Great Masters

As a rule, we do not like ourselves. We do not like that others can verify and ratify with their expressions our well-deserved dislike.

The test places us in the dilemma of showing it.

The fear of the test springs from our deepest conscious and unconscious traumas, fears, insecurities and psychophysical imbalances. The reason is that we are going to be judged by the most severe, implacable and unsatisfactory judge: ourselves.

During the test, moving on the tatami while the others contemplate our qualities and mistakes, we are at the same time paper, pen, knowledge of the subject and qualifying judge. And all of this we write on what hurts us the most because it is what gives us away the most, our body. The psychophysical clumsiness, the lack of plasticity and punctuality of ki do not have the excuse of not having studied, for the simple reason that what is seen is the only thing that we really are. The ta-tami measures our limits and denounces, on the basis of our undeveloped potentialities, our authentic human dimension.

What we could be is, at best, future.

What we are, evidence that everyone can see; and they also contrast within themselves if they are sincere, even if it is of no consolation to intuit, imagine or know it.

The test distresses us. Overcoming that anguish is the most important factor of the test.

The test has to be structured in such a way that it mobilizes the deepest traumas and fears of the practitioner, taking him/her to a different spatiotemporal experience that generates a punctual cathartic rupture that, showing him/her with realism his/her internal phantasms, is resolved in the context and development of the test itself, leaving traces of the path to follow to resolve his/her psychophysical conflicts in the sensations experienced and in the dreams of the following days. For this reason, special attention must be paid to the dreams of the following two or three weeks, looking for the meaning of their plot in that mixture of symbols and scenes of apparent meaninglessness that camouflages the meaning of the dreams.

The test must include the overcoming of physical, mental, emotional and attitudinal barriers, forcing the initiate to confront his limitations and develop his potentialities on these four levels, to get inside himself until he forgets who he is, where he is and who is watching him. Action must absorb attention and feeling. Nothing foreign must exist to this space-time synchrony, neither inside nor outside.

At the same time, the evolution of the practitioner's ki, kiai and kime must be checked in the repeated tests of degrees.

The black belt should only be given to the initiate when he succeeds in having his kiai absorb his ki and explode it into sober and centered kime.

The requirement to periodically go through these tests in which the practitioner's ability to focus and overcome anguish is tested, regardless of whether or not he wishes to access a higher grade, is not a profitable decision, from an economic point of view, given the growing resistance of human beings to look inward, but it is essential for the existence of the dojo, for the survival of the Martial Art as an initiatory process, and for the development of those who really want to grow and enjoy paying the price of effort to achieve it.

A test cannot be limited to technical demands, fundamentally circumscribed to the area of the body, no matter how hard they may seem. The test must also include hyongs, katas and combat, but the initiate must be subjected to experiences that mobilize his emotional and spiritual world, in a measured and balanced way, without sophistications, mystifications and Indiana Jones-like delusions. We are dealing with reality, not with the world of fiction, even though reality, in its normal and fluid daily flow, often surpasses fiction without planning fantasies.

Great Masters

I use a procedure based on my own experience to set up the tests. My students know it and suffer from it, but it would be wrong to include it here. Whoever wishes to teach must know how to observe attentively what the bodies of his students express in their gestural language and in the energetic mobilizations that the experiences on the tatami provoke in the world of their emotions. One must know how to contemplate others in the imperfect inner mirror of oneself. When this capacity has been developed, and only then, it is possible to give initiatory sense and correction to the tests of degrees.

The person who teaches with honesty is not saddened by the fact that most of the milk jugs break before they reach the pantry. On the other hand, it gives him great joy and satisfaction when, from the broken pitcher, a little white and silky milk remains in the bowl of his hand.

In this new work filmed in the spectacular landscapes of Fuerteventura, declared Natural Heritage of Humanity, we will see part of the work done by the Federation of Garrote Canario Fighting along with the Cabildo, island government institution, to promote this traditional indigenous activity, the Garrote Canario or Lata Majorera. We will have the opportunity to see in action the Grand Master Jorge Domínguez developing "Torciadas" with the Garrote, learned directly from the old Majorero Masters like Simeón Alberto. In the Corralejo Dunes, Grand Master Carlos Barrera performs several series of Garrote Canario and Mano Canaria (empty hand) techniques, bringing the martial artist closer to the application and parallelism of these traditional techniques. This natural tatami on a fine blond sand, is the most suitable place to perform Zapatas and Trabas. Also presented are several technical series of work with the Tolete Canario, adapted to the field of Police Defense. An excellent sample not only of techniques, but also of the activities carried out by the Federación de Lucha del Garrote Canario in Fuerteventura, the Island of the Majoreros.

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.

This ancient art that emerged more than 4000 years ago in northern India, is becoming a reference for the initiation of professionals and practitioners, for their contribution and development of numerous skills in hand-to-hand combat, for its effectiveness, quick response forceful and peculiar vision of combat with weapons, fencing and fighting. In this work, Docurdo (Master) Daniel Guijarro presents the Silaram methodology, which combines fencing, with the short stick and the Churi, razor or knife, and the long gypsy stick of 1.50m. In Silaram there is no center line because there is a continuous movement, while we move the center line disappears and the guard changes for defense and attack. A pragmatic approach that takes advantage of the natural qualities of the body's movement, with a natural methodology where self-control and instinctive responses to attack and defense are characteristic.

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.

If you want to learn a dynamic realistic self-defense system, then this is your chance to train with Frans Stroeven.

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