Martial Science 6

Martial Science

www.cienciamarcial.com

BIMONTHLY MAGAZINE OF MARTIAL ARTS

DECEMBER/2014 - Nยบ 06

MASTER WONG

Talks about JKD

INTERVIEW JIMMY LOCKETT THE STUDY OF THE ART OF UKEMI HENRY BINERFA BACK ON MY FEET ISRAEL RODRIGUEZ CALENDAR

GREGOR HUSS

2015

Munich Hall of Honours, The European Oscar for Martial Artists

PUBLISHER/EDITOR -IN-CHIEF Henry Binerfa C. CONTRIBUTORS GM. Pablo Rodarte Kyoshi Federico Dinatale James Wilson Airr Phanthip Anjarn Monlit GM. Samuel Kwok Bob GomĂŠz Martin Franshan Sifu Justin Cataldi Yin Zhi Shakya Master Wong Roberto De Lima TRANSLATIONS Yisel Viamontes Alcides Cervantes Daryanis Tamayo Fuente.

The direction of the magazine does not hold responsible itself with the opinions of the collaborators.

The publicity included inside the pages of the magazine is only and exclusive responsibility of the advertisers.

Many of the techniques of the martial arts can be dangerous, please training them only under the guide of a professor or expert.

48-magic of martial arts/ maa charity seminar

Presents 4 - Publisher’ s Message 5 - News 10-munich Hall of honours 16- teachings of the budha 20- back on my Feet

10-munich Hall of honours

26-calendar 2015 28-the interview/jimmy lockett 38 - master wong / talks about JKD 44- a travelling ronin/ Martin Franshan 48-magic of martial arts/ maa charity seminar 52- the study of the art of ukemi/ Henry binerfa

38 - master wong / talks about JKD OCTOBER/2014

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PUBLISHER´S MESSAGE

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henever a year comes to an end, a complete cycle of experiences, memories, achievements, losses, and goals also get to its end. When the clock points out the beginning of the New Year a new cycle starts to everyone; it brings new purposes;one can continue with the old plans and try to strengthen them and faithfully look the New Year holding out a prospect of hope.

It was a pleasure to Martial Science editing staff to have met many friends and to have learned from those Grand Masters, and above all, for we have made a contribution by providing our readers with their teaching without considering where their from or distance. We have gathered all these stories, techniques, criteria, and philosophy to be published on Martial Science magazine absolutely free, So that, our readers can down load them to their computers, read their content and even print it.

We are really grateful to all Martial Science readers for their e-mails, and criteria, even when we can not reply; all your suggestions are read and carefully taken into consideration. Your judgment is very important to us, and helps to improve our magazine.

Martial Science holds large scale projects for 2015; it especially plans a great many newsflash and the resA whole cycle of work has also come to and end for ponsibility to surpass the achieved goals.

Martial Science. Seven Issues of the Magazine were published in 2014 in Spanish and 6 in English, 13isWe wish Merry Christmas and Happy New Year from sues in all. Several Masters from more than twelve Las Vegas to all Martial Science readers, columnists, countries were covered on the pages of Martial Scienmasters, and to all those who contribute to make our ce. There were Masters from The United States, Canadreams come true. da, Mexico, Brazil, Argentina, Cuba, Spain, The United Kingdom, Serbia, Germany, Japan, and China.

By: Henry Binerfa 4

NEWS GRANDMASTER SAMUEL KWOK FOR THE FIRST TIME TEACHES IN LAS VEGAS NEVADA.

On September 30th in Las Vegas, Nevada, two martial arts were joined which at the first glance look different. However, two experienced teachers managed to find similarities in their styles. I’m talking about the ancient art of Wing Chun and Muay Thai lethal. In a union uncommon GM Samuel Kwok (Wing Chun) and the Master Air Phanthip (Muay Thai) exchanged ideas and techniques in this unforgettable seminar organized by Martial Science Magazine. Here are some pictures that caught the camera Martial Science Magazine

DECEMBER/2014

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NEWS

GRANDMASTER SAMUEL KWOK FOR THE FIRST TIME TEACHES IN LAS VEGAS NEVADA.

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PRESS RELEASE 2014 The Ultimate Destination is the world’s largest gathering of martial arts superstars, film and combat celebrities and renowned Masters from around the world. The Ultimate Destination is the only destination where you can congregate, meet, greet and share with thousands of fellow martial artists who gather together from around the globe. Commonly termed “The Academy Awards of Martial Arts”, this event is listed as one of the largest banquet gala in Atlantic City and the world’s largest assembly of celebrities, champions, suppliers and, of course movers and shakers in the martial arts & MMA industry 5,000 plus people attend The Ultimate Destination each year. There are 3 days of amazing seminars (50+) taught

by THE BEST OF THE BEST and all seminars are free and new this year we have included a stage for 12 amazing shows throughout the weekend. Open to the public and to dinner guests.

We have paid attention to the trends in the industry last year we had implemented The Health and Fitness Industry Into our show , not being any surprise due the crossover markets our New vendors did great . In 2015 we have extended the Trade show to accommodate this new and growing part of our ever expanding event. In 2014 with the MMA and Martial Arts, and fitness Industry we were honored with the distinction of becoming the largest convention ever held in the Tropicana Casino Convention Hall.

Bill Wallace , Jeff Smith, Olando Rivera , Oak tree Edwards plus 20 others As a added attraction we have 5 Tournaments and Competitions including: 1. Sticks of Thunder Challenge . 2. The War on the Shore Open Martial Arts Tournament 3. The Point MMA Tournament 4. The Amateur Grappling League Tournament 5. Amateur Arm Wrestling Competition Also new this year is the Friday night ROC51 MMA Fights with Shihan Lou Neglia and The International Warrior Pageant. For those of you who love Muay Thai, we have added the Ace Ramirez Thai Kickboxing and Stick fighting with Apolo Landra Certification program.

Of course, we are having the Friday night Wine and Cheese Dance Party and it’s open to all participants. We’re having the Sunday VIP Brunch with the Stars and Masters and then the anchoring of the weekend is our Saturday night banquet dubbed the “Academy Awards of Martial Arts”. Our star studded banquet has taken place for over 14 years with over 1,200 dressed in their best. We are proud to reach the point as the largest banquet in the history of the Tropicana The only destination is The Ultimate Destination for Martial Arts taking place on January 23, 24, 25, 2015 at The Tropicana Casino & Resort Atlantic City.

Our Expo and Trade Show continually expand in many different directions, with over a 100 vendors spots. We have also expanded to include Martial Arts Business Conference with top of the line speakers. We bring in over 800 school owners that mold and decide on the purchasing and discussion of tens of thousands of students under their school banners.

For more information contact Alan Goldberg at Actionma4@ gmail.com or call him at 718-856-8070. You can also visit the website www.ActionMagstore.com for event information and registration forms for The Ultimate destination.

Expo Celeb Spot Lights: Actor Jason Statham, Eric Roberts, Michael Jai White, Cary Tagawa, Martin Kove, Chuck Zito, Ray Mercer, Ridick Bowe , Fred the Hammer Williamson, Don the Dragon Wilson Cynthia Rothrock , Phil Morris , James Lew & Richard Norton .UFC stars such as Dan The Beast Severn, Mark Colman, Shonie Carter, Kimbo Slice , Ron Van Clief, Kick boxing champions like Benny the Jet,

Action Martial Arts Magazine 1222 Flatbush Ave Brooklyn NY 11226 Tel : 718 856 8070 Email ActionMA4@gmail.com

The Ultimate Destination For Martial Arts, MMA & The Health and Fitness Minded

DECEMBER/2014

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ACTION MEGA WEEKEND EXPO & TRADE SHOW The Ultimate Destination For Health & Fitness , Martial Arts and MMA Enthusiasts

* Trade Show & Expo * 70 Free Seminars * 5 Tournaments * ROC 51 MMA Fights* Parties Elite M.A. Business Seminars *Certification Programs * Banquet * Nation Arm Wrestling Tournament & more!

On January 23,24 & 25, 2015 the world’s largest gathering of Martial Arts Superstars, Film & Combat Celebrities, and Renowned Masters from around the world once again will gather, to meet, greet and share with the thousands who congregate from around the globe. Commonly termed “ The Academy Awards of Martial Arts. This combined event is listed as both the largest single Banquet Gala in Atlantic City and the world’s largest assembly of Celebrities, Champions, Suppliers and Movers and Shakers in Martial Arts Over 1200 in attendance.. 3 Days of Seminars are amazing THE BEST of The BEST and all free to the Public and Dinner guest alike. Plus over 100 Vendor Booths . Thousands showed up last year don’t be left out

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The Ultimate Destination For Martial Arts , MMA & The Health and Fitness Minded DECEMBER/2014

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Munich Hall of Honours,

The European Oscar for Martial Artists 10

Munich Hall of Honours, The European Oscar for Martial Artists April 2015 the German and European Legends and Grandmasters of the Martial Arts met at the probably most prestegiouse event of its kind in Germany, some say even Europe: The Munich Hall of Honours: Founded in 2008 by the german Taekwon Do and Combat Hapkido Master Gregor J. Huss.

The basic idea was to establish an event to award his Black Belt Instructors and students in front of an international audience. This event became more popular every year and other Masters used this ceremony to award their students. But it was not easy to transport the idea because nearly everyone he told about it had never heard about it or did away with it, saying: „we don`t need something like this“ or worse.

But already after the first occasion, more martial artist saw the benefits in it and wanted to attend, especially when they heard that Karate Diva Karen Sheperd would be Special Guest among others.

From the very beginning it was the idea to only invite the best and most deserved Grandmasters, Legends and celebrities. Grandmaster Bram Frank USA, a world renowned expert in knifes and Grandmaster, Grandmaster Paul Griffin UK where first in 2008 to be followed by Worldchampion Emma Elmes UK , Karate Diva Karen Sheperd USA, Grandmaster Franz Strauß A , Superstar Cynthia Rothrock USA , Grandmaster Geoff Booth AUS , Grandmaster Kenneth P. McKenzie USA , Grandmaster Bernd Höhle GER , Grandmaster Juerg Ziegler CH , Grandmaster Uwe Hasenbein GER, Kyoshi Erwin Pfeiffer, Benjamin Piwko, Grandmaster Perry Zmugg A, Grandmaster Hassan Yaakoubd ITA, Judo Guru Stephan Leifeld as well as 3time Komitee Member Grandmaster Soke Heinz Köhnen GER, to name only a few of them.

The Munich Hall of Honours: Founded in 2008 by the german Taekwon Do and Combat Hapkido Master Gregor J. Huss.

When choosing locations, Master Gregor Huss took care from day one, only the most origin location would be used, no hotels and everyday locations but unique places f.e. The HIRSCHAU, a very bavarian Restaurant at the Englischer Garten in Munich twice in a row, The Castle Linderhof south of Munich, the only time when the Munich Hall of Honours did not take place in Munich. „it was worth to take this location at the castle Linderhof due to the 150th Birtday of the bavarian Fairy King Ludwig II and to bring all the martial artists from all over the world there! They had a DECEMBER/2014

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she corrected herself in the speach and said „this is The Best Event I have ever been to!“ The Waldheim was fixed for the Munich Hall of Honours now for the comin years and from year to year it grew bigger and attracted more people. In the meantime, because of the strict black tie event rule and the high quality of shows and food the percentage of women at the event grew to almost 50% which made it very attractive for the men to bring theire spouses and partners who are normally a little left out in the arts if they are not active themselfes, and make this a real family get-together.

The 7th Munich Hall of Honours in April 2014 was one of the highlight in the history of this event. The whole event was sold out already 8 weeks ahead of time up to the last seat including Bar and Sideroom.

US Action Star and Martial Arts Legend Master Cynthia Rothrock and Master Gregor Huss great time at this wonderful castle and it was Karate Diva Karen Sheperds second time at the Munich Hall of Honours and for the first time Silvio Simac from the UK was with us.“ saiys promoter Gregor Huss. From Scotland Master Steve Smith and his students performed a great Judo Show.

Starting in 2012 US Action Star and Tangsoo Do Legend Grandmaster Cynthia Rothrock became part of the Munich Hall of Honours. And many more famous Grandmasters and Masters from many countries booked for this 5th event. It was held now for the first time at the WALDHEIM in Munich Solln, a fantastic Event Venue with a large Beergarden in middle of a small forest.

The Manager Tony Eckl is famous for the exquisite cusine and off course all participants of the events where excited about the food. Cynthia Rothrock said in her speech:“ this is one of the best events I have ever been to!“ but already the following year 12

Sifu Serge Seguin and his Whu Shu Students started the event with the authentic chinese lions dance and after dinner performed in a fantastic Wushu demonstration. The Karate Team from Romania lead by Grandmaster Theodor Radut showed their skills and for the sixth time UK Freestyle Champion and crowd favourite Emma Elmes performed her outstanding skills with one of her students.

159 Martial Artist where new inducted and more than 45 wonderful women where among them and made the famous fotowall the only place you wanted to be.

The day before already, on Friday evening, there was another one of these Bavarian Welcome parties in which almost everyone dressed in typical bavarian clothes and had some native food and off course it was very special for the many foreign guests.

For some of them it was the first time, f.e. for UK Fitness Role Model Agata Dowding and Wushu Grandmasters and Champion Christian Wulff , Adriano Dèbole, US film producer and promoter

DECEMBER/2014

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Lu Dwyer and Wing Chun Legend Grandmaster Samuel Kwok, Grandmaster Rudi Kaufmann and Albert Greber both Switzerland and Austrian Legend Erhard Kellner and his wife Marianne and „The strongest“ Founder Ivica Alexkovski from Mazedonia.

During the day on saturday already it started out to be one of these wonderful martial arts days.

More than 30 Seminars with some of the best experts of martial arts and self defense where holding their short classes for some 300 participant on three tatamies. They came from all over Germany, Austria, Switzerland, Italy, England, Poland, Romania and many more countries to train, a truly international event.

But what is going to happen 2015? How can it be topped? The 8th Munich Hall of Honours on April 17-19 , again held at the Waldheim, will top everything. New shows and performances mixed

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with some of the best of previouse years, more Seminars and a bigger Tradeshow, Preview of new action film releases plus - after 4 years break The MALYMPEX LEAGUE Women Black Belt Championship on sunday after the Banquet.

Participants from all over the world will be competing in four Disciplins,: forms, breaking, weapon forms and pointfighting and three age classes to find the best female Black Belt Champion of the world.

Female Black Belts of all styles can participate in this open tournament by appointment, qualification or application.

It will be a spectacular weekend in Bavarias Capitol City Munich with Guest and Celebrities from arround the world and another milestone in the history of european martial arts. If you want to be part of it, join us for the action. Don`t procrastinate because the event will be sold out quick again.

Teachings of the Budha Asanga

(As told by Sogyal Rinpoche in The Tibetan Book of Living and Dying. Copyright@1992 by Sogyal Rinpoche) sanga was one of the most famous Indian Buddhist saints, and lived in the fourth A century. He went to the mountains to do a

solitary retreat, concentrating all his meditation practice on the Buddha Maitreya, in the fervent hope that he would be blessed with a vision of this Buddha and receive teachings from him.

For six years Asanga meditated in extreme hardship, but did not even have one auspicious dream. He was disheartened and thought he would never succeed with his aspiration to meet the Buddha Maitreya, and so he abandoned his retreat and left his hermitage. He had not gone far down the road when he saw a man rubbing an enormous iron bar with a strip of silk.

Asanga went up to him and asked him what he was doing. “I haven’t got a needle,” the man replied, “so I’m going to make one out of this iron bar. “Asanga stared at him, astounded; even if the man were able to manage it in a hun-dred years, he thought, what would be the point? He said to himself: “Look at the trouble people give themselves over things that are totally absurd. You are doing something really valuable, spiritual practice, and you’re not nearly so dedi-cated.” He turned around and went back to his retreat.

Another three years went by, still without the slightest sign from the Buddha Maitreya. “Now I know for certain,” he thought “I’m never going to succeed.” So he left again, and soon came to a bend in the road where there was a huge rock, so tall it seemed to touch the sky. At the foot of the rock was a man busily rubbing it with a feather soaked in water. “What are you

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doing?” Asanga asked. “This rock is so big it’s stopping the sun from shining on my house, so I’m trying to get rid of it.” Asanga was amazed at the man’s indefatigable energy, and ashamed at his own lack of dedication.

He returned to his retreat.

Three more years passed, and still he had not even had a single good dream. He decided, once and for all, that it was hopeless, and he left his retreat for good. The day wore on, and in the afternoon he came across a dog lying by the side of the road. It had only its front legs, and the whole of the lower part of its body was rotting and covered with maggots. Despite its pitiful condition, the dog was snapping at passers-by and pathetically trying to bite them by dragging itself along the ground with its two good legs.

Asanga was overwhelmed with a vivid and unbearable feeling of compassion. He cut a piece of flesh off his own body and gave it to the dog to eat. Then he bent down to take off the maggots that were consuming the dog’s body. But he suddenly thought he might hurt them if he tried to pull them out with his fingers, and realized that the only way to remove them would be on his tongue.

Asanga knelt on the ground, and looking at the horrible festering, writhing mass, closed his eyes. He leant closer and put out his tongue. The next thing he knew, his tongue was touching the ground. He opened his eyes and looked up. The dog was gone; there in its place was the Buddha Maitreya, ringed by a shimmering aura of light.

last able to see the dog. Then, thanks to your genuine and heartfelt compassion, all those obscurations were completely swept away and you can see me before you with your very own eyes. If you don’t believe that this is what happened, put me on your shoulder and try and see if anyone else can see me.” Asanga put Maitreya on his right shoulder and went to the marketplace, where he began to ask everyone: “What have I got on my shoulder?”

“Nothing,” most people said, and hurried on.

Only one old woman, whose karma had been slightly purified, answered: “You’ve got the rotting corpse of an old dog on your shoulder, that’s all. “Asanga at last understood the boundless power of compassion that had purified and transformed his karma, and so made him a vessel fit to receive the vision and instruction of Maitreya. Then the Buddha Maitreya, whose name means “loving kindness,” took Asanga to a heavenly realm, and there gave him many sublime teachings that are among the most important in the whole of Buddhism.

“At last,” said Asanga, “why did you never appear to me before?”

Maitreya spoke softly: “it is not true that I have never appeared to you before. I was with you all the time, but your negative karma and obscurations prevented you from seeing me. Your twelve years of practice dissolved them slightly so that you were at DECEMBER/2014

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Clases de Wushu INSTRUCTOR:

ROBERTO DE LIMA calle 12 de octubre 2984 gimnasio yaku. Buenos Aires.

Argentina

Back On M Israel Rodriguez Story by: Olivia Gale Photos: Tanya Rogenski

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My Feet The Power of the Indomitable Human Spirit, Will and Determination… A dancer’s journey to dance again

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srael Rodriguez could not have

been happier on this day. His dancers’ heart was full of joy. He was returning to the stage with his beloved Orlando Ballet at the Bob Carr. Israel had been a principal dancer for 5 years with Orlando Ballet under the artistic direction of the late Fernando Bujones. It had been 3 years since he had danced with the company, and the invitation by the company, was an exciting opportunity.

Israel was training hard in preparation for dancing before an Orlando audience, who excitedly anticipated his return. At 40 years old he was still dancing at peak performance. Since the age of 10, his training had always gone beyond ballet to include a lifetime of martial arts, boxing, running and later Pilates. When younger dancers were injuring themselves in their twenties, he was still going strong. Israel was taking company. As he began the combination, he suddenly felt like he’d been hit from behind by another dancer.

He went down, then looked around to check if anyone was injured. He’d bare-

ly made it 5 inches off the floor into the jump, when he fell to the ground. When he tried to get up, it felt like the floor angled out from under him and down he went again. Then the realization hit him, and all around him knew the truth. They were all witness to the horrifying sight of Israel’s calf muscle crawling up the back of his leg. His Achilles tendon was ruptured and at that moment he felt a dancer’s worst nightmare. This was the kind of injury that could mean the end of a dancer’s career regardless of their age. There was one significant difference here. In Israel’s case he believed with every ounce of his being that he would recover and dance again, in spite of this horrendous injury. He’ll never forget that moment frozen in time, February 6, 2009 at 11:25 AM. This is the story of his incredible journey back to the 100 percent recovery that his single minded determination created in his life. It is a story of inspiration to any dancer, any athlete, any person who reads it and finds their own path to recovery and personal triumph.

DECEMBER/2014

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I

srael´first experience

with martial arts was at the age of eight, when he began studying Judo and Karate Do in Cespedes, Cuba where he lived. Being involved in a sport where his mother repeatedly saw him being punched in the face wasn’t really the best idea though. So she recommended that he take a dance test to point him in another presumably safer direction. He thought that if he started studying dance that could help him a lot with my martial arts career. At age ten, he moved to the city of Camaguey where he began studying dance, but that didn’t stop him from doing what he loved most, “Martial Arts”. He started to train with friends on the streets and in the school where they could fight after classes without the teachers or anyone else knowing. Once he became a professional dancer he continued training in Martial Arts everyday, which helped him tremendously in his dance career

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It was Friday the 13th when his surgery was scheduled. Generally considered a day of bad luck, this was hardly that. This was the first step to healing the injury that had cost him what he loved so dearly, the ability to dance. On that first meeting with his surgeon prior to the surgery he asked him “Can you make me dance again. I want to be back next year to perform as good as what I did before”. The Doctor replied, “Everyone is different,” being very honest, “I’m very good at what I do, and I will give you my very best. The surgery is the easy part, but the rest depends on you.” Joshua Langford, MD was the miracle worker that performed the repair to Israel’s Achilles tendon. After the surgery Langford guided him through the process of recovery, a process he couldn’t possibly believe would have the outcome that it did. This would be the most painful convalescence Israel had ever had to go through, but he kept his mind on the goal.

He pictured himself performing, dispelling any doubts that crept into his consciousness, and refusing to accept any alternative other than dancing again as he had before. He told his wife Katia, “I’m going to dance with you again.” with a determination that accepted no other reality. When Orlando Ballet performed “Romeo and Juliet” Israel attended the performance.

While everyone gathered backstage engaged in excited conversation, Israel in the boot that stabilized his healing leg walked alone onto the center of the stage and looked out into the audience. His good friend, Pedro Franceschi, noticed

him standing there alone and walked to him putting his hand affectionately on his shoulder. Israel then said “Mark this day, because one day I’m going to dance “That’s Life” again on this stage.” “That’s Life”, choreographed by O. Terrence, had been one of Israel’s acclaimed solo pieces performed multiple times at the Bob Carr. Pedro did not want to say any words of discouragement, although he was thinking sadly that his friend would not be able to perform again, even though in his heart he hoped that he would. On March 19th 2010, Israel did indeed perform “That’s Life” again at the Bob Car in Orlando Ballet’s production, “Battle of the Sexes II”. Israel is also very involved in film production, so that evening; he had three cameras set up, two in the audience and one behind him while he performed. He actually had forgotten that moment with his friend, until he began editing the footage. When he saw the camera angle from behind, his back to the camera looking out into the audience in a standing ovation, it hit him like a bolt of lightning. He remembered that moment looking out into the empty theater and telling his friend “mark this day”. And there he was on film, the image of what he saw then. He immediately called his friend and said you have to come see this. When he showed him the footage, tears came to his Pedro’s eyes. He had done it, the vision became reality. “That’s Life” lived again on stage, in the way he had envisioned. In the way his entire being believed.

DECEMBER/2014

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But there is more to the story of this incredible recovery. His doctors told him, “Do only what I tell you and no more.” Unfortunately so many individuals, who have this kind of injury, go back to dancing too early. They do more than they should, destroying their chances of recovering fully to dance again. Israel has brought this message to many other dancers with similar situations, spurring them on to believe in the healing power they have within. By doing everything his doctor and physical therapist told him, he was able to walk in May of that same year, teach and take slow bar without the boot.

No hard impact was allowed. Each time he saw Dr. Langford, he was advised he could move the process forward ahead of schedule. The Doctor couldn’t believe how quickly he was recovering. Israel’s actual comeback to Orlando Ballet came prior to his “That’s Life” performance.

It would be on stage at the Orlando Convention Center as a guest artist dancing Bailamos on February 19th 2010. Fernando Bujones’ Bolero and Vos y Yo, a tango pas de deux he and Katia had choreographed for themselves, were to be his showpieces. “That night dancing with my wife again was my first dream come true. I couldn’t believe it! I found myself, not only dancing with Katia, as I had promised her, but jumping almost like before.” There were two very special people in attendance that evening, his Doctor and physical therapist. After the performance they both came back stage and with tears in their eyes threw their arms around Israel. “Not bad for

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an old man, huh,” Israel said, “thank you so much for helping me to dance again.” They could hardly believe what they saw. This man, who told them “make me dance again”, was living proof of the limitless capacity of the human spirit to overcome.

Their medical expertise coupled with the power of his determination and refusal to believe in any other outcome, had brought him back to what he loved. He had told them, “I want to be back next year to perform as good as I did before.” And there he was, almost exactly a year later, on stage dancing as he believed he would. For them it was nothing short of miraculous.

Today he says with a smile, “I am now fully recovered and kicking.” His experience as a film maker is giving him the opportunity to share his journey as a documentary. His goal is to inspire and show others a way to find their own path to recovery and full functionality. “This is a message for all, listen to your body, be honest with yourself, build your strength, and believe you are going to get better.

Love exercise, more than just ballet, stay in shape and you will last longer whatever your age.” Don’t listen to the negativity that you’ll be bombarded with. Tune out the people who tell you, you can’t, that only a miracle will make you dance again.

“Until you go through something like this no one can truly understand. Be the miracle, you are blessed and believe.”

After his Achilles tendon injury, he had to start everything from the beginning. It was a very hard time for him, and he was wondering whether or not that was the end of his dance and Martial Arts career. That didn’t stop him from believing that he would overcome this obstacle, that he’d come back even stronger and better than before his accident. The first step was listening to his doctors and therapists following their advice exactly. Once he was given the green light to maximize his training, he started to exercise not only for ballet, but like he was going to fight in a professional title fight. It was then that Ihe remembered his childhood. He knew that if he trained in Martial Arts he could be back to dance again. He could get “back on his feet”. Thanks to Martial Arts, today he feel stronger than ever. He want to tell this story to every kid and to everyone out there who might be going through the same kind of physical challenge that he went through. What he want to tell them is “be smart”, be strong and disciplined, because if he could do it, you can too

DECEMBER/2014

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2015

Photo taken in Cumana, Sucre, Venezuela.

Courtesy of ShinKaido Ryu Hombu Dojo DECEMBER/2014 27

THE

28 By: Henry Binerfa

INTERVIEW

JIMMY LOCKETT

WHAT IS YOUR MARTIAL ARTS BACKGROUND? I began martial arts practice in Cleveland, OH in1967 with Judo under Mr. Harold King. In 1969, I began studying Kenpo Self-Defense, a combination of Okinawan and Chinese Kenpo, under Master Herman Griffin (aka “Griff”). He remained my primary teacher until his death in 1998, which was the year I was awarded 6th Dan. I was also on my high school wrestling team for three years and trained in boxing with my brother who was an amateur champion.

I’ve studied with many teachers and arts over all those years.

Some important influences were: 5 Animals Kung Fu (Liu Seong) with Art Sykes; Aikido with Dusty Young in Atlanta and James Noriega in Las Vegas; Small Circle Jiu Jitsu with Wally Jay; Jeet Kune Do Grappling with Larry Hartsell, Daito Ryu Hakuho Kai in NYC, Muso Shinden Eishin Ryu Iaido, under S.T. Khan in NYC. In the 1980s I was a seminar ‘junkie’ for a while and was fortunate to learn from many great teachers such as, William Cheung (Wing Chun), Francis Fong (Wing Chun), Chai Sirisute (Muay Thai), Paul Vunak (Jeet Kune Do), Stephen K. Hayes (Ninjutsu), Graciela Casillas (Kickboxing), Reylson Gracie (Gracie Jiu Jistu), Paul de Thouars (Pentjak Silat) and many others.

The two strongest influences on me besides my main teacher are Guro Dan Inosanto (Jeet Kune Do Concepts, Filipino Martial Arts, and Indonesian Silat), and my current jujutsu instructor, Sensei Jose Carricarte who teaches old style Japanese Jujutsu (Kito Ryu, Morita Ryu). I first encountered Guro Inosanto in 1987 and have studied his methods ever since. I believe he is one of the greatest martial artists of our time and his skill and knowledge are beyond compare. I began studying with Sensei Carricarte in August of 2011. His understanding of traditional Japanese jujutsu is unique and thought by many to have been lost. I have tried to assimilate the various principles and techniques from all these great teachers and arts into my conception and practice of Kenpo.

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WHAT WAS TRAINING LIKE IN THE EARLY YEARS OF YOUR PRACTICE?

My first instructor, Mr. King had learned in the military and my main teacher, “Griff” had been an Army Ranger. He thought, in part, he was preparing us, not only for general self-defense but also possibly for Vietnam. I believed it was virtually certain that I would go, as did most everyone in our classes, even though we were children at the time. Fortunately for me, the conflict was ending by the time I was of age.

Many people have spoken about the harshness and intensity of martial arts training in the ‘50s, 60’s, and to some degree, the early ‘70s, although by then things had changed quite a lot. It’s important remember that virtually all martial arts teachers from that era were former military personnel. Most had learned during or very close to wartime and under very In addition to this, no one ever dreamed of any sort of legal recourse regarding our treattough conditions. ment and training. Those ideas simply didn’t In my case, not only did we live in a tough nei- exist for us. It was all about whether or not you ghborhood, but there had also been a war in could take the training. Either you could or you every generation prior to ours and nearly ever- couldn’t. There was no option to punish the insyone thought they would, at some point, have tructors for being too hard. Truthfully, people to go to war. My father and uncle had both from our kind of neighborhood thought martial been in the Korean conflict, my grandparents arts was supposed to be like that. If it wasn’t in WWII and so on. In my generation it was super hard, if the techniques didn’t really hurt, Vietnam. My cousins and most of my friends if there wasn’t an element of real danger, how could they work in the real world that we saw had gone and I thought I would as well. every day?

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So, that combination of factors made for some pretty serious, high intensity, very painful training, both physically and psychologically. We didn’t think it was abusive at the time. We just thought, this is martial arts – take it or leave it.

DO YOU HAVE ANY MEMORABLE MOMENTS FROM YOUR PAST TRAINING YOU WOULD LIKE TO SHARE?

derstood exactly what he did. It made total, instant sense to me and I wanted to learn to do that so badly I couldn’t stand it. I was hooked for life from that one ‘flip,’ which I later learned was the throw, Ogoshi, the major hip throw.

Basically, almost 50 yrs. later, I’m still that kid who got flipped in the school balcony. I still love it just as much now as I did then.

WHAT DIFFERENTIATES KENPO FROM Of course there are many, many. My very first OTHER MARTIAL ARTS? day in Judo, in Jan. of ’67 is quite memorable for me. The class was offered as an extracurri- One of the most important things to understand cular activity at my Junior High school. The about the various arts that use the name Kenpo first day I went, the teacher wasn’t there yet. or Kempo (both are correct), is that they were The students from the previous semesters were not developed by warriors or aristocrats, they there practicing. It was in the upper bleacher were not for royalty or bodyguards, and they section of the basketball gym. I thought they were not specifically created for battlefield looked so cool in their uniforms, doing their combat. moves.

Kenpo arts were developed either by peasants So, I went onto the mat to see if I could get any or monks. They are arts for regular people: information. A fellow by the name of Michael farmers, fisherman, priests, clerics and such.

McGee, wearing a green belt, asked if I wanted These are people who cannot spend their lives to join the class and I said yes. He said, “Well, training all day. They have families, jobs, or let me show you what we do here.” He then other duties. They are not professional fighters ‘flipped’ me onto my back. I landed very hard or soldiers and their arts are not intended for and got a sharp pain in the lower spine. I went those purposes. to the side and sat and watched the rest of the session, part of me wondering why he did that. Also, virtually all Kenpo arts are a combination, a blend of techniques taken from a wide Two things came from that experience. One, variety of other arts, then put together to fit a I didn’t figure out until nearly ten years later, particular group or situation. This concept is that the reason he did what he did was pro- an integral part of Kenpo and still exists to this bably because, in my ignorance, I had walked day. onto the mat with my street clothes and shoes on. I had no clue what the rules were. Most li- This means that a central fact of the Kenpo kely, he was not amused and was trying to send world is that, everywhere you go, the art will me a message. appear somewhat different. Kenpo practitioners invariably adapt the art to their circumHowever, the other factor was, I thought what stances or abilities. They also readily add, he did to me was pretty much the coolest thing change, evolve, and incorporate new ideas, ever in the history of mankind. It felt like I un- principles, and techniques into the art. They DECEMBER/2014

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then tweak those to fit their basic philosophy and call it Kenpo.

This practice is a fundamental aspect of the Kenpo arts and derives mainly from one simple idea. At its’ heart, Kenpo is self-defense for the masses. This is the most basic thing to understand about it.

Some arts are for military, or law enforcement, or street toughs, or professional fighters.

However, usually, the people involved in these activities are young, superb athletes, mentally dominant, competitive types, and are trained to the highest level of fitness and skill. More often than not, this is their main life activity and the spend hours each day at it.

There are some who practice Kenpo this way as well. But mainly, it’s all about self-defense for the everyday person. We never say to someone, you can’t defend yourself or your loved ones because you are not athletic or talented or fierce enough. We have to find ways to help such people defend themselves, not against professionals, but in real world circumstances. This is the true heart of the actual physical practice Of course, like many, I am not a professional of Kenpo. martial artist. I don’t teach for a living. I am a musician and have been my entire life. I work WHAT IS YOUR INVOLVEMENT WITH primarily as a composer, arranger and orchesMARTIAL ARTS TODAY? trator for various shows and for the Symphony.

Currently, I study and teach at Tanren Dojo (www.tanrendojo.org) my private dojo in Las Vegas. It is attached to my home and is not a commercial school. My students are all long-time martial artists who train for the love of the art. Some of them have their own dojo and are instructors themselves. Sensei Jose Carricarte also teaches Judo and Jujutsu there. We do have some outside people who use the dojo when they’re in town such as members of the Cuban National Judo team.

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I have often been asked whether there are parallels between music and martial arts. On the surface they seem so different.

In fact, there are many parallels and I’ve even considered doing an article about this someday. Whether it’s in the deep, complex history, the wide range of performance options, the uncompromising discipline needed, the joy of the actual practice and performance, the amazing range of people and places you go, or the fact that both these arts have been practiced in

every culture in the history of the world since the beginning of mankind, the parallels are incredible to consider and really would require far more space and time than we have here.

WHAT ARE YOU TEACHING IN YOUR DOJO? I teach my own blend of Kenpo arts which I call Ju no Kage Ryu, which translates as 10 Shadows System. The system consists of 10 facets, the 10 shadows. They are: THE TEN ARTS (SHADOWS) 1.

TACHI WAZA (立ち技) – Body Movement, footwork, Falling

Stances,

2.

ATEMI WAZA (当身技) – Strikes with All Parts of the Body 3.

NAGE WAZA (投げ技) – Throws, Takedowns, Lever down, Balance Displacement 4.

AIKI WAZA (合気技) – Blending, Aiki-Jujutsu/Kenpo, Pressure Points (Kyusho), Ki-Ko (気功)

5.

KATAME /KANSETSU WAZA (固め/関 節技) – Grappling (Standing & Ground), Chin Na, Jujutsu, Kyusho 6.

BUKI WAZA (武器技) – Weapons Arts (Ancient and Modern) KOBUJUTSU (古武術) Ancient Warrior Arts 7.

KATA (形) & KUMI-EMBU (組演武) – Solo & Partner Practice Sequences (Prearranged & Spontaneous) 8.

TAI JUTSU (体術) – Body Arts: Physical Conditioning, Healing Arts & Sciences, Nutrition, Ki-Ko 9.

SEISHIN SHUYO (精神修養) – Mental training, Concentration, Meditation, Mind States, Strategy 10. RIAI (理合) – integration or Harmony or Principles – Combining: Blending All Into A Unified Whole These ten ‘arts’ are expressed using the various techniques, strategies and training methods I have experienced over the past 48 yrs.

The art is still evolving though and I hope it will continue to do so as long as it exists. The main focus for the physical practice is what I call Civilian Self-Defense. Our archetypal deDECEMBER/2014

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fender is someone we call Mrs. Jones. She is an average female between 25 and 60, not particularly athletic, who has a job and/or family.

She doesn’t get into street fights or bar fights.

The only time she is likely to be in a self-defense situation would probably be something serious.

and innovative ways. We have superior nutrition, conditioning, and access to everything you could ever possibly want to learn.

In some parts of the world, people are training at a level of intensity and commitment that is hard to believe. Far more than we did, or at least than I did, in the old days. In others, we We also have four basic assumptions about the see athletic feats that boggle the mind. There opponents Mrs. Jones has to face. are more people practicing in more places and in more ways than would even be conceivable 1.

They are bigger than her in another time.

2.

They are stronger than her 3.

They have a weapon(s) As always, we have the full range from really 4.

They have friends bad to truly excellent. We have fakes and charlatans as well as true masters. This is normal So, a large part of what we do revolves around and natural. Indeed, this is a part of what I being able to handle situations that might arise love about the martial arts, all the crazy peofor Mrs. Jones. ple, egos, attitudes, competitions, books and videos and Internet and all the rest. It’s a giant However, in reality, very few people will prac- smorgasbord of humanity embedded in a practice a martial art for nearly 50 yrs. just for a si- tice that is infinitely varied and engaging on tuation that hopefully will never happen. There every level. In my opinion, we are living in a has to be more to it than that.

Golden Age of martial arts practice. I think it’s absolutely great.

The great joy of Kenpo is that you can bring to it whatever you love. It can be historical, phi- DO YOU HAVE ANY ADVICE OR MESlosophical, or spiritual, for health or just for SAGE FOR THOSE COMING INTO THE fun. You can incorporate whatever previous ARTS TODAY? training you have, add elements of other disciplines such as yoga and tai chi, or whatever Yes. It’s all about showing up day after day. appeals to you. You can be very traditional in You don’t have to be special, or gifted or big, etiquette or very loose if that’s your preferen- strong and fast. You don’t have to be particuce. As long as you don’t lose the essence of the larly smart or mean or cool. All you have to do self-defense aspect, then you are free to make is keep going, day after week after month after your Kenpo your own. year and you will get there. My main message to anyone, in any endeavor is this: The secret HOW DO YOU PERCEIVE MARTIAL to success is consistency over time.

ARTS TODAY? I think martial arts are at the greatest level they have ever been in history. All over the world people are studying and training in amazing 34

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ter Wong,

Talks about JKD

My vision of JKD Body Weapon is the advancement of my Wing Chun, Tai Chi and military San Shou to provide an all-out effective street self-defense. If it came with a label it would be “Get the job DONE!” WHEN DID YOU FIRST START LEARNING for me I had strength and continued to grow and overcome my everyday enemy.

MARTIAL ART? I started in Martial Art as I was bullied and lived a hard life like many as a youngster. Firstly, I wasn’t bought up in the western word! I had a hard start in a hard environment. Life started in North Vietnam.

I was fighting every day, for the smallest scraps of food. You either fought to eat or you didn’t eat, survival of the fittest.

Age Twelve! I thought Life would get better; I was on route to England. This is a good place, I thought to myself. I was excited to start school but was suspended straight away for having a huge fight in the toilet (I won obviously). Apparently the sink was for drinking only! I was in a strange place. My life in the UK was already going south by day one.

I am of mixed heritage. My family is Chinese and Vietnamese; in the Northern Vietnam culture this was frowned upon and unacceptable to the community. People cry about racism and xenophobia being bad now, but for me you could easily be killed just for being born. Ultimately my family was shunned and eventually my father was extradited for being Chinese and we were forced to leave the country and travelled to the UK among the Vietnamese Boat People as refugees.

To cut the story short… a lot went wrong and I was expelled from of School at age fifteen… I then found a Master and started my Martial Art journey properly.

Around age four to five I was shown a few bits and pieces to look after myself by the old man who lived next door. I started to protect myself; I started to come out better in the fights. Not to provide too much detail, but, if you lost you weren’t just beaten; you were humiliated, your soul was attacked. Lucky

WHAT IS YOUR VISION OF JKD? My vision of JKD Body Weapon is the advancement of my Wing Chun, Tai Chi and military San Shou to provide an all-out effective street self-defense. If it came with a label it would be “Get the job DONE!”

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WHAT IS THE CORRECT WAY TO USE JKD? It’s the way of expression, your feelings, your beliefs and your character. You use what you have learnt and what you can do to make it work for you personally when the time comes. You don’t get a chance to remember; thinking takes too long. It must be an autonomous reaction that comes from your deep instincts of expression.

WHAT DO YOU THINK OF THE COMPARISON OF JKD AGAINST MMA? Is MMA not JKD in a sporting context? Is MMA not an expression of your feelings, your mind40

set, or your character? Do you not use the best techniques and skill you have learnt to work for you against your opponent? Your techniques and tactics based on the information to hand! Surely you use the quick and fastest route to win! In the street that opponent becomes your enemy; street is JKD. Cage is MMA, the two are very different yet the same! One with rules and one without!

IS JKD A STYLE OR CONCEPT? When does a concept become a style? Can a style not be a concept? If you ask me about Bruce Lee JKD I might answer with it being a concept, as unfortuna-

tely he is no longer around to move his amazing work further forwards. Would JKD be so mysterious if he was alive today?

Would it have evolved further just like his Jun fan Gung Fu did?

So many un-answered questions!

JKD Body Weapon however, is what it is! It is a process by how you win in the street. A process of time, effort, blood, sweat and determination! JKD is a journey; you improve with every correct step, every reflected moment, every thought. You can’t apply JKD Body weapon to your martial art if it doesn’t apply to your life!

Wing Chun is the foundation of JKD! Without Wing Chun there would have been no JKD!

WHAT IS THE DIFFERENCE BETWEEN JKD AND WING CHUN?

Bruce Lee would practice one kick thousands of time so he can place his expression into its use. He used what worked in the time and place that neeWing Chun is the foundation of JKD! Without ded it. You express in your own particular way. No Wing Chun there would have been no JKD! Wi- one is the same! You are different to me; Bruce Lee thout the solid foundation of Wing Chun, JKD has was different to all around him. If you are unable to no root. JKD is the advancement of Wing Chun! articulate yourself you have no JKD. It’s as simple When one becomes an expert in any field they start as that! Its an expression of mentality, a passion of to drop away the elements that are holding them your art. No personality / no JKD! back, only using the best bits that work for them.

This comes to knowing yourself, your enemy, your WHY IS FOOTWORK SO IMPORTANT IN ability and your surrounding. This happens due to JKD? a deep-seated instinct of survival, only the strongest survive; those that survive adapt! JKD is the The lower controls the upper section of the body.

If you are aiming a rife is it the shoulder that leads advancement and adaption of ones self! or is it the legs that set the angle? Power is generated from the earth and delivered through you. FooHOW CAN YOU DEFINE JKD? twork is the most important element of any martial It is Expression! You can’t teach it, you develop it. art, you must respond fast and effectively so you Bruce Lee ‘Expressed’ himself, did he not? JKD can do your business and end the game before it doesn’t own a punch or a kick; all you have is the starts. understanding of so much but you use so little.

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MANY PEOPLE SAY THAT JKD OVER TIME HAS BECOME A MORE CLASSIC STYLE. WHAT DO YOU THINK OF THIS? Any concept, style, system or art can be classical. It depends who is practicing or teaching. Not all JKD is created equal! Are you instructed? Are you taught? Or, maybe you’re coached? Even Mentored!

JKD is about you and your personal journey. Who can turn that into a classic style?

When one moves into JKD they are no longer taught or shown any technique, they should know how to punch or kick, they are only opened up to opportunity to reflect and improve their skills using scenario based training. You use what you know and are coached to expand your advancement. Wing Chun is systematic as is any martial art; JKD is automatic!

Master Wong

Techniques Jeet Kune Do

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Wing Chun is systematic as is any martial art; JKD is automatic!

For further in formation on Master Wong JKD Body Weapon, Wing Chun or Tai Chi please visit : jkdbodyweapon.com, wingchunmaster.tv taichicombat.com

DECEMBER/2014

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A Travelling Ronin Tae Kwon Do: Warriors Martial Arts Club: South Chicago, IL

By: Martin “Travelling Ronin” Fransham BACKGROUND: Tae Kwon Do is one of the most recognised Martial Arts in North America.

It came flooding into the continent after the end of the Korean War. Similar to the way that Karate was brought to North America by veterans after the end of World War II Tae Kwon Do was witnessed by many of the soldiers stationed in South Korea. Given the strong military military presence after the end of the Korean War which has continued to this day, it is no wonder Tae Kwon Do is so popular.

It is also one of the two Asian Martial Arts to be an Olympic Sport. With competitors coming from almost every country the influence that Tae Kwon Do has had on modern Martial Arts is undeniable. A quick search on Youtube will turn up dozens of videos featuring wicked knockouts and vicious kicks. Of course someone will also point out that there is a lot of videos of absolutely awful Tae Kwon Do as well. In my opinion, by having so many practitioners you will see both good and bad. I choose to spend my time learning and working on the best aspects of an art not pointing out a Youtube failure.

Tae Kwon Do is well known for its spinning techniques. Watching fighters fire off spinning back kicks or hook kicks is fantastic. Many criticisms were leveled against Tae Kwon Do in the early days of Mixed Martial Arts. However, today Tae Kwon Do has become an piece of many high profile fighters’ game. Anderson Silva, Anthony 44

Pettis, Benson Henderson, etc... are just a few of the many MMA fighters that have trained in the art and employed the devastating kicks,

We start working on some basic strikes.

I met Instructor David Pugh at a seminar on gun disarms. Throughout the evening we ended up working together and I developed a great respect for him. At the end of the night I found out that he was teaching Tae Kwon Do on the south side of Chicago and knew I had to go check out his class.

WHAT DID I LEARN: I have spent a lot of time around fight camps and one thing that always amazes me is the ability for fighters to tweak techniques to offer a new twist on them. As a bigger Martial Artist I have seen the power that spinning techniques can generate. Twisting your body

builds up power like a coiled spring. However, how you uncoiled that stored energy can be very different.

I worked on two spinning techniques with Instructor Pugh that evening. The first was the “spinning sidekick” and the second was the “spinning back kick or mule kick.” Early in my Martial Arts career I became familiar with the concept of tradeoffs. My first teacher, Sifu John Hum, taught me that there were no good or bad techniques.

However, every technique has a series of tradeoffs that you must be willing to accept in order to reap the benefits.

The spinning kicks we worked on really drove this home for me. The first variation was the spinning sidekick. You started up by coiling your body, however, to maintain the visual contact with the target you begin to uncoil before you fire the kick.

The benefits are obvious, by keeping eyes on the target you have greater accuracy than the mule kick and more power than if you threw a normal sidekick. However, the tradeoff is that because you started to uncoil you lose some of your power.

Throwing out a front kick under the watchful eye of Instructor Pugh.

WHAT WAS AWESOME: Normally I am training with adult classes with morals and ethics being focused on as an afterthought. Adults have largely formed their moral compass and just need to sometimes have it reset but rarely reformed. Participating in a family class was wholly different.

The mule kick on the other hand starts exactly the same way with the difference coming in the execution of the technique. The mule kick fires the leg straight back with devastating force by capitalizing on the full amount of stored energy as you coil.

Just like the spinning sidekick there is a tradeoff to get that extra power. Since you are kicking straight back you can’t keep the same visual contact and are effectively unleashing the kick blind.

Both techniques are equally valid and come down to the fighter to choose the application. A faster fighter will dodge the mule kick making the spinning sidekick the preferred technique in order to keep tracking and fighting your opponent. Later in the fight as the same opponent slows down and stops maneuvering keeping the visual contact is less important allowing you to slam them with a mule kick.

I get hammered with a spinning sidekick.

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Many of the school’s students are young and impressionable, looking up to the adults as role models.

That is where Instructor Pugh steps in and runs his class perfectly. The class opens and closes with the “Principles of Tae Kwon Do” where the students repeat what they are striving for. Courtesy, Integrity, Perseverance, Self-control, Indomitable spirit. Better yet, at the end of class Instructor Pugh goes through each one of the principles and how they apply outside the Dojang.

My turn to practice the mule kick.

I am threatened with a knife by a student.

There is a knife in my hand which you can’t see as Instructor Pugh hammers it away.

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Martial Arts is supposed to make us better people and provide a variety of life skills. In a church basement in South Chicago I had the privilege to witness it. Warriors Martial Arts Club lives the principles they teach and I couldn’t be happier to witness Tae Kwon Do making a positive impact not only on individuals but also on a community as a whole.

CONCLUSION: I learned a lot about Tae Kwon Do in the night that I was with Warriors Martial Arts Club. This wasn’t the biggest lesson I took away. I learned much more about being a teacher and creating and image that people look up to and how to inspire the next generation.

Best regards and keep training, Martin “Travelling Ronin” Fransham If you are interested in training together I would love to get together with you. Drop me a line on facebook and we can connect. I would love to learn from you.

A group shot with just a fraction of the class.

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I

n Workshop Maraton “ Magic of Martial Arts” cavorting around 200 martial artists from different clubs. The Martial Arts Association - International (www.MAA-I.com ) under the chairmanship of Bernd Hoehle and the SRC Viernheim under the direction of Master Gerhard Strahl directed from the charity martial arts seminar . The magic of the martial arts program was after the City Council opened the seminar with a motivating speech .

There were always five teaching units in parallel instead of on different surfaces . Each speaker knew the participants on his way to inspire and to convey a piece of martial arts . “ Martial artists of whatever belt color can get an overview of the various martial arts and learn and so the different facets of martial arts experience here “ as organizer Bernd Hoehle.

Speakers and participants came from all over Germany and from neighboring countries which are traveled on the combat uniforms emblazoned logos 48

like “ Golden Dragon “ , “ Fight Club “ or “ Red Dragon “ paired with a variety of belt colors. Speakers Grandmaster Dr. Thomas Draxler (14 Gesunderhalter), Master Denis Nobari ( Kyushu Qigong System ), Master Andrej Johann, Master Maria Escobar (Wing Chun), Grandmaster Manfred Büttner (Bo/Hanbo-Jitsu), Master Berd Wiloth (Tanto Jutsu Do), Master Markus Sell (Ritter-Sport-System ), Meisterin Susanne Köhl (Stunt Coreo), Grandmaster Thomas Wernet (Ju Jutsu ), Grandmaster Giuseppe Gramegna (Jiu Jitsu), Grandmaster Johann Mika (Jukoshin Ryu Jiu Jitsu), Grandmaster Klaus Winterhoff (Fujunakaniwa-Karate), Master Bernie Willems (Kickboxen), Grandmaster Necatin Yilmaz (KESY-DO), Grandmaster Salvatore Tiso, Grandmaster Rolf Neumann ( Kobutan), Master Andrea Capizzi (Sizilianischer Messerkampf), Master Tobias Mack (MMA), Master Bernhard Lang (Kali-Silat), Grandmaster Reiner Adams (Kempo), Master Kerim Duygu (Thai- Kickboxing ) und Master Dirk Dechan (Kick-boxen) are committed .

The proceeds of the charity seminar is used for auxiliary projects of “ martial artist with heart Initiative “ of the Martial Arts Association in cooperation with the International Children’s Fund Children Help eV under the chairmanship of Dr. Dieter F. Kindermann .

Among the participants there were only consistently great feedback in relation to the smooth running and the variety of educational programs . “ The athletes were with heart and soul into it ,” Gerhard Strahl was pleased with the response .

“The Martial Arts Association International (www.MAA-I.com ) under the chairmanship of Bernd Hoehle and the SRC Viernheim under the direction of Master Gerhard Strahl directed from the charity martial arts seminar .

The magic of the martial arts program was after the City Council opened the seminar with a motivating speech” DECEMBER/2014

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O SENSEI MORIHEI UESHIBA Drawn in Corel Paint using a Wacom tablet, and finally retouched in photoshop.

By: Henry Binerfa

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Fine Art For Your Dojo

AUGUST/2014

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The Study of the A

By: Sensei Henry Binerfa 52

Art of Ukemi “As I have often said if one hates to be thrown, one cannot expect to become a master of the art. By taking throws time after time, one must learn how to take falls and overcome the fear of being thrown. Then one will become unafraid of being attacked and be able to take the initiative in attack.

Only by following this manner of training can one learn true Judo waza.�

Kano Sensei

T

he falling techniques (Ukemis Waza) emer- General features of the Ukemis ged from the necessity to protect the body from the impact provoked by throw down tech- The Ukemis have two main characteristics: niques. So, its methods started to be perfected continuously, so as to lessen possible injury when 1. To soften the impact when falling with the arms falling down.

It is well known that the practitioner who fears 2. To soften the impact when falling by a rotating motion. falling usually results injured and his training sessions on the NageWaza prove to be bothersome to him since he will always be resistant as he is To soften the impact when falling with the arms been thrown down.

This will actually break harmony during the training at the Dojo. On the contrary, the one who masters the techniques will never be afraid to be thrown down, but will take advantage of this situation to make progress on the techniques and will do it sooner.

By flapping or hitting with the arms against the surface the power of the body impact against the ground considerably decreases. Due to this raising strength, the injury level decreases too. To make this strength to raise and become more effective, the arms must move at its highest speed, and must always hit the ground when they are all DECEMBER/2014

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in all horizontal to the surface of the ground. If it is done before there might be danger for injury and the resulting speed limit will decrease.

a premise. It prevents from falling tense. Besides, if one falls completely stiff, the vibrations of the impact will be easily transmitted to the head and the impact will be excessively intense. However, To soften the impact when falling by a rotational if one falls doubled, the echo impact can be avoimotion ded, due to the relaxation that will gather all the vibrations together, and so, the power of the faWhen the falling techniques are carried out, the lling will be transformed into rotation motions body must adopt an arc position (as if it were a as they turn. semicircle) this principle must be considered as

“When the falling techniques are carried out, the body must adopt an arc position (as if it were a semicircle) this principle must be considered as a premise. It prevents from falling tense�.

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General features to be considered to carry out the Ukemis • When falling one must avoid adopting powerful; one must do just the opposite, to hit a square position, rather it is suggested to roll the ground with the hands to reduce the impact. down like a ball.

It prevents from injury in the arms.

• The body will turn to an almost relaxed • The impact of the hands against the tension, but with a complete master of the body. ground to deaden the hit, must be sharp, it avoids to keep the hand rigid and stretch but it • The head must never touch the ground, keeps contact with the surface and favors the teone must never forget that the training sessions chnique as a whole; it also prevents from injury are developed in a tatami, but its objective is to in the arms and shoulders. get prepare for real life situations where there will not be a tatami and a head injury might be • The elbows, knees, ankles and head must lethal. be protected from hitting the ground, since the risk for injury is real.

• The chin must be taken to the chest (the practitioners are always taught to look their bellybutton or the knot of the safety belt). It prevents from neck motions and head injury, in this way, the neck is also protected from hitting the ground.

• When falling front, support never occurs following the back’s central line, since the spinal cord is located on this anatomic area, the right way to carry out this movement is from the shoulder to the opposed hip or viseverse.

This technique lessens the risk of injury by protecting the spinal cord.

• When the ground is hit with the arms to cushion the fall, the arms must not be excessively separated from the body; they must be about 45º from the body. A greater opening will provoke a greater impact against the ground and it may considerably affect the articulation of the shoulder; so, it will reduce the effectiveness of the movement and increases the risk for injury.

Consequently, the movement of the hands turns slower and less vigorous, and the vibration of the impact will not be absorbed.

• When the downfall is gentle, the arms must be the last to touch the ground . It is DECEMBER/2014

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On view of all these technical elements, the most important aspects to carry out the Ukemi can be regarded as: Pose: it must be always in accordance with the type of downfall to be performed, Position: it will be the one taken on by the arms, legs and head, and they must be in correspondence with the kind of fall assumed, Chin position: the chin must always be taken to the chest, Head control: the necessary muscles must be activated so that they prevent the head from hitting against the ground, Body turn: the one carry out by the body as a conditioned reflex which orients them movements of the body in relation to time and space, Take off: the body must be taken off from the ground or pavement in such a way that it feels hang up and free to carry out any kind of movement in the air, since by the gravitation law it will return it to the ground, Running-in: it refers to the action carried out by the body on the pavement or floor which avoids impacts against any anatomical areas, Backing or support points: it refers to the points that regularly support the body and prevent from impacts against the ground; the arms, hands, feet and major muscles from the external side of the body are regarded as support points.

Definitions of the different types of Ukemi

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Ukemis:

Kaiten:

When the body remains on the basic position of the falling after being thrown down.

When it is carried out in a rolling movement, rising immediately after the impact.

Nagare:

Tobi:

When it is done in When the downfall is carry out an easy manner in jumping. relation to the technique carried out by the opponent, the main characteristic of this Ukemi is its peculiar silence movement and the necessary combination to the opponent’s technique.

Although we know about other classifications related to the direction of the downfall such as:

In an operational environment it is a transitory technique but in a daily training it turns constant, so, it must be seriously and frankly carried out.

• Forward, • Backward, • Lateral If we classify the Ukemis from a tactical point of view, we will find out that they are useful as: 1.

A defense technique,

2.

An attack technique,

3.

An evasion or escape technique.

As a final piece of advice for this introduction to the falling techniques of Ukemis, I would like to have you view the Ukemi techniques as a mean and never as and end; since they are transitory techniques one might need at a given moment; either to protect the body from an accidental or provoked downfall or to restore and save time when involved in a difficult situationor in a combat.

They can also help to find the necessary distance on a fight or to achieve a balanced position when the gravity center is lost or simply to escape.

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