martial Arts as a protection and aid mechanism. However, the world is different. Just think that with the appearance of gunpowder and sophisticated weapons, Martial Arts were, in quotation marks, placed in "Check". Many masters and champions met their end at the hands of someone much weaker who carried a firearm. On the other hand, the contemporary world is organized under laws that seek to sanction the use of violence. Various Martial Arts methods teach techniques for breaking the arms, gouging the eyes, etc., but who would be willing to pay the consequences? And besides, would they be able to perform such techniques? You have to think that there is the "before" (preconfrontation), the "during" (the confrontation) and the "after" (postconfrontation). As a sociological phenomenon, urban violence can have its origin in multiple causes, being seen, in this sense, as the dichotomous presence of the players who act and suffer criminal action, a means that produces social insecurity: fear in relation to the other. To find out more, I leave you with a person extremely capable of speaking on the subject, dear master Kyoshi Fabián García. Enjoy! Picking up the words of Shidoshi Jordan, to what extent are we Martial Arts practitioners prepared to deal with violence? I would go even further and wonder how many of the people who practice Martial Arts really know violence? And I say people who practice Martial Arts and not martial artists because I consider that this subtle difference makes the bottom line.

In reality, Martial Arts do not link people with violence in any way, but at most with aggressiveness, understanding this as a defense response against the perception that our physical integrity, or that of our loved ones, is at risk. People who practice Martial Arts and really know what violence is, they definitely did not learn it by training in modern dojos, but as a result of specific professional activities (Police, military, etc.) or as a result of specific traumatic experiences he's been through. at some point in his life.

The first thing to understand is that people suffer psychophysical alterations at the time of a confrontation, in which their life or physical integrity may be in danger. Being victims of an act of violence, our physical and mental state is drastically altered almost instantaneously. Suffice it to say that our heart can beat at 200 beats per minute (BPM) in just 3 tenths of a second, and cause, among others, consequences: loss of fine motor skills, tunnel vision, hearing exclusion and deterioration of the cognitive process.

Basically, none of the regular training of modern Martial Arts works on the basis of preparing your students to deal with all these automatic responses of the body efficiently. This is so because, at present, and even in the most traditional systems, preparing students for real combat situations is not the objective that is being pursued. On the other hand, there is no training that can make you experience reality. There is no way, in simulated

training, to make a person feel what he would feel when faced with a criminal who really has the intention and will to kill him. That is why, in my opinion, martial artists in general are not prepared to face a real extreme situation that puts their lives at risk. Shidoshi Jordan also made another very important point: “Various Martial Arts methods teach how to break arms,

gouge eyes, but who would be willing to pay the consequences? Still, would they be able to perform such techniques? Here we touch on a second important aspect to take into account in a real confrontation: Beyond the skill and expertise that a martial artist possesses, is he willing to do what needs to be done to survive? This must be analyzed from two different points of view. The first is that while he has ethical and moral principles, codes of conduct, social precepts and empathy, the criminal he faces is not conditioned by any of these aspects. That is to say: they do not confront each other with the same rules! Surely there are those who think that when the time comes they will be able to hurt or kill an aggressor, but that thought is not in line with reality, it is much easier said than done. People specifically trained to deal with these situations have died from not being able to put the training into practice. Second, the acceptability of our actions must be taken into account. Acceptability considers the consequences in terms of cost, that is, what is the psychological and legal price of our actions. Surely many will think that these types of consequences are minimal compared to the real risk of dying, and it is true. What happens is that by not being prepared to face these situations, our responses will not always be proportional to the aggression, as legitimate defense requires. The instincts that guide us do not take these rules into account, they only guide us to do what is necessary to survive by annihilating those who threaten us, even if in the end, that threat is not valued as needed, in the comfort of a court. Finally, it's just as well necessary to contemplate our potential opponents. Despite the fact that there is no single criminal personality profile, we can consider that in general the highest proportion of dangerousness is found within antisocial behavior, which includes sociopaths and psychopaths. Although there is no single criminal personality profile, we can consider that, in general, the highest proportion of dangerousness is to be found within the antisocial behavior, which includes sociopaths and psychopath Beyond the fact that in both cases, danger is enhanced by the lack of discernment between good and evil, added to the inability to empathize with the feelings of others, the real risk arises from their real capacity to deal with these types of scenarios. Criminals face situations every day in which the risk of injury or death is real and tangible. While martial artists, at best, train in simulated scenarios, criminals constantly train in harsh reality. Once again, they're not faced with the same

rules! A couple of additional considerations are worth making about our opponents. It's very likely that they act intoxicated by illegal substances that can introduce variable results, such as disinhibition - which will enhance their action - along with a low sensitivity to pain - which will generate a greater tolerance to shock. It should also be considered that while honest people have a lot to lose - a good life, family, job, reputation -, criminals often say that they "are bet" that is, they have nothing to lose. For a third time, they are not faced with the same rules! I believe that the error, as it usually happens, arises from the language. By tradition, we call Martial Arts to systems that in the past were so, but today they’ve become something more similar to wonderful combat sports. The term martial refers to war. It comes from the Latin "martialis", whose meaning is "related to war." This is how, when we say Martial Arts, we would be talking about the "ability or knack to wage war with excellence or skill." Far are Martial Arts from contemplating the different areas in which a modern soldier should be trained. As a matter of fact, self-defense occupies a tiny place in military instruction and training programs. As I have read, the concept of Martial Arts was first coined in English in the 1920 edition of Takenobu Yoshitarō's Japanese-English Dictionary, published in Tokyo in 1920. To my view, this definition was already out of date when it was published in said dictionary. By that date, World War had already taken place (July 28, 1914 - November 11, 1918), and the "art of war" had evolved from the use of blade weapons to firearms, from cavalry to tanks, and the airspace battlefield had been incorporated into combat, among other changes. I am an avid Martial Arts practitioner with almost 50 years of uninterrupted training. I respect them and am very grateful for all they have brought to my life. But my training as a Special Forces man makes it clear to me that Martial Arts training per se does not prepare a person for a real confrontation. Although necessary, it's not a sufficient condition in itself. Perhaps what I'm saying is not politically correct, but it's always better to tell the truth.

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.

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Grand Masters “HERE WE GO AGAIN!” Part 1 By Grandmaster John Pellegrini

Some things just never go away. Like an annoying insect that you try to swat but keeps on buzzing around your head and seems to follow you around. Like some questions that regardless of how many times are answered, keep on being asked by people who believe that they are the first humans in the history of the world to think about them. Or who just simply cannot accept the answer and believe that by asking the question again and again, will finally get a different answer: the one that makes sense to them; the one that they wanted to hear all along.

“So, in the spirit of perseverance, I decided, in this essay, to cover this controversial topic one more time, and again share the insight and experience I have acquired during my 50 years in the Martial Arts.”

Grand Masters here are many of those instances involving various Martial Arts topics, but the one that I have encountered most often and found to be particularly irritating is the one concerning the issue of “Counters and Reversals”. In fact, in my last book, “Journey into the Yin and Yang”, I dedicated an entire chapter titled “A Dangerous Cocktail” to this very subject. But, like the pesky insect, the question, in some version or other, continues to follow me around, annoying me and testing my patience. So, in the spirit of perseverance, I decided, in this essay, to cover this controversial topic one more time, and again share the insight and experience I have acquired during my 50 years in the Martial Arts. What triggered my decision to again discuss the issue of “Counters and Reversals”, was a phone call our office received a few weeks ago. It was one of our students who, with the best of intentions but terribly misguided, asked the following question: “Why doesn’t Grandmaster (me) produce an instructional DVD demonstrating Combat Hapkido counters and reversals of joint-locks?”. The statement was more of a veiled (and presumptuous) suggestion than an actual question. It presumed to subtly tell me what material was “lacking” in our system, and that, as a result, I was obviously missing a smart business opportunity to expand our product line. It also assumed that somehow, incredibly, during my decades long Martial Arts career, I had never thought about that particular area of instruction. When I was informed of that phone call, I exclaimed: “Here we go again!”. The old Counters / Reversals conundrum rears its ugly head one more time; a consensus will never be reached, and the argument will never be put to rest. Nevertheless, I will give it one more try by approaching the subject in a systematic, logical, and rational manner. First, let’s try to correctly define the proper terminology (leaving ample room for flexibility

“A “Counter” usually refers to a defensive technique, or a counterattack, in response to a striking or kicking attack. This includes blocks, parries, trapping, limb destruction strikes, and most combinations of defensive / offensive striking and kicking techniques.”

Grand Masters i n t h e c o m m o n use of those definitions, and the fact that they are often used interchangeably): • A “Counter” usually refers to a defensive technique, or a counterattack, in response to a striking or kicking attack. This includes blocks, parries, trapping, limb destruction strikes, and most combinations of defensive / offensive striking and kicking techniques. • A “Reversal” usually applies to the neutralization of a joint-lock and the resulting subsequent application of the same or a different joint-lock on the opponent. • An “Escape” usually refers to the successful exit from a choke, head-lock, bear-hug or any “grappling” technique. Also known as “Break-aways” or “Releases” when employed to respond to grabbing attacks. We can then postulate that IN THEORY every Martial Art technique can be countered, reversed, or escaped (in other words, defeated): • A punch or a kick can be blocked • A joint-lock can be reversed • A choke or a headlock can be escaped Let’s examine that general assumption in more depth with several figurative examples. - A JKD practitioner executes a finger jab to the eye. The opponent turns his head slightly to one side and the finger jab strikes the side of the head instead of the eye. Was the failure of the technique due to a successful counter or the result of the eye jab being executed too slowly, telegraphed or launched from an incorrect angle? - A Krav Maga practitioner delivers an elbow strike to the jaw. The opponent rotates his torso and the strike hits the upper spur of his clavicle bone. Was the missed target due to a successful counter or to the technique being too slow, inaccurately aimed, or from too far a range for the elbow to reach the target (as in the case of a taller opponent)? - A TKD practitioner throws a kick to the groin of an attacker who is taking a step forward (or backwards or sideways), but it connects with

Grand Masters the upper quadricep of the attacker’s leg. Was this an intentional and successful counter or the accidental result of the kick’s wrong timing, thrown too slow or aimed too high? - A BJJ practitioner secures the rear mounted position and applies a choke. The opponent manages to escape the choke, move out and re-gain the standing position. Was this an elaborate counter or just the instinctive reaction to a choke being too lose, the legs not being trapped, or the body not tightly pinned? - A Combat Hapkido practitioner applies a painful shoulder hammer-lock to take down an attacker. During the takedown, the attacker twists his arm and manages to reverse the joint lock. Was this due to the unusual skill of the attacker using a clever, unexpected reversal, or to a sloppily applied, weak, loose, slow shoulder hammer-lock? I could continue presenting literally hundreds of these scenarios, but I believe that by now anyone can grasp the (not so subtle) point that I am trying to make: In almost every instance that a Martial Art technique is successfully countered, reversed or escaped, it is because the technique was NOT applied correctly; in other words, something went wrong. And, under stress, in a dynamic, often chaotic, unpredictable situation, there are myriad of things that can go wrong that have nothing to do with the technique being easily defeated such as: Telegraphing the technique, hesitation, sloppy execution, poor timing, misjudged distance, not enough power, choosing the wrong technique for a particular target, inaccurate aim, misreading of the attacker’s movement, wrong angle of delivery, lack of follow-up, lack of intent, weak, slow commitment, lack of confidence, and finally, INSUFFICIENT SKILL. Will continue

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Guro Ariel Flores Mosses introduces for the first time, how the fighting arts of Punong Guro Edgar G. Sulite of Lameco, GM Christopher N. Ricketts of Ilustrisimo and GM Conrad A. Manaois of Manaois Eskrima transitions to Firearms combat training. Guro Mosses shares the Importance of footwork such as Retirada Ilustrisimo, Retirada Caballero and Hakbang Paiwas and the effectiveness of footwork to create the distances and angles you need to pull off your arsenal. Long, Medium and Close range drills are shown to understand where to place yourself against an opponet(s). In addition, Guro Mosses covers the transitional techniques thru various firearm drills including LIVE FIRE exercises and for the first time on DVD shares the "MG-5" gun retention technique against any attacker attempting to seize your gun. These training drills are a must for any level or discipline and reveals the practicality of the Fighting Arts of the Philippines.

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Ref.: • Keysi-3

In this second video of the series, Justo Diéguez, creator of the KFM Keysi Fighting Method, teaches us to systematically implement the tools on which the principles and concepts of the method are based, starting from patterns and basic sequences of defense against middle distance fist attacks. The street is not Boxing, Kick-Boxing or Thai-boxing, the street is brutal. We do not have space or answers, it's not something we expect, it will be a shock! Therefore, in order to achieve the highest efficiency in risk situations, we must know and understand all the tools we have. Justo Diéguez explains in detail the basic sequences and the different defense possibilities in this distance (block defense, shoulder defense, Pensador defense ...) to gradually incorporate and combine new elements such as Pensaevo, Pensa-shoulder, Pensa-head, Pensahammer, and battering ram blow, demolishing tools and features of KFM that can be used in both defense and attack. The sword does not make the Warrior; it is the Warrior who makes the sword. The objective is simple: combine our tools to create a space with the opponent and react explosively entering the melee to end the fight.

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The Yip Man’s Legacy I've been practicing Martial Arts most of my life. I started at the age of 5 years and I have never stopped practicing until today. I have devoted the last 20 years to the study and practice of the Wing Tsun Kuen style, and I can say without deceiving myself that the day I met my master of Wing Tsun, everything changed in my life (profession, passion, friends,

studies, spare time...). Whichever way I look at it, in one or another way, everything ends up in the same place: passion for Wing Tsun and for Martial Arts. In addition to my professional work teaching and promoting Martial Arts, Wing Tsun Kuen and ever ything ar ound this fantastic Kungfu style has transformed my way to see, understand and walk in life.

uring all these years, and as it can be easily imagined, I have met thousands of Wing Chun practitioners all over the world. Especially in recent years, in which I hold the post of Technical Director of the Wing Tsun Department in the Spanish Federation of Olympic Wrestling and Associated Disciplines (Federación Española de Luchas Olímpicas y Disciplinas

Asociadas), I've had the opportunity to coexist and interact with very different families and masters of different lineages. Many were complete strangers to me. Today I call "friends" to some of them. This is my "testimony", my experience, but I'm sure that many of you who are reading this article or follow our activities will find these words quite familiar. We could change the name of the person who is telling his experience and I'm sure that it would be

very similar. Please allow me launching this personal reflection to introduce you in this month's article, which we have titled: "The Yip Man's Legacy."

Why Wing Tsun? First: It's a teaching progression perfectly designed, step by step, so that any normal person can reach the top if he or she perseveres and works. I think this is the most attractive point of this system. As a machine perfectly meshed, each exercise develops a capacity to a certain level, and in the next grade, new exercises (especially the relevant Chi Sao sections), take you up to another level gradually, step by step. This is hard to explain with words, it takes a few years of practice and it requires having progressed to the technical degree to appreciate it. Personally, the more I study, the more I practice and teach the more admiration produces me to see how wisely designed are the diverse degrees up to the 3rd Technical Grade. Capabilities such as relaxation, training, learning to yield, explosive power, elastic energy, adaptability and many others are skillfully developed in a graduated way so that all those that follow its teachings manage to obtain their results This intelligent design attracts the attention of those students who have practiced other fighting systems, especially the inner styles, because they find clear and very precise instructions, and quick and verifiable results. Second: A healthy method with a very low risk of injury. In Martial Arts training, injuries can happen for three reasons: 1. Accidents. A fall, a stumble, a slip, etc., this type of injuries are accidental and occur both outside and inside the training hall. 2. Traumatism during free fighting. That is, by a blow or a lever made during a free exchange (either with full contact, semi-contact, etc.), basically, black eyes, broken nose, broken teeth, rib cracks, bruises and sprains. In WT, these type of injuries are fairly rare (provided that students don't train on their own without any direction or control) because normally, free combat is not practiced until the student reaches a certain level. The great distance between technical work and free fighting, is solved in a fairly intelligent and logical way, by means of an

intermediate step that we call Da Lat Sao, in which we try to apply our technical arsenal, displacement, angulation, etc., on an opponent who keeps moving (unlike many other styles that practice their techniques on unmovable opponents who collaborate "excessively"). In the practice of free Chi Sao, thanks to the control of the blows that this type of exercise provides, serious traumas are quite rare. Most likely, the detractors of our system will think that you can't get to do combat unless you practice at full contact. My experience in the world of Martial Arts tells me that it is precisely that "soft" and flexible way of training what attracts a larger number of practitioners, and especially, what makes those practitioners to "perpetuate" in their personal training. In the end, effectiveness, with proper training, appears as a result of practice and, quite curious, there are advanced practitioners with an incredible combat level and an astonishing impact power, although they never practiced full contact blows in free combat during their learning. It is another of the great virtues that this training system has achieved over the years and through its constant evolution.

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

One life seems too short to master everything, but that doesn't discourage us, quite the contrary. Anyway, enthusiasm can be conflicting. Our family probably won't understand and so we have to organize ourselves well and be smart not to neglect other aspects of life (family, work, friends, etc.), and especially not become a boring "Wing Tsun nut" who speaks all the time about the same topic or has no other interests. Fifth: A noncompetitive activity that promotes collaboration among persons. In WT, the fact of helping our companion to improve, help us to improve ourselves. The higher his level the higher will be also ours. This interdependence is very beneficial, since it permits eliminating competitivity and creates a climate of mutual collaboration and good humor.

Of course, that doesn't prevent to consider who is better, but the question is neutralized by the desire of progressing. Rather than seeing who the number 1 is, we seek to advance continuously. Vanity does not fit well with our development in WT, at least during training. Sixth: A skill that stays long even if you stop training. This is a curious and very telling aspect of the art. I have contrasted with students who because of family, professional or geographical reasons had quitted entirely training for 4 or 5 years, and upon returning to practice with them I noticed that they hadn't lost virtually any of the skills developed earlier. Some have compared this with the ability to ride a bike. Even if don't ride for years, as soon as you mount on a bike again, you can start pedaling without fear of falling. Perhaps it is a type of neuromuscular memory, though I don't really know. The fact is that it's highly motivating to know that you don't lose what you have acquired, unlike other sports or activities.

Seventh: A capability that can be applied unconsciously. Another remarkably feature of the arte is the fact that when you have reached a high level, it seems that it can operate on its own. Someone pushes you or grabs you, even if it's playing, and your body reacts seeking the gap before you realize what's happening. I know about colleagues who, if you move their arms while they are sleeping, they react as if they were doing Chi Sao. This is a very important skill for real combat, in which you have no time to think or prepare yourself. Eighth: WingTsun is also an interesting tool to understand Chinese culture. With a history of over 300 years, WT developed over one of the most turbulent and critical periods of Chinese history: the Manchu invasion, the birth of the Triads, the Taiping Rebellion, the pressure of foreign powers, the fall of the Empire, the Republic, the Japanese Invasion, World War II, the coming to power of Mao, communism and the subsequent opening.

“It is necessary to look back and see how from Yip Man's arrival to Hong Kong and the education to students (up to that moment it only existed the school of his master Cham WA Shum in Dothan), the growth of the system in the whole world has been simply spectacular.” When we study the history of WT, we are contemplating sidelong the path followed by the Chinese civilization. Chinese cinema has also echoed the lineage of WT masters. Thus we find films whose protagonists are: Ng Mui, Yim WingTsun, Wong Wah Bo, Leung Yee Tai, Leung Jan, Bruce Lee; several films about Yip Man (with significant exaggerations) have also been recently produced. WingTsun is also an excellent way to access the Chinese Traditional Culture, with its numerous Taoist, Buddhist and Confucian elements, that are found in its theory and terminology, in the familiar relationships of pupils and masters, in strategies and technical principles, etc. It is an interesting coincidence: in my opinion, the good things - and the others "not so good" - of WingTsun are the same that Chinese culture has. In other words, we can see the idiosyncrasy of the Chinese people and their culture, accurately reflected in WingTsun and vice versa. We've talked before about the shortcomings of our system, but I personally would like to stay with the virtues: respect, patience, humility and perseverance. I am convinced that Kungfu is without a doubt one of the best - if not THE best - instruments to learn Chinese culture: a culture that is called to become a world leader in the XXI century for its wealth, its influence, its population and its vitality. And after all this, I think it will be very easy to understand the relevance of the Legacy of Grand Master Yip Man! Perhaps you haven't thought about it, but you, dear reader,

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

“WingTsun is also an excellent way to access the Chinese Traditional Culture, with its numerous Taoist, Buddhist and Confucian elements, that are found in its theory and terminology, in the familiar relationships of pupils and masters, in strategies and technical principles, etc.”

Learn the Nerve attacks of Kyusho in this important video that is a follow-up for the 6 Ji Hands (of the Bubishi) film. In that film you were shown the 6 Original Hands of Shaolin, their proper use and the Kyusho (Vital) targets that cause paralysis, dysfunction and incapacitation of an opponent. In this video we help you learn Kyusho and the 6 Ji Hands to a higher degree of skill with simple training exercises. These exercises will increase your skill with Kyusho, as you learn to transition from hand to hand, side to side, target to target. By training these slowly at first, then with ever increasing speed these 6 Shaolin Hands will become automatic and devastating to your opponents. These same 6 Hands were taught long ago in an ancient sequence called “Rokkishu” (6 Hands) and now from a more modern adaptation called “Tensho” (Turning Palms), it is the exact way to penetrate deep into the inner man to access the Kyusho (Vital)Targets. You will learn the Tools, Targets, Trajectories, Tuite and Tegumi from the Original Shaolin methodology. This is also Vital Information on the secret meanings of the Ancient Bubishi and Karate itself. It will help you understand the Keys to unlocking the hidden code of that epic manual and base of Martial Arts. “The Power is in Your Hands”. - Evan Pantazi

Ref.: • KYUSHO29 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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Welcome to the Gracie Garage I wanted to become like Rickson! (Part 3) For the first time with the Gracies on the ground... It was during one of those workshops with Paul Vunak for my training group that we first saw the combination of Jeet Kune Do and Gracie Jiu-Jitsu. He asked me to come to the front, and demonstrated a punch defense combination with me, but in doing so he also immediately pulled both of my legs away, causing me to fall on my back. He then went into the "mount" (basically sat on my stomach) and hit me from above with chain fist punches until I raised my arms to protect my face. But the fight was not over yet, Paul kept going! He grabbed my right wrist, pushed my arm bent to the ground and only then ended the fight: with a shoulder lift, what he called "Americana". With me sparks flew from the eyes with joy and I could not wait to see more of it. Sifu Paul fulfilled us this wish on this special evening of course - with his own looseness and joy of teaching. He had now become my new hero and I knew I had some new things (in Gracie Jiu-Jitsu) to learn again.

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Shortly after his seminar in Switzerland I visited Sifu Paul again in Long Beach to learn more about this "new" knowledge. This visit in turn led me to someone who was to turn my life upside down once again. Even though the founder of Jeet Kune Do, the legendary Bruce Lee, had dealt with ground fighting (or grappling), I had not paid much attention to this area until then. But this should change abruptly. That was the day when Paul Vunak invited me to train with Rickson Gracie in Santa Monica, after a meeting with him, to take part in a Brazilian Jiu-Jitsu lesson with him. The simple, familiar, and respectful training atmosphere with Master Rickson motivated me to train with him right away. Of course, I was impressed by his technical skills, but that was not the main reason to train with him. For me, the simplicity of the techniques, his incredible body awareness and the finesse in the details were the focus. There were also no "Japanese" words to memorize and everything he showed me seemed not only logical but highly efficient. Everything was different from what I had seen before. No unnecessary rituals, no Sensei or Sifu, and yet there was a lot of respect and trust! I came from a full-contact background, so sparring was normal for me. But what I loved about Gracie JiuJitsu was that I could spar relatively hard without seriously injuring myself. In Thai boxing, I sometimes could not walk properly for a day or two after a hard sparring session. In Brazilian Jiu-Jitsu, on the other hand, you are in close contact with your training partner while practicing the techniques, and in sparring you get the chance to put what you have learned into practice against an opponent who really offers resistance - but without getting hurt. However, in Gracie Jiu-Jitsu I also learned how to practice the techniques slowly and must do so to continuously improve and better understand them. Practicing close to the man/woman led to a whole new form of technical and tactical understanding. In other words, like any beginner, I relied far too much on muscle power in the beginning and first had to learn to approach things with finesse and make the techniques smooth. Very soon I was visiting not only Master Rickson, but also Rorion Gracie - his older brother, who had just opened the new Gracie Academy in Torrance, Los Angeles. In those days, you could still meet numerous Gracies and their cousins, the Machados, together on the same mat. My training trips also became longer and longer, and training was not just once a day, but several times and at least one session of it was a private lesson with Rorion, Royce or with one of the Machado brothers (Carlos, Rigan, or John).

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Back to Switzerland and back to Zurich… Thanks to the help of my friend Livio Altorfer, himself an accomplished Pentjak Silat teacher (and a direct student of Grandmaster Paul De Thouars in Los Angeles), we were able to continue with our VAMA teaching program in his newly established school at Hardturmstrasse in Zurich, and later even expand it on an ongoing basis. The school was in the basement, had only small windows and Livio had laid a red carpet in the beginning. Our training had focused more and more on the Muay Thai boxing of Ajarn Chai, a small part of trapping techniques, as well as stick/knife fighting, and now more and more techniques from Gracie Jiu-Jitsu. So, all our students were grateful when one day Livio was able to organize some gym mats and we did not have to practice our ground fighting techniques on the carpet anymore! I still had an exceptionally good reputation in the circles around nightlife and so many bouncers, security guards

and police officers continued to come to us for group and private training. Also, the number of members grew steadily again, so that my brother and I - after another trip to California with our mother and sister - decided to start our own school again. When the new Vacirca Academy of Martial Arts opened its doors on July 16, 1995, at Eisfeldstrasse in ZurichOerlikon, Gracie Jiu-Jitsu was already a (very) important part of our teaching program. On more than 170 m2 of permanently laid out Judo mats, we now offered a very varied range of courses for men and women, and it was not long before the first official Gracie Kids classes were also added to the program. Within a short period of time, our Academy became the main European location for Brazilian Jiu-Jitsu, and we received visitors from all over Europe and Russia. Thanks to various TV appearances, radio interviews and several articles in daily newspapers and trade magazines, interest in VAMA grew quickly and soon we were invited to give our own Gracie Jiu-Jitsu seminars at home and abroad.

www.graciejiujitsu.eu Our notoriety increased further when we returned from Rio de Janeiro as a four-man Swiss team in January 1996 with a silver and a bronze medal. Nikos Bachzetsis, Martin Hardmeier, my brother Demetrio, and I had fought at the first Brazilian Jiu-Jitsu World Championship in the black belt category and, besides the precious metal, achieved a great result with two fourth places. The Brazilian Jiu-Jitsu Federation (CBJJ), which was presided by Master Carlos Gracie Junior, had recognized us as official Black belts in the same year and appointed me as the representative of Brazilian Jiu-Jitsu in Switzerland. I was also given the honor to represent Switzerland as a founding member of the International Brazilian JiuJitsu Federation (IBJJF) and to represent it.

Gracie Garage Made in Europe... The Gracie Garage in Hermosa Beach, near Santa Monica, became important to me in many aspects. Not only because I learned my first Gracie techniques here, but also because my trainers (Rorion, Royce, Rickson, and many others) gave me the Gracie philosophy.

We adopted the "Gracie Garage" concept, 1:1 from day one, into our Gracie Jiu-Jitsu Academy in Zurich. We knew that if we wanted to teach our members the Gracie Way, we had to do it the way we did at the Academy in Califor nia. It was important to us not to become a cheap copy, but to invest hundreds or thousands of hours to acquire this valuable and high-level knowledge. The COVID19 pandemic has taught us to reinvent ourselves again, and to explore new avenues so that we can continue to pursue and practice our passion. Over the past few months, I have received emails from numerous Jiu-Jitsukas asking if I could give them some tips to keep their training going during the legal restrictions. Out of this came the most beautiful stories. Some of them even had the idea to build their own "Gracie Garage". One of our trainers, who normally teaches in the Gracie Jiu-Jitsu Team Berlin, also came up with this idea. During a personal conversation with Peter Unger, this young Gracie trainer in Berlin, I asked a few questions about his Gracie Garage and about himself: 1. how did you get started with Gracie Jiu-Jitsu? I have always done a lot of sports since I was little and had a tendency to be physical. As a kid I trained in Aikido for a year or two and later I was recruited to play rugby at school. I then played rugby for 6 years, winning German championships and many other tournaments at U18 level. At some point I stopped playing due to negative team dynamics and other interests. When I was looking for a sport for myself again a few years later, I first wanted to start with martial arts through varsity sports. When I told my friend Martin Germär about this, he immediately invited me to Gracie Jiu-Jitsu. So, since Martin and I have known each other since we were toddlers, I gave it a chance and immediately tasted blood. Since then, I am passionate about it and on every vacation the travel Gi is always in my luggage to visit academies everywhere and learn new things. 2. Why did you make your own Gracie Garage? What was the motivation? Of course, the addiction to JiuJitsu has been one of the biggest motivations. Being able to always train as I please and not having to

www.graciejiujitsu.eu conform to our (unfortunately) limited gym hours has always been a dream. I often dreamed about it with my friends from the training group. Then came the Corona Pandemic, in which the training was completely cancelled, and we laid out mats and trained in the small, allowed frame in a room. I did not want to replace the official training or even build my own training group. That is not my plan today either. I only dream of weekends with friends who come to visit us, and we can train together and spend good times. Last year in October we bought the garden in Brandenburg. Already at the viewing, when I saw the garage, I said to my girlfriend: "The car has to stay outside, because the garage will be my gym!" So, I started cleaning out the garage and building a new floor that could be covered with mats. However, as is always the case with construction projects, the remodel is far from finished and will continue as we go. 3. if everyone had a Gracie garage, wouldn't this be a disadvantage for Gracie schools? What do you think?

www.graciejiujitsu.eu As with many things, the dose makes the poison. Of course, if everyone had the opportunity to build their own training group and stopped going to professionally led training, the quality of the technique would suffer greatly. Gracie Garages cannot replace proper schools with trainers who have been involved in martial arts for years or even decades and are constantly educating themselves at seminars. Even full training done with an online program can never come close to the quality of training in schools. However, it can be a way to supplement one's training, to practice what one has learned in school more intensively, or to build up fitness for randori. In addition, in many regions of Germany there are still no Jiu-Jitsu schools or the ways there are far. In this case a Gracie Garage could be the only possibility to train regularly at all. I think the most important thing is that a Gracie Garage should not be run without professional guidance if quality of techniques and principles should be guaranteed. 4. what are the benefits of the Gracie Garage in your opinion? As I said before, the biggest benefits are probably flexibility in training times and short travel distances due to decentralization. In my case, though, it is simply the ability to incorporate what I love to do most into my daily life more often. We will have our first child this year and when he is old enough, he might want to play with me in the garage from time to time. And who knows; maybe one or the other neighbor, who walks past my garage wondering, will find his way to us at school. 5. ...and what are the disadvantages of having a Gracie garage? The only downside I can see is that the weekend cannot come fast enough until the friends come over again to work out, grill and relax. Many thanks to our friend Peter Unger for the interesting interview and the numerous photos of his new Gracie Garage. Continuing again next month... Please stay healthy and strong! www.graciejiujitsu.eu

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In this DVD, Master Giuseppe Vuovolo, from the non-profit association "Knights of Honor and Humility" (associazione "Cavalieri d'Onore e Umiltà") founded by himself, will introduce us to a little-known world: that of the so-called Popular Arts of the Italian tradition, more precisely those of southern Italy (Manfredonia, Puglia). Together with his students, you will have the opportunity to see specific warm-up and combat techniques with various weapons that will be displayed, from a knife to a billhook knife, from a billhook knife to a razor and even a cane. There is also no shortage of empty hand techniques, rare enough to be found in other schools of popular arts. You will have the opportunity to study the application of techniques both individually and in pairs, both in self-defense and in real combat demonstrations with each individual weapon presented. Good viewing for all fans!

Ref.: • VUOVOLO1

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Ref.: • TAOWS-5

In this 5th work, Sifu Salvador Sánchez 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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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)

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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 Women´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 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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NEW DVDs!

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

134/134

DVD Kung Fu

3/134

DVD Kung Fu

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

DVD Tsui Pa Hsien Kung Fu Drunken Style Ref. DVD/BOR Price Inc. Tax......22,00 EUR

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

DVD Hung Gar kung Fu Lau Gar Kuen Form Ref. DVD/SEWER3 Price Inc. Tax......22,00 EUR

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

DVD Shaolin Hung Gar Gung Gee Fook Fu Doy Dar Ref. DVD/SEWER5 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Vol2 Ref. DVD/WENG2 Price Inc. Tax......22,00 EUR

4/134

DVD Kung Fu

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

DVD Kung Fu Pa Kua Pa Men Chan Form Vol 2 Ref. DVD/PAMEN2 Price Inc. Tax......22,00 EUR

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

DVD Ling Gar Kung Fu Gun Disarming Ref. DVD/LYN6 Price Inc. Tax......22,00 EUR

DVD Ling Gar Kung Fu Dim Mak Ref. DVD/LYN3 Price Inc. Tax......22,00 EUR

DVD Ling Gar Kung Fu Knife Defense Ref. DVD/LYN5 Price Inc. Tax......22,00 EUR

5/134

DVD Kung Fu

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

DVD Weng Chun Kung Fu Fa Kuen Ref. DVD/WENG3 Price Inc. Tax......22,00 EUR

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

6/134

DVD Kung Fu

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

DVD Kung Fu Pa Kua Ref. DVD/PC1 Price Inc. Tax......22,00 EUR

DVD Kung Fu Choy Li Fut Tiger & Dragon Forms Ref. DVD/PR2 Price Inc. Tax......22,00 EUR

7/134

DVD Tai Chi

8/134

DVD Tai Chi

DVD Tai Chi Yang Style Vol 3 Ref. DVD/FUSE3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Style Tui Shou Ref. DVD/YU3 Price Inc. Tax......22,00 EUR

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

DVD Tai Chi Chen Style Pao Chui Er Lu Form Ref. DVD/YU2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Vol 2 Ref. DVD/FUSE2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Vol 1 Ref. DVD/FUSE Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Xia Jia Pao Chuie Form Ref. DVD/CHEN1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chen Style Ref. DVD/YU Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style Kung Chia Form & Applications Ref. DVD/TCC Price Inc. Tax......22,00 EUR

DVD Tai Chi Beijing Jen The Straight Sword Ref. DVD/TCE Price Inc. Tax......22,00 EUR

DVD Ling Gar, Tai Chi & Qi Gong Ref. DVD/LYN Price Inc. Tax......22,00 EUR

DVD Mongolian Tai Chi Chi Kung Ref. DVD/MONGO1 Price Inc. Tax......22,00 EUR

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DVD Tai Chi

DVD Tai Chi Chuan Yang Style Ref. DVD/PR1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Wind Chasing Fan Ref. DVD/PR3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 1 Ref. DVD/TAI1 Price Inc. Tax......22,00 EUR

DVD Tai Chi Yang Style & Chi Kung Vol 2 Ref. DVD/TAI2 Price Inc. Tax......22,00 EUR

DVD Tai Chi Che Sword Ref. DVD/TAI3 Price Inc. Tax......22,00 EUR

DVD Tai Chi Chuan for Seniors Ref. DVD/TAI4 Price Inc. Tax......22,00 EUR

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DVD Shaolin Kung Fu

11/134

DVD Shaolin Kung Fu

DVD Shaolin Kung-Fu Shi De Yang Interview Ref. DVD/DEYANG Price Inc. Tax......22,00 EUR

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

DVD Shaolin Xiao Hong Quan Form Tao Lu Ref. DVD/MIAOZHI1 Price Inc. Tax......22,00 EUR

DVD Shaolin Kung Fu Boxing Ref. DVD/SHAOLIN1 Price Inc. Tax......22,00 EUR

DVD Shaolin Kung Fu Essential Ref. DVD/TOMBOLATO1 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

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DVD Wu Shu

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DVD Wu Shu

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

DVD Wu Shu San Jie Gun The 3 Section Staff Ref. DVD/FAN2 Price Inc. Tax......22,00 EUR

DVD Wu Shu Hou Kun The Monkey Staff Ref. DVD/FAN1 Price Inc. Tax......22,00 EUR

14/134

DVD Wing Chun

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DVD Wing Chun

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

DVD Wing Chun Wooden Dummy Form Part 1 Ref. DVD/MUKRAN1 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 2 Ref. DVD/MUKRAN2 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 3 Ref. DVD/MUKRAN3 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Part 4 Ref. DVD/MUKRAN4 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Basic Drills Ref. DVD/MUKRAN5 Price Inc. Tax......22,00 EUR

DVD Wing Chun Wooden Dummy Form Advanced Drills Ref. DVD/MUKRAN6 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Siu Lim Tao Ref. DVD/RANDY1 Price Inc. Tax......22,00 EUR

DVD Wing Chun Kung Fu Chum Kiu Ref. DVD/RANDY2 Price Inc. Tax......22,00 EUR

16/134

DVD Wing Chun

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

DVD Wing Chun Traditional vol 2 Ref. DVD/WCH2 Price Inc. Tax......22,00 EUR

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

DVD Weng Chun Kung Fu Vol2 Ref. DVD/WENG2 Price Inc. Tax......22,00 EUR

DVD Weng Chun Kung Fu Fa Kuen Ref. DVD/WENG3 Price Inc. Tax......22,00 EUR

17/134

DVD Wing Tsun

18/134

DVD Wing Tsun

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

DVD Wing Tsun Taows Academy Ref. DVD/TAOWS1 Price Inc. Tax......22,00 EUR

DVD Wing Tsun Advanced TAOWS Academy Ref. DVD/TAOWS2 Price Inc. Tax......22,00 EUR

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

DVD WingTsun Combat Techniques Ref. DVD/WTS1 Price Inc. Tax......22,00 EUR

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DVD Wing Tsun

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