Budo Nostalgy. Martial Arts Magazine EXTRA October 2013

The Future of Budo is Now! Years ago we had the pleasure of presenting Yoseikan Budo in our magazine as the Budo of the year 2000; and the year 2000 is here.

For many people things are the way they are and that is it… what is done should remain that way and tradition is a finished and done with and it has to be repeated. For Hiroo Mochizuki it is not like that. For him life is a process of precious evolution, and Budo is its way of walking on that path. That is why he has dedicated his energies to the development of the disciplinary Arts and getting close to them, but not like those who study techniques separately, but rather as a whole that can and should be organized and be reinterpreted. Friends, he is a “rebel with cause”; this is a good cause! The result of his vision is based on a rich personal and wide and long experience: Judo, Kendo, Karate, Aikido, and long etceteras.

In the deep sense of the word, I “feel” that this man is a Master, a man who is honest, sincere, who communicates an unfolding experience based most of all, on life living examples. He is not Japanese-French (or French-Japanese!); his words are not based on intellectual pretensions or on a “revisionist” of tradition or a traitor (like some have tried to say). Friends, readers, it is totally the opposite, no, he is someone who has a profound vision, highly sensitive, and a person who is totally committed to the present and future of combat Arts and it is a great pleasure for me to have met him.

Aensei Mochizuki embodies the perfect connection between tradition and modernity.

He has gone beyond that which formed a natural part of his life. He comes from a warrior family and inheritor of a generation of a deep martial tradition, yet he was courageous and honest to go beyond the mere repetition of what is known, challenging the essence of his existence up to our days just as others have done, such as Kano, Funakoshi or Ueshiba himself. If there is anyone who wants to accuse him of that, go ahead and do it! In all honesty, he does not understand those who question the experience he has lived.. The fact is this intelligent and perceptive man has gone deep into the essences of the Arts of war, recreating them in a coherent and entertaining way. Yes, entertaining! The Yoseikan is a style that is so varied and rich in subtleties and forms that is does not bore anyone.

This Master has corrected the dangerous vices of other styles that frequently lead to injuries because of wrong postures, tension and repeatedly forced; it is a style that fuses well, because it allows the students to go deep into the work done in a very complete and versatile manner.

It is a pleasure to meet people like this and to be a medium of transmitting their authenticity, passing it on to others like you! That is why we would like to present you with a video recorded in our studios about/on his Art, Yoseikan Budo. He is accompanied and helped by his students and especially his son, a young man well prepared, keen and skilled, with a great future ahead of him. This interview will give you more knowledge about the man, the Art and the Master, Hiroo Mochizuki.

Take advantage of this moment to look at his work, you will be surprisingly pleased, and without doubt, it will open doors to the understanding of what has been and will be the Budo of the future. Practitioners of Judo, Karate, Kendo, Aikido, or people who simply are interested in combat, all of them, find a source of inspiration in his contribution and his creativity. This video is a legacy, it is magnificent and stands at a perfect point of equilibrium between the past and the future of Budo: The Yoseikan Budo of Mochizuki.

The future of Budo is now!

Alfredo Tucci

Yoseikan Interview B.I.: When were you born and at what age did you begin Martial Arts?

H.M.: I was born on the 21st of March 1936 and I began studying Martial Arts when I was 7 years old.

B.I.: Could you tell about your family?

H.M.: Yes, My father was a very important Martial Arts Master in Japan; he is 10º Dan in Aikido. He also practiced Judo with Master Kano. In Aikido he has even been direct assistant to Master Ueshiba, the founder of Aikido.

B.I.: What Martial Arts and combat sports did you begin with and what Martial Arts and combat sports have you practiced and with whom?

H.M.: First I started with Kendo, when I was 7 years old. Then at age 13 I began practicing Aikido and Judo. All of this I learned with/from my father. After that, from age 18, I learned Karate with Master Mijirala????, who is a student of Master Otsuka, the founder of Wado-Ryu. I also learned Iai with my father. In other words, with my father, I learned Judo, Aikido, and how to use traditional Japanese weapons, the Iai, Bo and Jo. B.I.: At the moment what degrees do you have in these styles?

H.M.: For many years I have been 3º Dan in Judo, and almost 40 years I have been 3º Dan (laughs), and in Karate I am 7º Dan and in Iaido, Ju-Jutsu and Aikido, I am 8º Dan. B.I.: Have you practiced other Martial Arts and combat Sports?

H.M.: Yes, I learned a little bit of English Boxing, French Boxing, this was done more than anything for pleasure.

B.I.: All those techniques that exist in Yoseikan-Budo: the Tonfas, the Sai… where do they come from?

H.M.: I started studying the Sai and the rest of them with Master Koizumi, and then I developed the Tonfa and the Sai by myself. This was also thanks to KenJutsu; I found the Kumi-Dachi system, that is to say, the system of the Sai against the Saber, Tonfa against the Saber, Jo against the Bo, in other words the reverse.

B.I.: How did you create the Yoseikan-Budo?

H.M.: I created the Yoseikan-Budo, I mean the organization was created in 1975, but I started studying it in 1974 and it came about as a style more or less about 1970.

B.I.: Why did you create the Yoseikan-Budo.

H.M.: First of all, I like Judo, I like Karate, I like Aikido, I like Kendo, so I thought, why not combine them? Well, it is difficult to practice all of these Martial Arts, you do not have enough time because you cannot do Karate at such an hour, or Aikido at such an hour, Judo at such an hour…you have to do them separately. I did not have enough time so I have tried to globalize this into minimum time.

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B.I.: Is Yoseikan a mixture of different Martial Arts or is it…?

H.M.: No it is a synthesis. First I started with a synthesis. Actually, this comes from my father, because my father has done studies on synthesis. For example, he tried to unify Aikido and KenJutsu. He even tried to put Ju-Jitsu techniques in Aikido, and lots of Judo techniques, etc. And that is a little bit of the basis. Therefore, I have also tried to create synthesis, too. Unfortunately, a synthesis is very, very difficult. If you consider this as a tree, it is very difficult to make a tree with branches that you collect from other trees; they do not stick very well. Then one day I found the trunk of a tree, only one trunk to which all the branches came and “attached” themselves. From then on I was able to stick all the other Martial Arts together.

B.I.: And the trunk, what is it?

H.M.: This trunk is very, very simple.

All the energy, heat, sound, etc. are transmitted through the waves, that is through the deep waves. A wave that

clashes, for example, a hard dry hit, a little bit like a car accident. When we make great movements, like waves of the sea, we get great wave undulation. If the wavelength is well utilized, the color is changed; that is, you change your method. For example, we have great movements in Judo, small movements in Karate—it is the vibration--, in Kendo we also have lots of movements that are big like in Judo. Visually they are different methods, but essentially, it is the same principle. And in the end, one thing is the same as all the things. This is what I have found.

B.I.: But the Wave, what is it exactly?

Is it something that is only in the head or is it a movement, is it...?

H.M.: It is the movement. For example a powerful movement from the hip level to the arms, or the reverse from chest height sent to the leg or also just a movement from the hips sent to the tip of the feet, or a hip movement to the hand or the arms.

All of these, are movements of the wave motion, it is very difficult to explain, but is

like the image of the waves and of the sea. A strike combines these two things.

For example, when you throw a punch, the wave comes from the legs, hips, chest, shoulder, elbow, arm… The movement is done coming from the shoulder and up to the shoulder, it is the movement of the wave like the wave of the sea. In Karate, this vibration, the wave, is very tight, you almost do not see it. On the contrary, with a hip technique, like a throw, with the shoulder, etc, you can easily see the wave that comes from the legs, hips, and shoulders. The sweep technique is another example, where the wave comes from the opposite, from

above downward, first at shoulder level, then the back, hips and legs and here the strike is made from the hips to the feet.

B.I.: We are preparing a television program about Bruce Lee and at times we ask some Masters their opinion on Bruce Lee, his historical role in modern Martial Arts. Do you have anything to say about Bruce Lee in terms of Martial Arts?

H.M.: Bruce Lee, thanks to cinema has contributed very much to the development of Martial Arts. He did a lot of good things, even technically he was very good…I think he had a lot of good vibrations, concentration, and internal

force. He was a very good person. The only pity is all that unnecessary violence in the movie and the use of Martial Arts in terms of violence. What a pity. But I think in the world of show business that is inevitable.

B.I.: Now that you have mentioned violence used in this way, in what sense should we consider Martial Arts today-that is now, not in the time when Martial Arts were at service for the war.

What can they contribute?

H.M.: Today Martial Arts should change completely. There is a very important part in Martial Arts which is the path, the philosophy that exists in Martial Arts. It is a very important part for the future of Martial Arts because first of all it respects everyone. Mutual respect is a fundamental aspect of Martial Arts. It is very important to develop this part for the future because it has to do with creating world peace.

There should also be others aspect to enhance this respect: greeting, hand shakes, the way we look at each other…all of this is very important. I think this is a good area where there are possibilities of carrying out research into Martial Art, I am not referring to those who are there just to win, or crush the opponent, etc, etc. That is not where we should look.

B.I.: By the way Yoseikan-Budo, what does Yoseikan-Budo contribute mentally to the practitioner?

H.M.: Above all, in order for me to have created Yoseikan-Budo, I had to start with a synthesis and finally I found a base, then I realize that the base could serve to develop many things so that we can extend our vision of things, to think and exchange. When someone observes a determined style, a specialization, for example, Judo or Karate—is a specialization, Aikido is also a specialization. So an Aikido practitioner who looks at Aikido is interested in Aikido, but a Karate fighter that looks at Aikido does not understand what happens, what it is, if it is a dance…Studying the keys is a very important part, but you do not get to understand it.

And for a Karate practitioner it is difficult to understand a Judo artist who does a lot of very, very good techniques, because there are a lot of subtleties that are not understood.

Karate also has many subtleties, but for the Judo practitioner it is difficult to

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Yoseikan understand or also for the Aikido artist.

So, knowing a method does not bring about the understanding of it all. This is one of the great defects of the present Martial Arts. Since I started Yoseikan, which is a complete system I developed towards the outside, I see that my students are interested in all of it. If they see Judo they are happy/pleased, they see Karate and they are content, they see Boxing and they are happy, the same with Kendo…When they see Aikido, they understand the movements very, very well with all of its subtlety. From here on a respect is born. Why? Because they can say to themselves: “They do things very well!” “Ah, that is fantastic”. “Ah, this is what you have to study”. And when one begins with this kind of spirit, they begin to progress with an open mind. If an open mind does not exist, I think it is impossible to understand, therefore peace cannot be obtained. I have gotten to the level with Yoseikan-Budo, where I know the best results for the future of Martial Arts.

B.I.: What are the physical qualities that Yoseikan-Budo contributes?

H.M.: Of course in Yoseidan-Budo you have to do everything. There is a technical part with weapons, like the ancient method: Aikaï-Jutsu (????), stick, Bo, Tonfa, Nunchaku, Sai, but at the same time there is also the training aspect focussed on throwing techniques, muscle work, movement like in Aikido, flexibility, along with force and speed like in Karate or as in Boxing. This brings about a wellrounded training body program that allows you time power and flexibility at the same time. In that sense, I think, physically speaking, it is a method that is very good.

B.I.: What do you think about the evolution of Martial Arts?

H.M.: I think that little by little people are beginning to break with the idea of specialization. There are many methods that focus on the study of synthesis. That is a good direction because when you do a synthesis, there is an obligation to study various Martial Arts. This brings about a wider vision and each method improves with the rest. I believe Martial Arts are advancing in a good direction. Generally they talk about working on self defense, but it would be better if it were taken a step further, then it would really be good.

B.I.: Why have you modernized the Japanese “Traditions”.

H.M.: History changes. Everything that has been mummified belongs to the past.

Mummification is a blockage in the body, there is no spirit. But we are alive and meanwhile we live, we have to progress, go beyond. Today the idea of making war does not make any sense nor does cutting the adversary with a saber. It means that Martial Arts has to change, modernize, move toward peace, towards sports, without losing the fundamental basic spirit which is the spirit of mutual help, mutual respect, progressing

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together through mutual help. I think that this should form part of what is to come, part of human being.

B.I.: In your opinion, what do you think the Masters, the Grand Masters of Martial Arts who have created styles like Master Ueshiba, Kano Funakoshi would say about the evolution that you have had, about the work you are doing with Martial Arts in general?

H.M.: Unfortunately, they have gone, one should imagine a little, but respect for the Grand Masters. For example, Master Ueshiba had a very dangerous Ju-Jitsu period during which many of the practitioners were getting injured. So as to avoid injuries, he found a good solution that permitted them to work efficiently on all the techniques, but without injuring the adversary. This is a spirit of progress that moves towards the sense of peace.

Master Funakoshi referring to Karate said: “in Karate, there is no before, we always start with defense, in other words: try using the maximum defense so that you do not injure the adversary”. In order to do that you have to be a thousand times stronger than your opponent, a thousand times stronger than the adversary, if not, it will be impossible to not end up injuring him. Grand Master Kano did the same thing, Ju-Jitsu was very tough and he transformed it incorporating flexibility in terms of the techniques so that risks could be avoided. All Masters have always pursued the future of humankind, that is, peace. That is why they did it, me too. I am going behind them and I have tried to do the same thing as them, perhaps a system slightly different—this system is my way--, but the study is going to be the same as the Masters.

B.I.: Don’t you think that practicing so many different techniques: locks, punches, kicks, throws… is also running the risks of generating martial artists who are not as strong as the others who practice only one technique?

H.M.: Being strong is really not very important. If you repeat many techniques, when you begin to love what you do, the more you do it, the better and more effective you will become. The problem is when most people talk about efficiency, they are referring to efficiency in combat, in an external combat. I do not think we should be practicing Martial Arts for that reason, but for pleasure and at the same time to learn. It is important to learn many things, because it opens the spirit that will change and widen our vision. This is very important, much more than efficiency in the street.

B.I.: At a certain point can one become a black belt in Yoseikan-Budo?

H.M.: It depends, in reality, it is difficult to say. Some get there very fast, that is in two years and a half, three years and others take six or seven years. It varies a lot. But the one who gets there very

rapidly, that is, the one who becomes 1º Dan perhaps in two years and a half does not necessarily means he will be the one to go the farthest. Frequently it is the reverse (laughs), this type of practitioner is the one who does not understand very well in the end you reach a very high level.

This means that it is not about being talented or not, but rather it considers the ones who are patient, those that are truly involved, those who love what they do the most. To me this is much more important than time.

B.I.: The Yoseikan is a very complete style, what are you going to present in the video?

H.M.: In this video I present the sport aspect of Yoseikan. Why sport? Of course the basis comes from Martial Arts, but you can develop a sport system as we do. This is seen, for example, with the utilization of the distances when using different weapons. When different weapons are used, the tactics definitely have to be changed. This gives you the capacity to adapt. So in every situation you have to find a way to win. Therefore, each one will have to think, find his specialty. Then creativity will come forth.

And by enhancing creativity the evolution of the personality will improve. The future of the world is based on the feeling that each person feels that each place is important. Nobody came to this world for nothing. Everyone came here to do something, and each one has a job to do.

It is very important to succeed in bringing out the personality of each one of us.

B.I.: Last question. It is frequently said that competition in Yoseikan-Budo is like the trialton of Martial Arts since there are three “workshops”. Can you explain how does a Yokeikan competition take place?

H.M.: Perhaps the present competition system will even evolve in another way, but at the moment the weapon used are two short sticks, more or less the size of a cane against a Ken; it is a meter and seventy five against two sticks. Of course, it is possible to do throws. You can even use Atemis. The combat takes about five minutes and then there is a change and then another minute. In the second combat gloves are used to protect the body to the maximum, which is very important. Here you use fists, feet, throws, immobilization, but you cannot use locks nor strangleholds.

All techniques that are dangerous are definitely prohibited. If there is a tie, there is a third combat, like a third “round” that lasts for a minute. An attacker has a stick 35 cm, it is the length of a magazine, which is tightly wrapped; it is a very interesting way to practice self-defense, etc. It is also very good for children to practice doing it. We also do empty hand against this stick and each one lasts a minute, and there is a change. This is where the winner is decided.

“History changes.

Everything that has been mummified belongs to the past.

Mummification is a blockage in the body, there is no spirit.

But we are alive and meanwhile we live, we have to progress, go beyond�.

1. Two rivals face each other.

2. The aggressor attacks the Master with a circular punch.

3. The Master evades the strike to the right of his adversary, enters from below and controls the attacker's arm with both arms.

4. He lowers his body which obligates the advesary to lower his arm...

5. he turns ...

6. and throws the aggressor using a shoulder throwing technique.

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In this sequence, we see how the Master stops the attack of the aggressor with his weapon. Then he counter attacks to the throat, followed by a front kick to the stomach. Immediately, he moves to his adversary and controls his arms by the collar and around his neck.

He turns him around, throws him to the floor, ending the fight.

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Martial Arts have always been linked to maintaining and recovering health. As a means or an end in itself health is vital for the development of our personal potentials, and therefore our development as martial artists.

J u s t a s i n t h e We s t , i t i s Alchemy, the Oriental Masters thought that life was too short to completely develop the potentials of our consciousness. On the other hand, consciousness, analogy to light, requires a huge amount of energy to be stabilized in an individual. In order to light the internal light an accumulation of this energy in our body is important. Chinese tradition elaborated uncountable systems to confront this specific point, many of which are still unknown in the West.

The Tao Yin is a collection of these “internal� arts. Once again it is Master Cangelosi who has dared to handle this material which others avoid teaching because of the vision and teaching knowledge it requires. Very good Paolo!

Once again he goes beyond the barriers that are too high for others. To know and to teach is the limit of pleasure! Sifu Cangelosi has recorded a video in which he teaches us the Tao Yin and he brings us an article on this topic, and as he always does, he breaks it down into detail, in a way that is completely educational.

The internal Arts deserve the recognition and attention of the martial artists, no matter what style is practiced. Training with this knowledge in mind will always help us on the path adding more consciousness to our movements, energy and flexibility to our techniques. So, do not miss this opportunity to enjoy and learn these Arts with the most adequate person for this, a Master without frontiers, Paolo Cangelosi.

he expression Tao Yin means internal path or the way of health and it is an ancient form of internal gymnastic, whose roots are lost in the existence of time.

In the legendary Hsia dynasty, (It was when Huang Ti, the Yellow Emperor, established the bases for the development of the Traditional Chinese Medicine) it is said that there were practices that focussed on conserving health on a preventive and therapeutic level.

Therefore the origins of the Tao Yin and Traditional Chinese Medicine can be considered as contemporaries.

In Huang Ti´s medicinal treaties (in the old Nei Ching Su Wen text) they explain physical techniques based on movements and breathing cycles used to maintain health. The Tao Yin is based on a set of physical exercises medical-preventive perfectly coherent with the teachings of the Taoist philosophy, that focuses on regular and daily practice with the aim of maintaining the body in good health.

In addition to the beneficial action of the exercises of Tao Yin, it can help to improve specific areas even after certain pathologies have shown signs of existence.

This disciplinary way exists in many zones of the East, but they have been developed in various Oriental cultures differently. In China it is Tao Yin, in India it is Yoga, in Japan it is the Eki Nikio that comes directly form the Chinese Ching Ching, and also in Korea and in Vietnam there are practices that are similar with the same objective.

The contribution of these practices by the Oriental people is enormous: maintain the body in perfect health preventing sicknesses rather than having to cure them. This is a holistic vision that has always been characteristic of the Oriental people.

These exercises are done without physical exertion, which make them accessible to anyone and to all ages, without forgetting that they accompany the practitioner on his spiritual evolutionary path.

The application of the Tao Yin has been well extended. It had reached a level that later included other therapeutic experiences such as the case of “digital pressure” and “self massage”. After Huang Ti, doctor Chi Pi, also extended Huang Ti ´s ideas, promoting the practice of the Tao Yin. Then there is another important moment, which was in the Han dynasty, during which there were two other outstanding doctors: Hua To and Master Yun Chun. Like in Chinese Martial Arts, the Tao Yin was developed and has its differences widely extended in China; (that is, it has different subtleties characteristic of this practice.) For example in the North there are techniques that include fast dynamic movements and in the South there are techniques that require static positions. In the beginning some of these Tao Yin exercises were done in schools and later they were widespread in a popular way, thus nowadays you can see people of all ages practicing them in parks.

Three important Chinese philosophical concepts have influenced the evolution of the Tao Yin: Buddhism, Taoism and, to a lesser degree, Confucianism. Each one of these philosophies has made their contribution. Taoism has been the most influential one when it comes to the relationship of man with Nature; nevertheless, Buddhism stands out in the idea of internal and external spirit.

Meanwhile Confucianism compares man to the “State” with its laws and order, focussing more on the social aspect of these practices.

There is not just one line of coherent thought development in the Tao Yin, that is, to the same chronology, because there is not one didactic way of teaching it based on one Master. In spite of this, there are some important personalities that have influenced its evolution.

Ta Mo (Bodhidharm) the patriarch of Buddhism Chan introduced into China a series of body techniques with the aim of maintaining the body in perfect health. He also played an important role contributing with teaching the “principles” of the Art of Combat. (The teaching which corresponds to internal gymnastic were called Ching Ching.) In the beginning there were 18 exercises and then they were increased to 24 by his disciples. Likewise, one of the fundamental concepts for Confucius as well as for Ta Mo and Lao Tze, was the importance of the union of body and spirit and to live in equilibrium with the law of energy that contributed to physical vigor and good health. In Confucianism there is also a series of practices called: Soi quien, literally means, “Awakening of the energy”. Even so the philosophy with the most influence in the Tao Yin is Taoism. The Taoists were

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very keen observers of nature and its laws; they were Masters of this art. One of the important aspects was their search, research for longevity and immortality, which are very important Taoists doctrines. There are legendary stories that speak of Taoist Masters that lived 2000 or 3000 years and that some of the famous personalities became immortals.

There are historical documents, testimonies in the Han dynasty, during the Middle Ages, some men were 140-160.

Now we will see various parts of ancient Tao Yin: LIAN YIXUE: it is a general terminology used to identify a series of medical gymnastic exercises.

CHING CHING: Buddhist exercises, 18 or 24, created by Ta Mo. SOI CHI: translated as “The Awakening of the energy”. Confucius based exercises.

CHI KUNG: it is a very important part and is considered as a specific discipline.

(In general it has many similarities with the Tao Yin as with Martial Arts in general.)

YIJINJANG: Two methods of medical gymnastics. They were created by the people who worked in the fields and then later to help support the rough fieldwork.

At that time it was important to have a healthy and strong body to work the land and be capable of defending oneself against the bandits.

PA TUAN CHIN: A series of 8 internal gymnastic exercises from the Taoist tradition.

NGA MO TOEI NA: This sector can be studied outside of the Tao Yin context.

Moreover they are massage techniques, self-massage and digital pressure.

The conclusion is that we can work on the whole body through the Tao Yin, depending on our rhythm and needs. But do not forget that the set of practices and methodologies are not just a simple instrument of physical and energetic work.

It also represents a “Way” of personal enrichment, to improve our sensitivity, a greater mind opener and search for the spirit; which allows us a life connected with human beings and with nature in a more serene, conscious and natural way.

PA TUAN CHIN In the translation we can sense the preciousness of a series on ancient exercises Taoist based, “The Eight Pieces of the Jar” or “The Eight Pieces of Treasure”.

They are divided into groups of eight.

As we have seen the Pa Tuan represent a part of the Tao Yin. Well, within those exercises the movements will have to be gentle and relaxed; the rhythm of each of the exercises are related to a specific breathing sequence and the movement coordination of the body and mental relaxation, all of these are fundamental aspects to the correct way of the practice. The breath is a focal point in every internal practice, it has to be subtle and continuous like the slow unreeling of a silk thread slowly: this is the only way we can have the capacity to contact our energy and change it consciously with the Universe.

This first series of eight exercises consist of bending and extending which is beneficial to the muscle and circulation. The joints and structure of the body are used until you get to a point where the internal organs are stimulated, from the heart to the kidneys up to the brain. When the movements and breathing are done adequately the energy to the meridians are symmetrically stimulated. That is when the system of the subtle energetic channels, which are normally blocked in ordinary man, begin to open. This consciousness of our energetic body will accompany us on our path in search of the fountain of life and knowledge of a new consciousness, which is unknown to Western science and by the research methods that are too coarse.

It is said that the best moments for this practice are in the morning exposed to the first rays of the day, and at sun set; they are important moments in the cycle of Nature in which the Yin is converted into Yang and vice versa.

In the morning (having just gotten up, without eating or drinking and dressing adequately so that you are not cold nor hot) these exercises will help us to face the day in a better way. We can begin practicing 15 or 20 minutes and increase them gradually little by little, until our breathing capacity increases each time deeper and more relaxed.

While practicing it would be good to visualize the name of the exercise. Here is the series of the eight first ones: 1) Push the sky 2) Divide the mountains 3) Towards the half moon with the body 4) Push the earth 5) Do the hunchback 6) Let your body go 7) Look at the cloud passing 8) Spread the arch The Pa Tuan Chin that is traditionally performed sequentially is a classical practice, but it is also possible to practice some of them separately and work on them in pairs repeating them again; done this way, they are called Yan Ti Kam.

Specifically we have: “Push the sky” repeated 4 times in pairs with “Push the Earth” repeated 4 times; and also in pairs; “Push the earth” (4 times) and “Look at the cloud pass” (3 times). The union of these exercises is based on the law of energetic equilibrium- disequilibrium.

(Voluntarily and momentarily disequilibrium is provoked then retur n to equilibrium correctly).

The Yan Ti Kam are frequently utilized as therapy and in addition to prevention.

YUN CHUN They are a series of ancient exercises that come from the Han dynasty and codified by Master Yun Chun. Frequently, the inspirations come mainly from animals and the elements of nature, and so we find the characteristics of the “Flight of the birds” and of the “Bear stretches”.

From these 12 exercises, 7 are basic and the rest are advanced level and not well known. The first five are practiced on the floor, alternating the position with the legs crossed to the seated position over/on the heels. In general, the fundamental rules for practicing this part are the same for all the internal exercises. Therefore relaxation and breathing are the most important requisites in order to practice them correctly. Just as the work done with the energetic cycle of rebalancing and fortifying of the vital energy represents the most important aspect, likewise these exercises can serve as very good techniques to care for and maintain the skeletal structure, especially the spine through expansion and alignment.

The first five ones are: 1) Opening the wings of the Great Eagle.

2) The Jade monk looks left and right.

3) The bear stretches.

4) The cat stretches.

5) Finger crossing.

As we have mentioned before, the sequence of the first five are done on the floor. Going beyond eliminating problems of balance (something to keep in mind in cas e o f pro b a b l e pathologies), it gradually brings us, and in a harmonic way in contact with the Earth, that is, back in contact with sensations lost with time, but which were fundamental in the first years of life. ( I n fact, th e Ear th pla ys a fundamental role in all of this. But we will not understand this if it is looked at from a “bodily death”, or if we do not recognize it as a “living body”, with a particularly active “formative energy” on a higher level of reality. It is that force that we find organized in its physical and chemical material expression and which offers a dynamic and rhythmic for m res po n din g to all th e vi t a l procedures).

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CHI KUNG Chi Kung is one of the principal methods of developing and controlling the vital energy (CHI). Before you get close to this vast area, the concept of “energy” has to be explained. According to the Oriental vision of the world, energy is manifested in the cosmic dynamics, which is the result of the “birth”, “growth” and “decrease” continuum of two energetic essences that are opposite, but complementary to each other: Yin and Yang.

In general, whoever practices Oriental disciplines are already in contact with the essence of reality, which causes birth and evolution to the whole universe. Oriental philosophies see energy as a vital flux that flows in each human being, alive and inanimate; all reality moves to a principle of unity that ties the small with the great, the individual to the universe.

But for the Buddhist as well as for the Taoist and Hindu, the concept of energy cannot be known at a rational level, that is, not through logical mental procedure, but only by “sense” in an intuitive way. So how can Western man linked to a culture that favors experimental and analytical method get close to this vision of the world? Is it possible in some way to translate this concept based on present scientific knowledge? The relativity and quantitative theories from Einstein and most of all the recent discoveries in the area of quantitative physics have shown that all material is Energy. The reality that surrounds us, every living being, every object and man himself are different levels of the complexity of energy: a one and only essence that is manifested in an infinity of vibrations. Every particular is in reality a wave; that is, every form of reality vibrates with its own frequency. Life evolves through continuous energetic change. So each individual has his own electromagnetic field which is characteristic of him, and through this he goes through a continuous (interchange) with the energy that surrounds him.

Nevertheless, the energetic equilibrium that each one has for himself along with the environment is very important. One of the intuitions of the ancient Chinese medicine is the interdependency between man and the universe. So through observation and intuition, he has succeeded in creating a theoretical and practical set of methodologies for energetic work. The foundation of Acupuncture and Chi Kung are introduced based on these. Across the body of man there is a complex set of energetic channels called “meridians”, through which energy can flow. These channels have special receptors called “points” (Husue), true energetic wells that act, if stimulated, different activities, also on a physiological level.

From an energetic point of view, the points act as valves capable of modulating the energetic flux fortifying or spreading the energy from the point itself.

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So the path to the psychophysical well being is seen as the development and control of the energetic potential of the individual. Chi Kung, literally “Work the energy”, is the internal work of vital blowing and also it is a Taoist tradition of ancient Chinese practices of harmonization of the body, the breath and the mind and a method to fortify, and control the energy of the individual. Chi Kung originated from various experiences, from internal practices like from traditional Kung Fu, in fact, distinct sectors have contributed to its development. Generally we can divide Chi Kung into, Medical and Martial. In China there are numerous medical centers that focus and work on this first method, and also that which refers to Martial Chi Kung. There are many exercises that can resolve different types of pathologies.

Basically we can distinguish three systems of Chi Kung: 1) Chi Kung Wu Wei This is a form of static Chi Kung, where adequate positions can facilitate the energetic flux and strengthens it.

2) Nei Tan Chi Kung This is done through slow and gentle movements accompanied by the right breathing.

3) Wai Chi Kung (Chi Kung external) It is a system that makes the energy flow and channels it through movements carried out with muscular tension. This is the working energetic method that has the deepest roots in the purest Chinese traditional Martial Art that comes through various Kung Fu styles.

Within the forms of many Kung Fu styles, we find the movements of Wai Chi Kung. They are seen especially in the Hung Gar style, in Tai Chi Chuan, “Chen” style, in Pa Kua and many other styles.

Breathing is very important when practicing Chi Kung. The rhythmic raising and lowering the diaphragm, by the muscular action of the solar plexus and the perineal muscles, causes a self massage on the internal organs and enhances the free flow of energy.

The results of various clinical researches have demonstrated the efficiency of Chi Kung in different pathologies; for example, anxiety, psychosomatic diseases, hypertension, cardiovascular diseases and also some types of tumors are treated by these methodologies. This practice is not just recommended to strengthen the constitution of the sick person while they are sick, but also to develop physically strong and healthy. As we have said breathing is important, along with a total relaxation of the body and the mind, this will take us to the condition of mental

peace and of “relaxed concentration” called Rujing. In this particular condition energy begins to flow, the functions of the organs are moderated, the bioelectrical energy that is normally utilized in brain activity, is distributed all over the body.

Along with this procedure, vein widening, which consequently improves blood circulation to the cortical level. Then a series of transformation start: in terms of muscles, the tissues and skeletal structure. Even by the simple Wu Wei Chi Kung, if it is practiced regularly, you can obtain great results. The Wu Wei Chi Kung techniques stimulate the vital functions and strengthen energy, but it can also be used as a preparation to Wai Chi Kung.

It is also worthwhile talking about the concept of “the pressure of energy” as a parameter which is a reflection of the state of the person’s health. The intensity and frequency are established through an exam done using the wrists, which is a fundamental sign of the circulation of the energy in the meridians. In Wai Chi Kung the “energy pressure” plays a fundamental role; the pressure has to be increased and then make it “solder” and finally “act” in some areas of the body.

Thus we can speak of, controlling and channeling the energy. On the other hand in the other kinds of Chi Kung the energy flows in the whole body without centering it on any specific point. Through the Wai Chi Kung techniques, the Li Wei energy is strengthened, channeling it to all the zones, thanks to the technique of pressure. In Martial Arts there are many Masters who exhibit themselves by pressure and resistance tests through controlling and channeling the energy. (e.g. The famous Master WANG SHU CHIN was capable withstanding very tough techniques without any injury at all) Now let us look at the Nei Tan Chi Kung. The movement is dynamic, but it is always executed slowly and with the right relaxation, which enhances the flow of the energy in/on the meridians. The aim is not only to mobilize the muscles and joints, but also learn to direct the CHI utilizing the mind as the main “agent” of the energetic movement, each time trying to move towards harmony of the body and mind vibrating in tune.

The impression will be that of moving yourself as a dense fluid that rolls around us, establishing contact with the energy that surrounds us. In the Nei Tan Chi Kung there are many positions and techniques utilized that come from all the internal styles of Kung Fu, such as Tai Chi Chuan, Pa Kua and the Hising I. They mostly use specific techniques or sequences graded to mainly fortify the energetic flow.

Especially in Tai Chi Chun only some typical movements of the form are used.

Through regular practice and after a physical change an energetic change will come: flowing energy unblocks

Chinese Tradition stagnation and reestablishes the normal energetic fluxes, taking us to a state of psychophysical well being which is important for chaotic daily life.

We have also seen that the simple positions of Wu Wei Chi Kung can bring several benefits to our body.

Now we will look at how to practice this and the points to put more emphasis on.

Chi Kung Wu Wei is developed through a series of 24 positions. Some of them are fundamental and others are specific because of some objectives.

Now we will explain 5 positions that are considered fundamental, they stimulate the energy flow in all the meridians balancing the whole energetic cycle. In order to obtain maximum benefit, let us look at some of the rules and the correct practice for the 5 exercises we are going to describe.

- The foot position is the width more or less the same as our hips: - The weight is centered.

- The legs are relaxed and the knees slightly bent.

- The correct position for the illium bone in a way to extend the lumbar vertebrae and alignment of all of the backbone so that the spinal column takes on their natural curves.

- The back relaxed.

- Relaxed abdominal breathing in harmony with the movement of the diaphragm.

- The position of the tongue almost below the arch of the upper teeth. (In terms of the energetic circulation it will serve as a “interrupter” of the “Little Celestial Circuit”, which is made from the Governing Meridian and from the Conception Meridian).

- The face is relaxed and the lips smile (especially to be aware of the mental attitude).

First position: YU BEI SHI Chi Kung: it is the first natural position, the feet are parallel at the width of the back; arms relaxed.

Second position: TI BAU SHI Chi Kung: Embrace the tree or Sustain the moon, unlike the first position the arms are at the height of the waist and form a circle; the hands are relaxed and the tip of the fingers are aligned.

Emphasis should be put on the forearms and the back so that they are relaxed because it is easy find yourself contracting.

Third position: TI BAU YE SHI (Cheng Bau Shi): change the height of the arms that should always be forming a circle, but this time at the height of the chest.

Fourth position: TUI TIEN SHI (Push the sky with the hands). This time the arms are raised and the palms face the sky. This position can absorb the Yang energy from the sky.

Fifth position: TUI TU SHI (Push the earth with the hands). Now the arms move down and the hands face the ground/floor, the earth. This way we can absorb the Yin energy from the earth.

In terms of practicing time, each of the exercises can be done from a minimum of five minutes to 30 minutes.

It is possible to execute 5 exercises in the sequence shown or practice them singularly.

While practicing you can feel specific sensations: among the most common ones are heat, the sensation, an itching, or swelling and frequently the perception of fluid between the hands.

These can be indications that the energy is flowing well. On the other hands if there is a dizzy feeling or giddiness you should stop.

At the end of the practice it would be good to do some dynamic movements and our daily activities in a gradual and harmonious way so as not to disperse the state of well being that had been gained during our practice.

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The Tao Yin is a collection of “internal� arts. Once again it is Master Cangelosi who has dared to handle this material which others avoid teaching because of the vision and teaching knowledge it requires. Very good Paolo! Once again he goes beyond the barriers that are too high for others. To know and to teach is the limit of pleasure! Sifu Cangelosi has recorded a video in which he teaches us the Tao Yin, and as usual, he breaks it down into detail, in a way that is completely educational.

The internal Arts deserve the recognition and attention of the martial artists, no matter what style is practiced. Training with this knowledge in mind will always help us on the path adding more consciousness to our movements, energy and flexibility to our techniques. So, do not miss this opportunity to enjoy and learn these Arts with the most adequate person for this, a Master without frontiers, Paolo Cangelosi.

REF.: CNV/YIN

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

ORDERS: Budo international. net

The Yoseikan Budo is a revolutionary art originating directly from tradition.

Hiroo Mochizuki, heir to the Yoseikan, presents this individual and comprehensive style to us.

This video is a legacy, and beautifully represents a meeting point between the past and the future of the Budo. A surprising work that you should not miss under any circumstances.

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.

REF.: CNV/HIRO

ORDERS: Budo international. net

The Warriors of the Shadows Return!

Many years of, and why not say it, more than a justified “Exile�, mainly because of the bad use of the assigning of degrees, the sale of stipends, etc.. have maintained on standby one of the combat styles that was recognized with great popularity in the world of Martial Arts: The Ninjutsu. Nevertheless, this situation has not taken away any of the qualities for the training of first class fighters. The innocent very often have to pay for the guilty, but they also say that difficult times are the best cure for the spirit of the amateur, so that he can test cohesiveness, so that he can fine tune things. So it looks as though the warriors of the shadows want to return to the scene, but this time with more accuracy. Two Ryu who have traditionally been rivals IGA and KOGA have br ought their outstanding representatives to formalize and come to an agreement so that they can avoid old errors. This is something that Juan Hombre will speak about in this article in which he presents his latest works on video; they are the first ones in which the systematic teaching of the Art of combat of the Koga School will be seen as it is nowadays. He is the only person authorized in Europe to represent this focus of traditional Ninjutsu. Part of the recording was done in the general headquarters of Koga, within the house of Ninja, or in the gardens, filled with secret traps in which the most advanced students of this style train. In these two martial works you will learn the Art of naked hands and the use of the main weapons that are part of the traditional Ninjutsu, ninjatos, shaken, shuriken, etc. Juan Hombre is a martial artist model who has learned to overcome his limitations, due to an accident that left him immobilized. And against all odds, he is overcoming it little by little, as some of you already know because of previous videos, he is trainer of the parachute brigade of the Spanish Army. In this article you will learn some interesting things about the meaning of Koga Ryu and about the spirit that should be instilled in the practitioners of such a noble Art. Do not miss it!

Text: J. Hombre Photographs: Š Budo International Publ. Co.

Ninjutsu

T

HE KOGA RYU NINJUTSU was developed during the Japanese feudal epoch as one of the most powerful organizations and with the most effectiveness among the different Ninja Clans that lived in Medieval Japan. According to Master YUNOKI, Shogun Oda Nobunaga had a group of 40 Ninjas in charge of personal security. From this group, 20 were Iga and the other 20 were from Koga. They alternated doing the work in the hidden areas of the mountains. They also focussed on the Castle of HAKUHO, which was constructed by the Oder of TAKEDA TORA. The architects were helped by the knowledge they got from the Ninjas on how to construct it and that is why it was filled with underground and hidden exits.

It is said that there were about 4000 NINJAS who gathered there and they even fought with professional troops with weapons and amours (HYOGO GUSAR).

This resistance only lasted for one week.

More than 2000 NINJA were killed with their weapons in their hands, and hundreds tortured, but a considerable number managed to escape through the secret passage of the castle, and later they were spread out all over Japan.

During the decade between 1984-1994, the art of Ninjutsu reached a surprisingly high level of popularity in Martial Arts, bringing together thousands of Western practitioners of whom many went to Japan to receive instruction in this war discipline. Some of them took advantage of the situation, these “greedy” for Dans “ (not to say vultures) to be nominated within the high rank in BUDO. (On a simple tourist trip, they went to Japan to get a degree that they were incapable of getting in other Budo Arts, that they had begun and which had required a lot of effort). What happened then? Well, it is simple, those greedy for Dans took advantage of the wrong concept of the Masters, who with affection, had given them so much honor and the whole world was plagued by Masters in a few years.

Thus they obtained an image totally erroneous and mistaken about the true meaning of “NIN”, which is nothing else but that of SHINOBI and it represents Perseverance and the Spirit of sacrifice that maintains our heart always sharpened and prepared.

The error of certifying too many 10º Dans (and even some 11º Dans!) is only 10 years, kept this art away from people who take Martial Arts seriously and who were right in reacting to this absurdity as a lack of respect. If among the known Budos it takes more than 50 years of training to become 10º Dan to get to Mastery, if Ninjutsu gets it in just only 9 o r 10 y ear s …s o mething is just no t working right.

The fact is that those graduations were analyzed and not found as being very

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conventional and many of the new grand masters were frequently lacking in true quality generated a natural disappointment in terms of the millennium Art. Because these circumstances little by little the name Ninjutsu began to generate a rejection that was general and to the point of total 1 loss of reputation. The families of Iga and Koga were informed by the contemporary Masters of Japanese BUDO, and they decided to take action seeing that the essence of their image, that was for so long safeguarded, was now losing prestige. Both families came together IGA and KOGA in an extraordinary assembly and they agreed on the following 4 points: 1) Forbid the use of the terminology Ninjutsu by anyone who does not truthfully practice the true art.

2 2) Forbidding anyone who does not belong directly to the lineage or descendent and heir from imparting Ninjutsu classes.

3) Any organization that is not authorized should change the name of Ninjutsu or to another one that best symbolizes their teaching.

4) After signing the agreement the IGA and KOGA families meet again in the year 2000 to set the date of MATSURI (Festival) International to be celebrate in the year 2001. I am invited to come along with my 3 students and Budo International magazine will try to record it so that this important event becomes known to the whole world.

After that meeting the Art known in the West as Ninjutsu had to change its name for Taijutsu or Jujutsu until little by little it continued breaking its ties with the Warriors of the Shadows, Therefore, thousands of uniformed practitioners with Ninja suits, found themselves practicing a Martial Arts for Peace called Taijutsu, Jujutsu or Aikijutsu, which are without doubt technically excellent, but do not have anything to do with the Art of War known as Ninjutsu. This is a

warning to the anxious Danes; I will be a m e d i a t o r o n t h e s i d e o f m y M a s t e r, YUNOKI, so that these type of deplorable events never take place. If they decide to open their Dojos in the West, it will be for honorable people who go there with the intention of learning and training, NOT for titles. But I promise you the training will be tough, and not many will pass the test.

However, with illusion and faith all is possible, as I know if you come with your hand on your heart you will be well received.

Koga Ryu

4

5 1. Both Ninjas, on guard position.

2. After their threat or fake...

3. the Ninja gets behind his adversary...

4. and grabs him by his shoulders, 5. throws him off balance and turns him and throws him face down.

Koga Ryu Videos In these videos that Budo International is releasing, you will be able to observe the basic techniques that are demanded for the lower degrees known as GESHIN (Beginners Spirit), CHUSIN (Intermediate Spirit) and JOSHIN (Advanced Spirit).

The first video focuses on the training on techniques of disarming and you can also see basic movements such as rolling, falls, etc., followed by the techniques known as KOGA TAIKEN KAMAE NO JUTSU “Disarming techniques using the Kamae”. It explains how the KAMAE were utilized by the Ninja warrior to create traps for the eyes of the adversaries and once the enemy had fallen into the trap, defeat him. If you pay close attention to the Ninja a voice has adapted the KAMAE chosen, he blocks and you watch to see if you can find the of the adversary’s error where he decides to effect his entrance and defeat him. What is learned from this teaching, is to develop natural body movements to prepare for the techniques of action. This first video ends with the techniques known as KOGA TAIKEN INTONJUTSU.

“Disarming techniques of infiltrating and escaping”, here we will be able to verify how the Ninja maintains a distance race, how in reality he went running to do his mission and on his path he finds an armed opponent who challenges him. The KOGA Ninja instead of stopping his race uses a threat, fakes and evades and is able and eliminates his adversary and continues running on his mission.

These disarming techniques of INTONJUTSU can be defined as action techniques. As you can observe these techniques are done against an armed adversary with a sword. I would like to ask you to use a Bokken made of wood to avoid accidents and also to warn you that in Japan it is done with swords that cut. This is for you to take the necessary precaution that is present through out the development of the technique. Also your body should be situated in such a manner where the lines of attack are in a determined position to take advantage of the best forms of your natural locks. In the second video you will see the basic development of the most common weapons among which you find among them the NINJIATO, the SHURIKEN, the HANBO and the HIKEN or the inverted knife. With all of this material you will have in your hand a program with wide possibilities to which you can unite the advanced techniques that will allow you to reach the degree of YAIBASHIN (Sharpened Spirit) and the title of Black Belt (Occident).

“INSPECTION” as an inter nal vision towards one’s own self and the motivation of your training. Read it carefully: KENSATSU: Examination.

When danger threatens a NINUA and it is imminent, the Ninja should examine the situation and see where he is and why he is here. This reflection will bring to his mind the best understanding of the causes that motivated this situation. When it comes to survival a NINJA should inspect the area. Observe with detail the surroundings, the geographic features and make a mental image of the place, with this he will gain security. A NINJA cannot be wandering without direction or orientation; he should always call on HIS INSTINCT. The “O” is the second letter and represents the word ONOZUKARA, which means Spontaneity, but this Spontaneity, in addition to representing the use of exter nal means, such as objects or features of the land where you find yourself. It also opens our reflex capacity and to response, that is our own and only improvisation which will make us unique and owners of our own decisions. Read in detail.

ONOZUKARA: Spontaneity. No matter what the place is or the problem with which a NINJA confronts, something will always exist on which he can count, and can use in terms of his survival. In order to do this there are several paths/roads.

Being personal, inventive and creative can always modify the circumstances. The fact that a means/way is missing, for the NINJA, it does not signify he cannot do it.

He looks around and observes, without you forgetting that, from neither his inside

The meaning of the word KOGA

The region of KOGA was without doubt the place where the Ninja Art of Spying and Invisibility was deeply rooted. The need for power to survive in this area was so important that 53 Ninja families out of the 73 that existed in Japan, came there to form a harmonic group of more than 2500 warriors, who were capable of giving up their lives to defend their lands and their families against the abuse from their rulers.

This was because the Feudal Lords used their region for the war they were waging. . This was because this region was equidistant in terms of kilometers between the three great capitals of Osaka, Kyoto and Nagoya and in addition, because is where all the emigrants who came from China and Korea had their main working and activity areas. This caused the Japanese to lose interest in these lands, until the residents there realized they had to wake up if they wanted to survive. When the abuse ended the Ninja families were not needed anymore and little by little they began losing their importance.

So that there is a better understand of Ninjutsu, I would like breakdown the hidden meaning of the word K-O-G-A, which is without doubt, the place where the ancient guarded their secrets both spiritual as well as tactical and strategically: The “K” is the first letter of KOGA and it corresponds to word KENSATSU. This means the “INSPECTION”, but not only of physical elements or of exter nal actions understanding it as observation of the land, or a situation in which you find yourself, or the number of adversaries who you have to confront, etc.

Also it is the sense of

THE REGION OF KOGA “THE EYE OF THE HURRICANE”

Ninjutsu all the possible recourses possible. A NINJA knows that only a few things are done well if they are done in a rush and done hastily. When he decides to take a road and a solution, a NINJA uses all his will power to obtain it, but always acting in an organized manner, keeping his m ission s a n d obje c tive s c le a r, a n d maintaining them always united. As you can verify the Ninja student of the KOGA RYU travels across different levels of his training as a Ninja warrior; the first thing is Observe, GESHIN; then to Develop himself, CHUSHIN; after that Courage comes, JOSHIN, and last, he gets to the necessa ry u se of Pre c a u tion , YAI B ASH IN . Me dita te we ll on th is progression.

The “Law” of Ninja nor his INSTINCT, he will find the solution.

The “G” is the third letter and represents the work GENKI, which signifies Vigor, not only because of courage and powerful action and powerful physique of our body, but also for the power of our “reason”, power that would have followed us and continue in spite of all the difficulties and sacrifices to which we have to confront. I say this referring not only to the number one enemies and combats, but also to the number of conflicts to which we have to face in our daily lives. Read carefully.

GENKI: Vigor. A NINJA should always overcome panic and fear through preparation and the right studies. These will prepare him to face difficulties that he might find on the way. A NINJA should never get nervous, nor be in a rush, nor precipitate. He should not waste too much energy and always be conscious of his situation and his circumstances.

Without VIGOR or COURAGE, a NINJA will panic, and to panic in the face of the desire to survive will make him become egoistic and lack solidarity. Only with the adequate psychological preparation and the great decision to overcome obstacles will a NINJA be able, without doubt take advantage of the situations.

The “A” represents the fourth letter called ABUNAI, which means Danger, and this danger will indicate to us the precaution at the end of each action. It is the state of alertness, “ZANSHIN”, to which all warriors should get to, because the action of life does not end with a success or a failure. The warrior knows and understands that the last step of an action, is nothing else but the beginning of the following one and so on until infinity in the unending circle of movement through life which gave us the impetus to our type of behavior. Read attentively.

ABUNAI, Danger: A NINJA in danger first observes that situation and before he makes a decision, he studies all the possibilities of DANGER, and observes

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as a transmission of power, which we have achieved through our training: “KU, KYOJITSU TENKAN HO” And finally, Ku the Element of the Emptiness represents the emptiness of our proposals, that is, “the not having a purpose”, and from that emptiness comes the power of our instinct and which permits us to always survive and prevail over those who want to hurt us: Before I end I would like to ask you a favor. I would like you to value the Ninja art in its purest essence. To those who have been grabbed by deception because of a bad image transmitted, I am offering you all my help so that you can return and awaken that flame which one day pushed you to discover the exciting world of the Warriors of the Shadows. I am sure that you will not be let down.

Yours, by the true Ninjutsu, Juan Hombre, the Western Ambassador and Delegate of the KOGA RYU NINJUTSU.

I have decided to end this commentary on the art of the KOGA RYU NINJUTSU, analyzing its maximum “NINPO IKKAN” as a meaning of the Law or Power of the Ninja.

NINJA SEISHIN NINPO IKKAN GOGOYO SETSU “The power of the Ninja that surges with the use of the five elements: “CHI, MOKUTEKI GENKI NO KEIKO “Chi, the Earth Element represents the firmness of character that one acquires with intention and concentration and with the aim of using it in his training: “SUI, SHINOBI JIHI NO KOKORO” Sui, the Water Element represents adaptability to everything and to each one of the difficulties and needs that come into our life.

This adaptability comes from the benevolence of our heart.

“KA, OSHI SHINOBI NO SEISHIN” Ka, the Fire Element represents courage and this comes from motivation, intention and Master Suihichiro Yunoki (Cultural the capacity of sacrifice Ambassador between China and Japan next to and dedication: Master Juan Hombre; Master Suihichiro, a well “FU, NINTAI I SHIN known historian on Ninjutsu. He is the author DEN SHIN” of dozens of books, one of he best known ones Fu, the Wind Element is the BANSENSHUKAI Encyclopedia. This has been a recompiled and re-translated by him represents the Fluidity in into the present Japanese language, because our decisions, this the encyclopedia was written in a very old fluidity comes from the language. Try unifying the Ninja of Iga and the use of patience and we Koga teachings with the help of Grand Master offer it to our neighbor Yumio Nawa. (Mainly the Ninja families and perhaps the most famous of Japan), so that you can end with the "bad Ninja", that has been, for some years distorting the art and image of the Warriors of the Shadows...

IGA RYU AND KOGA RYU UNITE?

“A Ninja should overcome panic and fear through his preparation and adequate studies. These will prepare him to confront the difficulties that he may find on the path�.

Daniel Rego brings us his wisdom of JiuJitsu another magnificent video, this time focussing on submissions, that is, focussing on techniques used when ending a combat.

Submissions, "finalizaรงao" in Brazilian Portuguese are those techniques that have m a d e J i u - J i t s u f a m o u s , a n d t h ey h av e permitted the martial artist who is technically developed to obtain victories in spite of differences in weight or strength.

REF.: CNV/REGO5 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international. net

The warriors of the shadows want to return to the scene, but this time with more accuracy. Two Ryu who have traditionally been rivals IGA and KOGA have brought their outstanding representatives to formalize and come to an agreement so that they can avoid old errors. This is something that Juan Hombre will speak about in this article in which he presents his latest works on video; they are the first ones in which the systematic teaching of the Art of combat of the Koga School will be seen as it is nowadays. He is the only person authorized in Europe to represent this focus of traditional Ninjutsu. Part of the recording was done in the general headquarters of Koga, within the house of Ninja, or in the gardens, filled with secret traps in which the most advanced students of this style train. In these two martial works you will learn the Art of empty hands techniques and the use of the main weapons that are part of the traditional Ninjutsu, ninjatos, shaken, shuriken, etc.

REF.: CNV/JH2 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international. net

THE AIKIDO AND YAMADA SENSEI

It is a privilege for this magazine to announce that the great Aikido master Yoshimitsu Yamada will be collaborating with us from now on. We decided to publish this column at the same time as the new video recorded with the great Master comes out. In it, as usual, you will be able to enjoy the Master’s polished comments on the correct technical execution of the Art of Ueshiba. Yamada is well known for his vigorous techniques, vigor without abruptness, a kind strength.

I

appreciate th e o p p o r tu n i ty o f writing an article for this magazine.

Please forgive me for focussing my attention only on the subject of Aikido. The reason is that my chief interest in Mar ti al Ar ts i s th i s “Peace Art”.

Nowadays, Aikido is enormously popular all around the world, as are other Martial Arts. This includes Latin America, Australia and specially Europe. Of course, I love Aikido and think that it is not only a powerful art, but also a beautiful one. However, every year, my appreciation for Aikido increases, I am hurt by the opinions of people, who have never practiced Aikido, saying that it is inept or false. Unfortunately, on some occasions I have to agree with them. This is especially true, when I see students from different dojos, all around the world, practice Aikido in a careless way, as a routine or social activity. When I see this type of practice, I see only emptiness and lack of quality.

I believe that this attitude comes from ignoring the true Aikido essence. After all, Aikido is Budo, and Budo means - a life or death matter. Thanks to Aikido’s founder, Morihei Ueshiba, and his son, Kishomaru Ueshiba, Aikido was seen as a practical art not only in Japan, but also in other countries. We can all enjoy practicing this Martial Art. Obviously, we do not practice Budo today with the intention of killing or hurting other

people. But the search for harmony with our “opponent” must not make our practice inconsistent with Aikido’s principles.

We must be aware that we should always have in our minds the essence of Budo, when practicing any movement from any technique. That is, the difference between life and death. If we follow it we will not practice Aikido in a careless and cold way.

Some of the essentials in the Aikido practice, inside as well as outside the tatami, are a positive attitude, a strong balance and a solid center. I do not mean that you should be abrupt or brutal. On the contrary, I am suggesting you practice strongly and sincerely, always with good will towards your “opponents”. In other words, I am asking you to be positive, centered and clear, as these are the Budo spirit elements. My advice for your daily practice, what ever martial art it may be, is that you not only go to the dojo every day to exercise by routine, but also that you train so that practice helps you be a better person.

It is important to practice with the Budo and Aikido principles in mind, so that the 60 minutes of each class have more significance for each of us. The reward will be a marked improvement in our spirit’s quality. This dedication to our spirit, as a result, will improve our lives.

Text: Y. Yamada Sensei

BUDO INTERNATIONAL

Y. Yamada Sensei is above all a man with a universal spirit. He is a person without frontiers, an Aikido ambassador who likes to transmit his art as authentic Budo, that is, without losing its roots. His technique transmits a sensation of power as well as beauty.

We have been able to feel in our own skin the perfection of his actions, serving as ukes in tatamis all over the world. Broad and clear movements, full of energy, that is how they are. He is as a person, a man full of energy, in love with his art and with an enormous urge to extend it all over the five continents.

He has accepted us as pupils and we are very lucky to enjoy Aikido, following a direct line marked at the beginning by the Great Master Morihei Ueshiba, of whom he was a pupil.

Anyone interested in receiving more information about Y. Yamada Sensei can do it through his students in Spain.

Asociacion Cultural Feilen Aikido: aikifeilen@jazzfree.com We want to take advantage of this opportunity to inform you that Y. Yamada Sensei will be teaching a course in Barcelona on the 16th, 17th and 18th of February.

BIOGRAPHY Chief instructor of the New York Aikikai, President of the United States Aikido Federation, Consulting Member of the International Aikido Federation and current President of the Latin American Aikido Federation.

He was born on the 17th of February of 1938 in Tokyo, Japan. He studied in the Aoyama Gakuin University. In 1955 he is admitted as uchideschi (intern student) in Hombu Dojo, to study Aikido with the Great Master Morihei Ueshiba.

In 1964 he was transferred by O’Sensei to the United States, where he established the New York Aikikai, which presently has about 300 students.

For the last 40 years thousands of Aikido students have studied under his schooling. Many of them have opened in turn their own Dojos in cities all over the United States and other parts of the world.

Presently he continues teaching in the New York Aikikai, as well as courses in the United States, Canada, Latin America, Europe, Asia, Africa and the Middle East.

Text: Michelle Feilen and Francisco Manchon

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