Combat v35i03 by Martial Arts Publications Ltd

ESTD.

1974

THE BEST IN MARTIAL ARTS COVERAGE

WWW.COMBATMAG.CO.UK

SILVIO SIMAC Joins Team Combat!

THE 3 K’S OF KARATE

Are they still relevant?

IS MMA A MARTIAL ART?

9 77095 5 95 1 085

Save £’s with 6 of the biggest names!

Vol. 35 No. 3 £3.50

COMBAT READER OFFER!

MARCH 2009

All coming to a TV near you!

JET LI, CHUCK NORRIS, JACKIE CHAN & BRUCE LEE

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COMMENT RIP Hélio Gracie (1913-2009) It saddens us to report the death on January 29th 2009 of Hélio Gracie, co-founder of Gracie (Brazilian) Jiu Jitsu. Born October 1st 1913, Hélio and his brother Carlos created Gracie Jiu Jitsu. The art focuses primarily on grappling, with victory in a bout coming by controlling an opponent and subduing them. Since it is easier to control a grounded opponent than a standing one, Brazilian jiu-jitsu focuses on taking an attacker to the ground and rendering them harmless with a variety of submission holds. This differentiates it from many martial arts which rely on strikes such as punches and kicks (e.g. kickboxing) or are combined fighting styles (e.g. Kung-Fu). Hélio, who was younger and frailer than his brother Carlos, refined the techniques of jiu-jitsu so that he would not be at a disadvantage when competing with his siblings: “I could not manage to do what my brother [Carlos] did, because his jiujitsu depended on strength and ability. I had neither of those. I [used] the principles of physics, like force and leverage.” This is what makes Gracie Jiu Jitsu so popular; a smaller man trained in Hélio’s art can easily defeat a much larger opponent. Brazilian jiu-jitsu has become a key weapon in the arsenal of Mixed Martial Arts fighters from around the globe. This is due in large part to Hélio’s son Royce using his father’s art to win the first US-based Ultimate Fighting Championship (UFC) tournaments in the mid-1990s. These early tournaments showed the effectiveness of the Gracie fighting system and sealed its place amongst the millennia old traditional fighting arts. Hélio Gracie continued to teach and practise his art into old age and it is fitting that the creator of this wonderful new martial art lived to see its global rise and popularity. Hélio Gracie is an inspiration to us all. Editorial Team **We will be bringing you the full story of Hélio Gracie next month direct from Brazil. Don’t miss it!** COLUMNISTS

DOS001/07

4 COMBAT WWW.COMBATMAG.CO.UK

Mike Finn Dan Docherty Michael Tse William Sanders Simon Hazeldine Dr. James Fisher Anton Van Thomas Chris Samuel Keith Gilliland Dan Green Don Heatrick Brian Dossett Andy Hopwood Andy Bryant John Graden Nino Bernardo

Sean Viera Paul Allen Richard Dimitri Helen Stranzl Mark Cortnage Kerry Louise Norbury

CONTRIBUTORS Paul Burkinshaw Matt Sylvester Frank Mensah Tom Hibbert Patrick Rault Carl Fisher Mic Clark Rob Nutley

Neville Wray Jim Fung Leon Dogan Peter Lewis Paul Hennesey Iain Abernethy Alfie Lewis Iain Armstrong Julian Dale Danny Guba Richard Thomas Rhee Ki Ha Steve Proctor Neil Holden Gavin Mullholland Ross Iannocarro Cris Janson-Piers Jeffet Jenkins

CONTENTS

VOLUME 35 NUMBER 3 MARCH 2009

REGULARS 9 -

MARTIAL ARTS NEWSLINE

22 -

COMBAT FILM

32 -

THE WAY OF THE WARRIOR - By Chris Crudelli

34 -

UNLOCK THE SECRET OF SHAOLIN MOTIVATION With Shifu Yan Lei

52 -

MIKE FINN - Magic of martial arts - Part 11

56 -

THE NEGOTIATOR - By Aran Dharmeratnam

74 -

LESSONS FOR THE CAGE - By Gavin Mulholland

76 -

MUAYTHAI COLUMN - With Bob Spour

80 -

CHATTERBOX - With world champion Kerry-Louise

84 -

THE FORMS FORUM - With Joe Hallett

87 -

CALENDAR

PUBLISHER/MANAGING DIRECTOR Paul Clifton

EDITORIAL TEAM 0121 344 3737

SENIOR DESIGNER Mark John Davies 28

GRAPHIC DESIGN Kevin Thompson

ADVERTISING/SALES Julie Davies (0121) 356 7616 HOW TO GET WORK PUBLISHED To have your submission published in COMBAT couldn’t be easier. Supply your written material either on disc (ASCII), typed or on audio tape. Send it together with a covering letter and some good quality photo’s (digital photographs must be 300dpi) to the Head Office (address below).

124 - CLUBS DIRECTORY & CLASSIFIEDS SECTION

NEWS ITEMS For all news related items, simply mark your envelope “COMBAT NEWSLINE” and together with a photograph (if required) and a covering letter, send it to: COMBAT, Head Office. or E-Mail: combat_news@martialartsinprint.com

FEATURES 6 -

COMBAT SPECIAL READER OFFER

11 -

MAXIMAIZE COMPETITION

16 -

JET LI ”You Can Beat me up, But Don’t Touch my Hair, I Will Kill You!”

28 -

SILVIO SIMAC Some People Succeed in Sport, Others in Films But it Takes a Person of Exceptional Talent to Succeed in Both! KUNG FU Not Just For Pandas

38 40 42 -

46 60 66 -

THE MARTIAL ARTS HOLY GRAIL Searching For Your Perfect Style PERSONAL IMPROVEMENT KEEPS ME TRAINING Jim McAllister Explains What Motivates Him After 40 Years of Martial Arts THE AMAZING MR GOOCH And His One-Finger Press-up Challenge STABILITY TRAINING For Effective Kicking - Part 1

CALENDAR If you have a forthcoming event that you would like published in COMBAT Calendar. Send your entry, giving dates, times, and contact numbers, to “CALENDAR” COMBAT Head Office.

HEAD OFFICE: COMBAT, 135 Aldridge Road, Perry Barr, Birmingham. B42 2ET. Tel: 0121 344 3737 Fax: 0121 356 7300 E-Mail: combat.magazine@btclick.com

CLUBS DIRECTORY Advertise your club, school, group, Association or classes for just £5.00 per word for 12 months!, Simply layout your details (using the current advertisers as an example) including a good example of your logo/emblem if required and send it together with a cheque to the Head Office. Please mark the envelope “Clubs Directory” or E-Mail: combat_clubs@martialartsinprint.com

ADVERTISING DETAILS If you would like to advertise in COMBAT write or telephone the Head Office to obtain details, deadline dates and costs.

THE PHILOSOPHY OF PUNCHING I am, Therefore I Punch

72 -

MMA A MARTIAL ART? I Don’t Think so!

90 -

THE THREE K’S - Are They Still Relevant?

98 -

RESPECTING WHAT IS OLD; CREATING WHAT IS NEW With Chris Denwood

104 - KUMITE - From Start to Street - Part 2

108 - KIM DOO MAN A Champion of Two Countries And One Art 112 - TANG SOO DO - A Brief History 114 - REGAN LAWRENCE - Going For ITF Gold! 118 - BACK TO BASICS - Stances 122 - RAYNERS LANE TKD ACADEMY Syllabus: 2nd Kup to 1st Kup

DISCLAIMER COMBAT is published by Martial Arts Publications, Regent House, 135 Aldridge Road, Perry Barr, Birmingham. The publishers reserve the right to reject editorial and/or advertising material as they see fit. The Publishers accept no responsibility for the return of unsolicited material. However, the Publishers will endeavour to return such matter providing that it is accompanied by a stamped addressed envelope. Any material accepted by the Publishers shall be revised or altered should the Publisher deem it necessary to do so. The act of submitting manuscripts and/or materials shall be considered an express warranty that such material is original and in no way infringes upon the rights of others. It is expressly forbidden for any part of the magazine to be reported whatsoever without the permission of Editor / Publishers. The views or comments expressed in these pages are not necessarily those of the editor or Publisher. Distribution by COMAG, Tavistock Works, Tavistock Road, West Drayton, Middlesex UB7 7QE.

Visit us online at:

www.combatmag.co.uk or www.karatemag.co.uk or www.taekwondomag.co.uk WWW.COMBATMAG.CO.UK COMBAT 5

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Jet Li “You can beat me up, but don’t touch my hair,

I will kill you!” Coming To TV Near You Sooner Than You Think! On Sunday 8th March the Biography Channel (Sky Channel 156/ Virgin TV 242) will be hosting a special Kung Fu Stunt Night, featuring a host of programs around some of the biggest names in action cinema. From biographies looking at Bruce Lee, Jackie Chan and Chuck Norris to screening renowned stunt man documentary Red Trousers, this special one night event will also play host to the debut of the biography channel’s look at martial arts sensation Jet Li. Jet Li is best known to mainstream Western audiences for his roles in action films such as Romeo Must Die, Kiss Of The Dragon and The One. To action films fan he is best known for his groundbreaking work in Asian Cinema. From Fist Of Legend, Once Upon A Time In China and The Hitman, Li has been at the forefront of martial arts action cinema for over twenty five years, a ground breaking action star and one of the greatest exports to ever come from the Hong Kong film industry. Born Li Lian Jie in Beijing on the 26th April 1963, Li lost his father at just two years old and his over protective mother would see that Li wouldn’t even ride a bicycle until he was fifteen. A child prodigy he began his martial arts 16 COMBAT WWW.COMBATMAG.CO.UK

training in the art of Wushu at just eight years old. Wushu at the time was pretty much the Chinese national sport, a martial art that had been created in 1949 which was derived from traditional Chinese martial arts as a way to nationalise all martial arts practices in Communist China. Starting at the renowned Beijing Wushu academy, Li excelled and within three years had won his first national championship, a victory that would lead him to performing for US president Richard Nixon who even asked him to be his personal bodyguard. But it wasn’t to be, with Li replying simply, “I don’t want to protect any individual. When I grow up, I want to defend my one billion Chinese countrymen!” This would prove to be a statement that would

earn him much respect in his homeland. Before the end of his teens Li went on to become a national instructor himself before, in 1982 aged just nineteen, makeing his first step into movies with phenomenally successful in ‘The Shaolin Temple’...

To read more articles like this make sure you get the next issue of Combat available from WH Smiths & all good newsagents

WWW.COMBATMAG.CO.UK COMBAT 17

BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BCS001/08 BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM BIRMINGHAM

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Silvio Simac Some people succeed in sport, others in films but it takes a person of exceptional talent to succeed in both! Meet Silvio Simac, actor, bodybuilder and World champion martial artist! Silvio Simac has the “S” factor skill, speed, stamina, strength and sex appeal. He is a World gold medalist, personal trainer and an actor=2 0with the physique of an Greek Adonis with sultry looks and a degree in economics! He has achieved the pinnacle in his chosen sport of Taekwondo by becoming World gold medalist, British champion 14 times and European champion 4 times. Achieving excellence and mastering a skill is big dream for many but Silvio has made it a reality. It’s his this “Star” quality that makes him unique, something which has subsequently gained him success by landing roles in commercials, TV shows and the movies. His dedication and discipline are great assets in addition to his charm and personality which he has worked diligently to ensure his success.

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Seven years ago, Silvio exploded on to our TV screens as one of the Stars of “Masters of Combat”, a revolutionary BBC2 game show based around the martial arts. His credits extend to Eastern as well as Western cinema. “Black Mask 2: City of Masks” - Columbia Pictures, “Transporter 3” - Europa Coorporation, “Lexx” - SilverLight (Sci-Fi) Ltd, “The Purifiers” - Working Title, “Unleashed” -Europa Corporation and “Dead or Alive” Constantin Film ar e just a few of the more distinguished ones. His acclaim also reaches out further to stage. Silvio put on a spectacular martial arts display in the Dominion Theatre for “Royal Variety Performance” and a “Martial Arts Spectacular” in “Royal Albert Hall” and “Euro Disney”. His work has taken him to all corners of the globe and given him the opportunity to work and interact with some of the World’s greatest. People

like Tsui Hark, Cory Yuen, Luc Besson, Yuen Wo Ping, Lennox Lewis, Bob Hoskins, Jet Li, Shannon Lee (Bruce Lee’s daughter) and Rob Van Damme. Throughout the last 15 years that Silvio has been teaching martial arts and fitness, he has tirelessly striven to raise the profile of his sport through not only his competitive success but also through a regular series of breathtaking demonstrations and public appearances. Often raising money for charities such as Shelter, UNICEF, Fighting for Cancer, Help a London Child, Romanian Orphans and numerous others. It is Silvios iron will power, dedication, commitment and success that has often gained him feature articles and front page of publications such as “The Sun, FHM, Combat, The Mirror” and many other reputable journals. Silvio is a great ambassador to his sport and a good example for many to follow. With all these achievements under his belt Silvio Simac is destined to remain credible in the eyes of the sporting world yet raise his awareness as multi talented performer. Look out, a new action hero is going to explode onto our screens very soon! Starting next month Silvio will be featured in a series of articles that will run over the following 6 to 12 months which have been written exclusively for Combat. If you’ve seen Silvios physique you will understand that he is well placed to offer advice and guidance in both the martial arts and body building fields. I’m sure that you will enjoy and learn a great deal from his articles, so check out his brand new column next month and gain from Silvios exclusive insights.

WWW.COMBATMAG.CO.UK COMBAT 29

THE WAY OF THE WARRIOR By Chris Crudelli

Shuai Jiao the Oldest Chinese Fighting Art

Shuai Jiao is the most ancient of all Chinese martial arts, with a history of over 4000 years. It’s first recorded use came in 2697 BCE; it is a throwing and grappling system that was probably influenced by the Mongolian wrestling art of bkyukl bokh. In it’s earliest form it was known as Jiao Di or horn butting; the soldiers would wear horns on their helmets, which as they wrestled they would use to gore their enemies. Later it became an art form practiced without the headgear and then finally a public sport in the Qin Dynasty 221-207 BCE, during which winners of national competitions won the right to serve as one of the emperor’s bodyguards.

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Modern day Shuai Jiao. Today the art is commonly taught to police and military organizations in both China and Taiwan, and indeed many of the original techniques used on the ancient battlefield have proved effective in fighting urban crime. The art focus’s on seizing, grabbing, throwing, joint locks and pressure point holds. Although many of the more deadly moves have been removed for competition the art

still contains a number of vigorous hip snapping moves that result in spectacular eye-catching throws. In my early 20’s I lived in Taiwan for 3 years and during that time trained with and met many amazing masters. It was during my time in Taiwan I decided to add Shuai Jiao into my own training regime and I still teach many of what I consider the most effective moves in my own system JFM. But in the spring of 2004 I travelled to back to Taiwan to learn from the country’s most well respected masters of Shuai Jiao, Master David Chang, chief coach to the Central Police Academy. The academy chooses only the best of the best, with over 10,000 applicants every year it selects just 250. Training is tough, and it has to be because successful graduates of the academy go on to fight the world’s most ferocious criminal fraternities. That said Taiwan ordinarily is an extremely safe place to live and work, during my 3 years there I never saw a single violent incident, apart from once, when one of my friends at the academy showed me an amazing piece of CCTV footage of a gang of criminals trying to escape from the police after a robbery. They jumped into a car, popped the sunroof open where two of the balaclava baddies squeezed

through and started spraying the streets with automatic gunfire from what looked like nice shiny AK47’s, just for good measure the driver was lobbing grenades out of the window with one hand while doing a pretty good job of avoiding traffic with the other, I’m guessing the car must have been an automatic gearshift. Master David Chang is one of the few Chinese Muslims living in Taiwan, and his ancestors hailed from the old silk route in north western China, he in turn learned the art from his Grandfather Chang Tung Sheng, one of the greatest grapplers in China of his time, David also studied herbalism and makes an amazing herbal wine believed to harmonize the Qi and help students recover quickly after rigorous training; I can attest to it’s potency and have a large clay pot of it in my tool shed. Whilst learning with David I realised the system is brutally effective and simple, there is no room for the esoteric or flowery moves often associated with Chinese martial arts, this is a grab them hard, throw them harder type art form and perhaps that is why it has found it’s way to being used by military and police forces for an unbroken 4000 years.

Strength, stamina, flexibility, speed and technique are the main focus of training, and many of the throws I learned from David reminded me distinctly of Judo, with the exception that the general aim in traditional Shuai Jiao is to make the opponent land on their head thus breaking the neck, as opposed to the rather more sporting throwing an opponent onto his back in Judo, perhaps that’s why it didn’t make it into the Olympics last year! Traditional training utilises objects found in the typical Chinese home, large clay pots, lifted and thrown for strength and wrist conditioning, lengths of cord or leather, to teach the correct distance of hand movements and large lengths of bamboo with rock attached to one end, which would be flipped over thousands of times to get the practitioner used to using the correct amount of force to throw a uncooperative opponent. From March 30th-April 2nd you can join me on the ‘Oxygen Challenge’ a unique 4 day martial arts course in Snowdon National Park where each morning I will be covering many of the Shuai Jiao and JFM techniques mentioned in this article.

The ‘Oxygen Challenge’ is designed for all levels of fitness and martial arts, white belt to black and beyond. The object of the course is to gently help attendees get fitter bodies and minds through outdoor activities, and martial arts, it’s designed to be fun yet still challenging. Each attendee who completes the course will win a certificate of attendance. Places, including training and accommodation are currently on sale at £299 each. (normally £329). For more on Chris Crudelli’s London schools or to reserve a place on the ‘Oxygen Challenge’ Go to: www.kickassman.com About the writer Chris Crudelli is a kung fu teacher, cultural explorer, TV presenter & producer, Chinese language translator & best selling international author. He best known for ‘The Way of The Warrior’ DK, & BBC3’s ‘Mind Body & Kick Ass Moves’, & ‘Kick Ass Miracles’ which have been broadcast in over 120 countries worldwide. For more on his courses go to: www.kickassman.com

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AVA001/04

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Kung Fu... Enter the Baboon It was with trepidation that one dark, cold Wednesday evening in January last year I first ventured into our local community hall for my first taster of Wing Chun Kung Fu. After all, it’s not on every short, podgy 39 year old woman’s list of ‘must do’s’. Looking after yourself and keeping fit; yes maybe. Acting out fight scenarios whilst your bingo wings are flapping; err...that’s a no. The very idea of punching focus pads and standing in butt clenching stances with a bright pink face and my hair matted to my forehead with sweat did not exactly appeal. However, being able to defend myself in this crazy mixed up world; gaining more confidence and learning a new skill without ego getting in the way did and still do appeal. Before I attended the class, I thought Wing Chun was a more ‘active’ form of Tai Chi. Whilst there are parallels, I couldn’t have been more wrong in my assumption. I am referring here to my own past experience of Tai Chi as a novice, which had basically involved a room full of people twice my age and a tape recording of chime bells. I seem to recall we shuffled around a bit too. Of course now I fully appreciate that Tai Chi in its purest form is probably one of the most powerful martial arts in the world and has many health benefits.

Fists of Furry For me, one of the great things about Wing Chun is that it is said to be the only martial art founded by a woman and takes its name from its legendary ‘founder’; Yim Wing Chun. In Chinese Wing Chun literally means ‘beautiful 38 COMBAT WWW.COMBATMAG.CO.UK

springtime’ or ‘everlasting spring’. And that sounds all very lovely too. The legend has it that back in 17th century China, aforementioned young and beautiful Wing Chun rebuffs the local warlord’s marriage offer who agrees to withdraw his proposal but only if she can beat him in a fight. I think I would have just accepted his offer and been done with it. However Wing Chun asks a local Buddhist nun, Ng Mui, to teach her boxing and the style they develop enables Wing Chun to defeat the warlord. Go girl! After that she marries her intended sweetheart and teaches him the style, which he thoughtfully (and probably wisely by the sounds of it) names after her. Okay so it may be a bit more complicated than that and I think the Buddhist nun used to hang out at the local Shaolin temple but its something along those lines. Whether this legend is true or not, the style does certainly seem to lend itself to those of us with a smaller stature (remember podgy!) as it relies on technique as opposed to brute force. Learning Wing Chun is not dissimilar from learning a foreign language, once you know the basics and get the foundation right, all things lead from there. As you progress you develop a ‘tool box’ of actions which you can utilise in any given situation. Of course, all situations will be different and in the real world there are no ‘set’ fight plans, so you have to react before thinking (which casts doubt in my mind over whether the style was invented by a woman...). Wing Chun practice therefore involves plenty of drill exercises to form the appropriate muscle memory so that your response is immediate and explosive.

Not just for Pandas By Eleanor Goold

Wing Chun focuses on simultaneous attack and defence, which means that one hand is doing two things at the same time, i.e. attacking and defending, also, there are no fancy flying kicks, so it can be suitable for all abilities, shapes and sizes. Important basics in Wing Chun are economy of movement, centre line theory and triangulation. Wing Chun requires you to be centred at the root as the centre is the power house, so a good basic structure (stance) is also essential. Unique to Wing Chun is the practice of ‘chi sau’ or ‘sticking hands’, it is an exercise used for sensitivity training so that you can ‘feel’ your opponent’s next move. This involves you and your partner ‘rolling’ your arms in certain set hand/arm positions. As you progress you also include certain other drills to enable both you and your partner to become more skilful. Chi sau provides a link between the forms and fighting.

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more advanced partner drills practiced once you master the basics. So if you are like me and the thought of attending a gym sends you to sleep via the biscuit tin, and you want to learn a new skill that can potentially save your life, then maybe Wing Chun is for you. One thing I would point out is that with Wing Chun you are required to deliver your attack as quickly and as effectively as possible, and this in turn involves being

opposed to a Chinese translation for Great White Tiger or Psycho Instructor. I am sure time will tell if it’s the latter. Some Sifu’s will wear sashes and some will not, some schools even have gradings. The main thing to ensure when you join a club is to make sure you feel comfortable with your instructor and ask as many questions as you like. A good teacher will always give you the time of day to try to answer all of your questions. Most clubs will allow you to watch a class before joining, or like the club I am a member of, will give the first lesson for free. Wing Chun is not a mysterious martial art with secrets held by the elders or masters. In its purest form Wing Chun is a simple, efficient and devastatingly effective form of self defence. Finally, I believe an important message for any woman who finds herself in an aggressive or potentially dangerous situation would be this; never trade in your backbone for a wishbone. The way you respond to an attack could literally mean the difference between life and death.

I believe an important message for any woman who finds herself in an aggressive or potentially dangerous situation would be this; never trade in your backbone for a wishbone. The way you respond to an attack could literally mean the difference between life and death.

At the beginning of each class we perform a brief warm up and go through the first ‘form’. A ‘form’ in the most basic sense is a pre set sequence of movements set out to enable the correct movements in Kung Fu to be passed on. The ‘open hand’ forms (i.e. no weapons required apart from your mitts and possibly your legs for low kicks and running away) are practised slowly and precisely. Although our class is not a fitness class per se, we do naturally burn up energy by the drills we practice i.e. single and chain punching and also some of the

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Game of Sweat

close to your opponent. This therefore means that you will often find yourself in close proximity with your training partner. If anyone is therefore thinking that a Wing Chun class would be a great place to find a date - think again, No offence to any of the men I train with (bearing in mind that one of them is also my husband) but there are no Brad Pitt lookalikes at my local club. And even if there were, after a Wing Chun session nobody looks, or smells their best. They say that women glow, men perspire and horses sweat. Well, I can assure you; Wing Chunners sweat.

The Big Boss One thing to note is that a Wing Chun teacher or instructor is sometimes called a Sifu, which I believe is Chinese for teacher. Our teacher is called Les. However I think that’s his real name as WWW.COMBATMAG.CO.UK COMBAT 39

Personal Improvement

keeps me training

Jim McAllister explains what motivates him after 40 years of martial arts

Jim McAllister has a career of over forty years and has trained all over the world in many different disciplines, including Karate, Western Boxing, Muay Thai, KickBoxing and Silat. He is the head of the Fudoshin Association and founder of The Jim McAllister Academy Of Martial Arts. We asked Jim about his thoughts and views of Martial Arts, both past and present: What were your expectations when initially introducing yourself to Martial Arts?

So, forty years on, what aspects of Martial Arts have kept your interest?

Having only experienced Western Boxing, entering a Dojo for the first time intrigued me immensely. Especially when I recognised one of the brown belts to be an old school friend, Jimmy Foster, who, as I remember, was never known for his fighting ability or confidence. I had never had the dedication in any of my previous hobbies or interests but felt excited by the prospect of being taught how to look after myself and gain confidence within a structured system and maybe hoped that in the not too distant future, I could be wearing Jimmy Foster’s brown belt.

The first that springs to mind is the emphasis on selfimprovement. One never fails to feel an over-whelming satisfaction when ‘the penny drops’, be it physically, mentally or spiritually. Having spent a considerable amount of precious time on aspects of my life that have proven to be unbeneficial or unnecessary, I now, as an Instructor, have the opportunity to pass my knowledge to my loyal students.

Jim with Professor Bob Lawrence

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Would you outline an example of this? In the past I have been guilty of continuing to train regardless of injury, relentlessly pushing myself through pain barriers. My stubbornness and ego would only allow me to see as far as struggling to the end of the training session in hand. Having allowed myself the necessary rehabilitation period for healing could have saved months of incapacitation. There will always be an excuse for a student not to train. Most Instructors have been given an imaginative view, coincidentally arising after the novelty of being shown a new technique and as repetition/hard work begins. I have utmost respect for a student who has cycled to training regardless of the fact that his car is in need of repair and sacrifices have had to be made to meet the cost of his Dojo fees. The ability to recognise the difference between lethargy and injury is paramount in personal progression.

In your opinion, how often should a student train? There are many factors to be taken into consideration, but most of all it is important to strike the correct balance. I would prefer a student to train on a regular basis over a longer duration, in keeping with both family and work commitments as opposed to taking an over enthusiastic approach, where burn-out is frequent. As Instructors, we are often guilty of expecting our students to sacrifice other aspects of their lives in favour of our beloved martial arts. There is always a place for various levels of commitment in which every Instructor should be accommodating. Obviously, students wishing to take part in competition or obtain a high grade within their system will need to increase hours and dedication accordingly.

On the subject of competition, you have been renowned in the past for the organisation of numerous National and International Kick-Boxing tournaments. Is this an area you continue to be involved in?

I am frequently invited to judge or referee competitions both Nationally and Internationally, both of which I often except, but sadly have come to recognise that the traditional values, in which I have always aspired to, have been heavily diluted in this country. Throughout my career I have been fortunate enough to attend and participate in tournaments in Japan, Thailand, Malaysia and USA, all of which demanded the respect and conduct that is synonymous with Oriental culture. I have become disillusioned with the behaviour and attitudes of certain fighting camps and the yob-ism within the spectators at times. Having said that, I hold regular inter-club competitions where any form of disrespect will not be tolerated.

You teach both Fudoshin Karate and Kick-Boxing. Surely then one discipline contradicts the other?

To read the rest of this article why not take out a subscription by calling +44 (0) 121 344 3737 WWW.COMBATMAG.CO.UK COMBAT 43

The Amazing MandrhisGone-finger ooch By Richard Hinchliffe

press-up challenge It is often said that the study of Martial Arts is a journey which may take us in directions that we never expected. For most of us, the metaphor is a bit strong. We turn up at the club a few times a week, go for a grading examination every few months, and maybe a tournament now and then. Eventually, after attaining the coveted black belt (or equivalent), we may go on to open our own club so that the whole process can begin again for our students.

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For some, however, the journey really can take you somewhere different. Through many tiny shifts in their training, many influences that change their direction, they are in a place that they could never have imagined they would end up. One such person is Mick Gooch. Mick was a dedicated Karate exponent who, through his training, went on to develop his skills to benefit others in a rather unusual way. He started off training in the tough world of Kyokushinkai Karate, but developed his fitness and conditioning drills until he found himself capable of performing press-ups on one finger. (It might not sound amazing, but however hard you currently train, put down your magazine and just try to do one, right now!). He has used this skill, over the years, to raise thousands of pounds for worthy causes, in various charity events. Mick is also one of the genuinely nicest guys in the Martial Arts world, so it was a great pleasure to meet up with him and get a chance to talk to him about his feats and his Martial Arts career.

MR GOOCH: Yes, I’d say it’s harder than the knockdown competition. You fight 30 different opponents for about a minute and a half each. There’s no rest in between the fights and there are judges there to make sure that people are trying to knock you down. You can’t get away with thinking that they’re not going to hit you!

When and how did you start in Martial Arts?

How did you go from doing Kyokushinkai to having a go at the one finger press-ups? What gave you the idea to start?

MR GOOCH: I started after I’d seen ‘Enter the Dragon’. That inspired me to take up some form of Martial Art. That was in 1974, when I was about 17, and I started training under Terry Owen at the Medway Kyokushinkai Karate Club. I loved hard physical training and Kyokushinkai suited me because it’s that sort of training.

How long was it before you decided to compete? MR GOOCH: When I first started, there were hundreds of people training at the club, and that makes you a bit competitive. So, after about a year and a half, I went in for the non-contact ‘clicker’ fighting. Then, as Knockdown is the style of fighting that the Kyokushinkai do, I wanted to follow that. We used to do a lot of full-contact fighting at the club anyway, regardless of it being knockdown or not. As you know, you’re not meant to touch your opponent you can still end up knocking the hell out of each other.

Yes, they do tend to carry it through in Kyokushinkai, don’t they? MR GOOCH: Yeah, so I went in for the Knockdown at Crystal Palace in 1977, and I trained like a nutter for it. I did about 120,000 punches in three months. When I went in for the knockdown, some of my friends said: “Train on your punches. Get them to respect your punches in the first few seconds and they won’t have chance to kick you!” ...And that’s what I did. I went in there and I punched. As soon as they felt the punches, they didn’t want to feel them any more and kept well away. Another reason that I was concentrating on punches so much was that about six weeks before the competition I trod in a rabbit-hole while I was running and I nearly broke my ankle, so I couldn’t kick! It said in Combat magazine at the time: ‘Many people fancied Chatham star Mick Gooch to win the lightweights’, but I withdrew in the semi-final. I’ve got to be honest about it: I didn’t have an instructor with me at the time and I reckon that, if I’d just had someone to give me that little push, I could have won it because I just had so much stamina. As soon as the bell went I didn’t stop until it went for the finish. For a ten stone bloke, I was doing good. I went for it again two years later in 1979 and came fifth. I got beaten in that one, but it was a bit of an awkward time training-wise because I’d just met my new girlfriend six weeks before, so my mind was off training a little bit! I also did the 30 man kumite at the Kyokushinkai summer camp in ‘78, after a week of strenuous training.

Did you train on the Makiwara as well back then, or just concentrate on the Heavy Bag? MR GOOCH: I did a lot of Makiwara training and my knuckles, as you can see now, are still quite well developed. I developed them to such a degree that they were like stones on the end of my arms, and I built them up through Makiwara training, pressups on the knuckles and punching a leather bag filled with sand. I was using a rope-bound Makiwara, so my knuckles were bleeding when I did it. I just carried on and persevered, and that’s how I developed a strong punch.

MR GOOCH: Well, it came about because Mas. Oyama had said it’s good to develop a special drill for any technique that you want to pick. I picked press-ups on fingertips, and he said ‘train and develop it until it’s a speciality to you.’ So, I did lots of thrusting my fingers into sand and dried peas and iron filings, and thousands of press-ups on the fingers. Eventually, my fingers got so strong that a friend of mine said: “I believe you could do press-ups on one finger”, and I thought: “I reckon I could!” I got down and did ten, just like that! That was 30 years ago, 1976. The thing is, after I’d done that, I couldn’t do it again, I don’t know why. I tried to show people at the Karate club and I just couldn’t do it. Then, about a month later, I went back again and did twenty! It came about through picking a special drill and focussing on it, as Mas Oyama had said. Also, Hanshi Steve Arneil had advised me. He told me to stop doing the other extreme conditioning and just keep the press-ups going. He was right , because I started doing the World records after that...

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BUNBU SERIES By Mike Finn - Leading World Authority

Martial Arts n writing about magic in martial arts I have kept an open mind, but since early times it is an undisputable fact that many classical ryu have used magical rituals. Such renown systems as Katori Shinto Ryu used divination and cast spells. This aspect of combative studies has been a part of fighting skills and warfare that date back beyond the Assyrian and Babylonian era some 3000 years ago. Even the die hard sceptic must wonder why something that has no validity whatsoever, has lasted for so many generations. So far we have looked at all sorts of magic rituals and traditions that are centred around martial arts, including a plethora of magic formula, ceremonies, and

practices. There is no consistent pattern, even in older manuscripts, each system varies in method and application. This conflict would lead anyone to think that there is no substance to any of it, so perhaps we should change our point of focus, stop looking at the horses and see who holds the reigns. Grimoires (ancient books of spells and magic) date back to Babylonian times and many of these traditions migrated to the Far East. but we must look even further back beyond the written word. To understand magic in its relationship to martial arts, we have to look outside the box. All the rituals, talisman, amulets, spells, and plethora of beliefs were not written in stone from time immemorial. The Samurai skills came from the original source of innate knowledge

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Part 11

The Magic of

Aspects of arcane knowledge have grown and developed with each generation, since the dawn of time. itâ&#x20AC;&#x2122;s the same with martial arts, the multitude of styles throughout the world, grew with time. No one style was there since the beginning. As cultures developed, so did combative skills in relation to those cultures. Combative traditions, rituals, and training methods were born, tried, tested, existed and declined. This whole process is for ever in a state of flux and reflux, but within that there are principles that reflect immutable constants. Early man was one with nature, he learned to survive by flowing with, rather than opposing the might of nature. He recognized inherent patterns and by becoming one with their rhythm, was able to harness that knowledge. The night cycle of the stars and planets, the seasons, the sun and moon, wind and rain, these forces were not only in harmony with each other, but in understanding these pattern, primitive man acknowledged right timing for planting, travelling, securing shelter, and other necessities of daily life that could be predicted. Each rock and leaf, each blade of grass, and flowing stream was the mentor for his understanding, he could feel the subtle changes of nature, the changing effects of the moon, the mood of a forest, little wonder that our early traditions sprang from such powerful sources. In comprehending the origins of both martial arts and magic we

need to go back further and enter the mind of our antediluvian ancestors. Cro-magnon man existed about 30,000 years ago. In those remote times, mankind was in coalescence with nature and had an intuitive link with universal law. Like all animal life, mankind’s one urge was survival, whether it was escaping from danger or killing food for existence. What made man different from the animal mind was consciousness, intentional awareness, a sense of self existence as a separate and unique entity capable of independent thought. He could learn from his experience, exercise judgement and resolve problems with his consciousness. From this platform, in the process of evolution, mankind created philosophies, established himself through cultural development, formulated religious beliefs and traditions, and advanced through visionary speculation. The early mind and its link with natural law established an instinctive understanding that was

to become the foundation of mankind’s development. Now let’s move forward to 6,000 years ago when the first early religions were recorded by the Sumerians (beliefs existed before, these were the first recorded). The sun, moon, stars in the heavens, the oceans, even life and death, were all great mysteries to be explored, they represented mighty forces that were given significant names reflecting early man’s emotional experiences of these phenomena. Names were created to identify these entities, and in balance with mankind’s own experiences of disaster, victory, fear, conflict, and triumph, each had its own persona. Throughout the world these entities existed as deities in all cultures, just taking one example, the sun deity had a defining name in each culture:

There was the ancient sun deity Amen-Ra, or Atum an ancient Egyptian sun god, Balarama was a hindu sun deity, Dianus Greek god of light, El the Syrian sun deity, Inti the Inca sun god, Nuada Argetlam the Irish sun god, Nudd (Ludd) the British sun god, Pushan the verdic sun god, Sol the early Roman sun god, Tammuz of the early Canaanites, Zoroaster the ancient Persians sun god (inventor of magic), the list is endless. However, names are useful as long as they do not mask the reality for which they were created. When the name is looked upon as the reality its time to look beneath its outer form and remove the mask...

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We can never underestimate the arcane knowledge of primitive man, compared to modern man he was more resourceful, enduring and in tune with nature

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Stability Training for effective kicking

1 Part

The ability to deliver an effective kick in martial arts has for some - become a pipe dream; particularly as improvements gained through strength training may be short lived, if you (like most people) ignore essential exercises for the abdominals, hips, knees and ankles. Itâ&#x20AC;&#x2122;s a sad state of affairs to admit, but stability training has become the black-sheep of training protocols; particularly as cardio and resistance training stealing the limelight. But the facts speak for themselves, without stability, our strength, flexibility and skill will be compromised. With this in mind we need to follow a systematic approach to improving stability and through this, increasing the power of our kicks; to achieve such gains we need to adopt a regular habit of including a number of essential exercises into our regular training program.

Training Guidelines The overall aim of the following exercises is to improve the endurance ability of the stabilising muscles; this allo-ws the powerful mobiliser muscles to perform effective kicking techniques. *

* *

Exercise intensity should be less than 30% of maximum - (straining, breath holding, shaking or/and lactic acid build up are a indicator of overtraining) - training above this threshold reinforces dysfunctions, muscle imbalances, injury and reduce power Breathe (as directed) throughout the exercise. Tempo: the speed in which you perform an exercise can determine the recruitment of certain muscle types, the sequence muscles contract; however, per-

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forming an exercise unnecessarily fast can lead to faulty recruitment patterns, muscle imbalances and fatigue. To combat such problems the following guide helps you determine the speed in which you perform an exercise, this is highlighted by a sequence of four number separated by a dash, each figure represents the speed (in seconds) you should perform each stage of the exercise. Guide First number = the amount of time it takes to perform the initial movement. Second number = the amount of time you hold the contraction. Third number = amount of time you return to the set up position. Fourth number = Amount you rest between reps. Example Tick tocks (4-1-4-0) Lower legs for Four seconds, hold leg in position for one second, raise legs over four seconds, rest for zero seconds. Core Stabilisation - is the foundation of all movement; without it, we are exposed to a host of dysfunctions which may increase the risk of postural imbalances, inflexibility, injury and a reduction of body awareness and skill (technique). To see improvements, we need to

activate the 63 muscles of the core and pelvis to increase static and dynamic stability, to do this we need to prioritise most common areas of weakness and dysfunction as part of your training programme.

Modified Reverse Curl This is by far one of the most important (active) exercises to help establish muscular balance and tone in the lower abdominals; regular exercise will help to align a your pelvis and recruit the under-appreciated Internal Obliqueâ&#x20AC;&#x2122;s and lower fibres of your Rectus Abdominals (eight pack). Integrated stretching tip (visit www.fitbits.co.uk for articles offering instructions to pre/post-stretch your lower-back muscles) Start position * Sit with your back on a stack of 23 mats (bottom off the mats) - then slowly lie back until your top crest of your pelvis is aligned with the bottom edge of the mat (red line). * Slowly lift your legs until your knees are forward of your hips position (green line). Then rest your arms over your head Action * Breathe out as you, slowly lift your pelvis off the floor and over the edge of the mat - this will lift your tail bone up and legs towards your chest * Breathe in as you, slowly lower

Leg Lowering This exercise will help to prevent the pelvis from rotating unnecessarily while performing a kick. Integrated stretching tip (visit www. fitbits.co.uk for articles offering instructions for pre/post-stretch hip flexor)

Training tips * The true aim of this exercise is to control and stabilise the movement of your pelvis as you lower your legs while using less than 30% of maximum effort.

Should you find you are unable to maintain a stable pelvis while moving your legs; perform this with one leg at a time for required 15 repetitions, then repeat on opposite leg.

Start position * Lie on your back, knees bent and shins parallel to the ground. * Place hands flat by your side one, lightly press your lower-back into a small rolled up towel (this helps to maintain a neutral spine/pelvis by monitoring the amount of pressure pressed into the ground) Action * Breath in slowly, as your lower your legs * As you lower your legs; maintain the position the your pelvis and lower-back by pressing slightly onto the towel using less than 30% of maximum effort * Breath out slowly, as your return your legs to the start position * Repeat for 15 reps.

your pelvis over the edge of the mat and gently touch your tail bone to the floor. * Training tips If performed as noted above - this can be a highly effective and difficult exercise to perform; therefore achieving and fatiguing at 15 reps is an achievement in itself. However a number of adjusts can be included to accommodate all levels of fitness. *

of the mat (1 inch at a time) or/and slow down the tempo of each repetitions. This can be a difficult to maintain

a slow pace at all times; however cheating though the use of momentum is ineffective and will lead to ineffective muscle activation.

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As a beginner you may find you are able to lift your pelvis off the floor (without cheating) - hold this deep contraction while breathing; this will increase muscle activation. As you progress you will find you will recruit enough muscles to lift your pelvis. Reduce the number of mats or/and slide your tail bone closer to the bottom edge of the mat to reduce intensity and increase number of repetitions. As you develop strength and endurance - use any combination of the following: increase the number of mats, slide your tail bone away from the bottom edge WWW.COMBATMAG.CO.UK COMBAT 61

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The Philosophy I am, therefore I punch The most powerful weapon at our disposal is the ability to reason. Just as a powerful technique may overcome physical strength, the cultivated mind can find a way to overcome a formidable opponent. The development of the mind and disciplined pursuit of truth is achieved through the practice of philosophy. Encompassing strategic, psychological and moral considerations, this is clearly an essential element of Martial Arts practice. The basis of modern philosophical and scientific inquiry is largely attributed to the Greek Philosopher, Socrates. He is famously quoted with ‘The unexamined life is not worth living’. Embodied in this statement, Socrates believed we should accept nothing at face value, but rather question convention to improve ourselves and the World around us. In the same context, traditional Martial Arts techniques or the authority of those who teach them should not be beyond persistent challenge.

ingrained. Threat produces a range of physiological and behavioural responses evolved to protect us from physical harm. Amongst these is that muscles are tensed, drawing the limbs close to the body. This action moves the limbs away from danger and positions them to protect the vital organs. As a further consequence, the hands naturally clench into a fist to protect the relatively fragile fingers. Cornered, and forced to lash out, the hand is naturally clenched into a fist.

‘‘

increases the muscles of the upper arm must also tense to maintain the position of the elbow. With a very heavy weight the muscles of the torso are also called into action to stabilise the shoulder. The process is driven by feedback from how hard we clench the hand. The heavier the weight, the harder we have to grip and the greater the recruitment of larger muscles up the arm and into the torso. Irradiation is central to punching technique. At the end point of a straight punch with a clenched fist, the arm is driven forward by powerful muscles of the chest, shoulder and back. Irradiation tenses the muscles of the arm, preventing it collapsing on contact, driving the force into the target. Punching deftly exploits the same evolutionary adaptations which are responsible for our success as a species.

‘‘

Rapier of the Mind

Conventional wisdom has it, that certain targets are appropriate for punching, while others demand alternative hand forms

Conventional wisdom Possibly the most pervasive technique trained and emphasised throughout the Martial Arts, is punching. This technique is also central to a recurring debate over the use of different strikes against different targets on the body. Conventional wisdom has it, that certain targets are appropriate for punching, while others demand alternative hand forms. This differentiation may however, overlook a critical assessment of punching and its purpose in Martial Arts training.

Basic instincts The instinct for self-preservation is one of the oldest and most deeply 66 COMBAT WWW.COMBATMAG.CO.UK

Coming to grips

The ability to make and use tools is one of our defining characteristics as humans and central to our success as a species. This skill demands complex neuromuscular control to coordinate many muscle groups and joints. Fine motor coordination, such as that required to manipulate small objects with our fingers, is particularly demanding of our concentration. A series of involuntary reflexes also evolved to keep the limbs in place while we were focusing on our hands. The involuntary reflexes which stabilise the arm produce a phenomenon called irradiation. We experience irradiation whenever when hold any object in our hands, and particularly with the arm outstretched. With a light object the muscle of forearm tense to stabilise the wrist. As the weight

Rear end torque Not content with simply using of tools, humans were driven to move around with them to influence their World. This evolution demanded that we walk upright on two legs and carry heavy objects. Holding a heavy object standing in the upright position places huge demands on the arm and legs. The muscles of the midsection must also work hard to keep the back straight. This process is regulated by another critical reflex called Hyper-irradiation. While irradiation is driven by the small muscle of the hand, Hyper-irradiation centres on the largest. The Gluteal muscles (your bottom) are the most powerful in the body. They straighten the hips when we stand upright to pick an object from the floor. The heavier the object, the harder the Gluteal muscles contract. Critically,

of Punching

the harder the Gluteal muscles contract, the greater the reflex activation of the midsection and arm muscles in preparation to carry the load. When pushing or striking a heavy object the legs must tense before the hand connects to prevent us from simply being pushed backward. Importantly, Hyper-irradiation from the contraction of the Gluteal muscles also augments irradiation. The net result is an even more forceful contraction from the muscles of the arm and torso. Punching therefore maximises a series of subtle reflexes, most profoundly influenced by the hip muscles, provoking more complete and forceful contraction in the upper body...

By Dr Matthew Mills

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AMA Amateur Martial Associations

AMA is the largest Martial Arts Organisation in the British Isles. It is the Governing Body for over 6,000 clubs and 90,000 members. Most of these have been with us for over 35 years. We must be doing something right! Join the AMA now and get the best national and international recognition, the best access to courses and competitions, national and world-wide. Over 35 years experience of growth. Whatever the size or style of your group or club you are welcome in the AMA. We are here to serve you.

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LESSONS FOR THE CAGE By Gavin Mulholland

The Kimura (Reverse Ude Garami)

he Kimura, or Reverse Ude Garami (arm entanglement), as it is known in the traditional arts, is another very successful submission techniques and one with a particular interesting story for those interested in MMA. The technique gets its name from an exceptional Judo exponent called Masahiko Kimura. Born in Kumamoto, Japan in 1917, Kimura became the youngest ever Godan (5th Dan Black Belt) when in 1935, aged just 18 years old, he defeated eight consecutive opponents at the world headquarters of Judo, the Kodokan. Between 1937 and 1939 he won the All Japan Championships three times and was awarded with the Championship Flag. He remains the only person in the world to ever possess the flag. He was, and remains, an iconic figure in Judo and the traditional arts, but his association with MMA came in the form of a legendary

Masahiko Kimura

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bout between himself and Hélio Gracie of the famous Gracie Jiu Jitsu family in Brazil in 1955. At the time of this fight, Hélio Gracie had been the Brazilian champion for the past 20 years. The contest was far from friendly and with 20,000 spectators present, including the President and Vice President of Brazil, a coffin was brought in by Gracie’s followers - the message being that Gracie was going to kill Kimura. Kimura was well known for his ability and intent to render people unconscious or concussed from his throws and that was how he approached this fight. However, despite repeatedly throwing Gracie to the floor, the mat was too soft and Kimura could not knock him out. Finally, thirteen minutes into the fight, Kimura managed to apply a shoulder lock on Hélio’s left arm - a reverse Ude Garami. Despite incredible pressure, Gracie refused to submit. Kimura himself can tell the story of what happened next better than I can. “I grabbed his left wrist with my right hand, and twisted up his arm. I applied Ude Garami. I thought he would surrender immediately. But Hélio would not tap the mat. I had no choice but keep on twisting the arm. The stadium became quiet. The bone of his arm was coming close to the breaking point. Finally, the sound of bone breaking echoed throughout the stadium. Hélio still did not surrender. His left arm was already powerless. Under this rule, I had no choice but twist the arm again. There was plenty of time left. I twisted the left arm again. Another bone was

broken. Hélio still did not tap. When I tried to twist the arm once more, a white towel was thrown in. I won by TKO. My hand was raised high. Japanese Brazilians rushed into the ring and tossed me up in the air. On the other hand, Hélio let his left arm hang and looked very sad withstanding the pain.” - Masahiko Kimura 1955 As a tribute to Kimura’s victory, the reverse Ude Garami technique has since been commonly referred to as the Kimura lock, or simply the Kimura, in BJJ, Karate and now MMA circles. Again, this is a lock that can be applied from a wide variety of positions but we are going to focus on the almost worst-case-scenario, of you on your back with your opponent in your guard (Soko Shihai). You need to get one of your opponent’s hands onto the ground by your side. Sometimes, they will do this for you by accident; other times you might be able to pull your opponent’s hand to the ground; other times you will need to cover up from punches and look for the opportunity to pull the hand down. Once you have a firm grip in his wrist - say his left held in your right open your guard, slid your hips back and slightly to your left as you sit up and reach over his shoulder with your free hand. It is very important that you reach high and that you get your left armpit high onto his left shoulder. Reach your free hand over and through his arm and grab your own wrist. Make sure that his arm, especially his upper arm, is trapped tightly against your chest at this stage.

Kimura 1 Kimura 2

Now that you have his arm firmly trapped make sure that you keep his hand away from his body. You now have two choices: either re-cross your legs and sit back into your guard again; or slip your hips out to the side of his trapped arm. If you choose to slip out to the side, make sure that you maintain control with your legs by pressing your right leg down onto his lower back to stop him from rolling out.

Kimura 3

Whichever way you choose, (try both and see which one works best for you), to apply the lock, pull his elbow towards his head and twist in an anti-clockwise direction to obtain the submission. Like all techniques, the only way you are going to pull this off for real is through repetitive drilling. Do the moves over and over again, with different people and in different positions, until you no longer have to think about

Kimura 4

it. Remember, a truly well executed technique can be as much a surprise to you as it was to your opponent! Gavin Mulholland is the author of the number one bestselling book, Four Shades of Black - The Traditional Path to Building the Complete Fighter. He is joint Chief Instructor for Daigaku Karate Kai and the Chief Instructor for DKK Fighters based in Central London. DKK can be contacted via www.goju-karate.co.uk or directly on 07976-411-901. WWW.COMBATMAG.CO.UK COMBAT 75

MUAY THAI COLUMN By Bob Spour

Crashing through with

Knees When many martial artists think of Muay Thai, they tend to think of its knee’s and clinchwork. It’s what separates Muay Thai from many of the other fighting systems. In fact many modern fighters are now seeing the value of using good clinchwork and knees and have adopted Thai methods of functioning effectively at this range. In the hands of an expert, damage to the bladder and the ribcage can be extensive and I have, over the years, seen many unprepared fighters limp away following attacks to these areas. There was a TV programme on National Geographic a while ago that wanted to test the power of various martial artists and their favourite techniques on crash test dummies. And, I am pleased to say that the Muay Thai practitioner and the Boxer came out on top! Indeed they measured the power of the Thai Knee and said it was equivalent to a car hitting you at 30 mph! Pretty nasty! This month I want to discuss the basics of good kneeing technique and leave the Clinchwork for a future article. Clinchwork, as has been said before, is a system of fighting that could probably stand alone and needs only months of solid practice to get it functioning at the highest level. You also need an educated trainer who can enlighten you in the ways of the Clinch.

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It is true to say, that at one time, this is one of the ranges that the Thais would ALWAYS beat the foreign fighters at. In fact, they are still doing it now! The Thai Knee (Kao) can be performed in a number of ways. To the front, to the side; and as a jabbing attack or a thrust. The primary target is the bladder because this is protected only by a thin sheath of muscle and is more susceptible to damage than a heavily conditioned and protected midsection. Obviously the solar plexus is a good target if it is left exposed. Side knees can be hammered into the ribcage too and finally, if a fighter’s head is pulled down, then the head is also a good target. I have seen some fighters, (on rare occasions), jump high into the air and strike a fighter in the

chin/head. The fight ended, I hasten to add, in a KO! Spectacular to say the least. Front Knees are performed either in the clinch (preferable) or as a standing technique. The knee is brought up and with a thrusting motion of the hip, driven into the opponent. You should also be standing high on the toes of the support leg with the body weight forward over this leg. Keep your guard up! Some fighters advocate leaning back on this knee attack but it is easily defended when your posture is this far off balance. I saw one fighter literally get pushed back off his feet in this position. Pushing is one of the simplest forms of defence against any knee when the opponent is not held in the clinch, but is often forgotten in training.

Observe the following points when practicing the knee: ● The knee should always been released at the correct distance ● The fighter should come up high on the toes of the support leg ● Always use the point of the knee ● The knee should be driven into the target thrusting the hips forward ● It should be quick and relaxed ● It should demonstrate good balance ● Arms and guard should be controlled and capable of being used for attack or defence ● The knee should hit the target and then be retracted demonstrating good balance and poise ● The above points are those used by judges in Thailand and constitute excellent technique. If a fighter fulfils the above criteria he would be considered a good boxer and would therefore score points and at the end of the day that is what it’s all about.

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CHATTERBOX With Kerry-Louise Norbury

Hello again, it’s been real busy here with my training being stepped up and talks of what I am to be doing next. It looks as though the travel and training abroad is definitely on the cards, to help me boost my Low Kick and K1 Rules training. Plus additions to our camp mean I will have more regular and experienced training partners. I am to take part in some K1 seminars here in the UK and also Cris my coach has booked me some private lessons with Mr Daeng (Mr. Pansak Daengsap) from Thailand. That, I am really looking forward to. All of these should make good reportage and produce some interesting articles. I have been very busy again with the column and this month Tony Willis from Essex has made me a great offer, after seeing Februarys Combat. I have featured his comments and kind gesture below. Kerry, I have recently fought my first full contact fight and unfortunately I lost. I am finding it really hard to get over it and don’t know what to do. Have you ever lost and if so what did you do. Need some motivation please!

First of all a loss is really not as bad as it sounds trust me! I have only lost twice in my ring career but they have both been for World titles so I know what you are going through however, there are different ways people cope with this, either they say Anon London O/18 “I’ve lost, this fight game is not for My son is 4 and really wants to be a kick- me.” or “Ok I’ve lost. Now let me see boxer, he is constantly practicing at home what I did wrong.” If you are the latbut I’m worried he is still too young what ter, you are, as you have written, then sit down with your coach and are your views on this please? together analyse the fight dvd, look Elizebath Hunt Shropshire at your weaknesses write down all the points and then formulate the It is really great that he has interest in the sport and 4 years old is not too corrections into a training/lesson type plan and in your next lessons young for them to start however some insurance companies say difMy daughter is 10 and really wants to ferent and our policy says we cannot cover any person under the age of 5. start fighting. She does kickboxing and she has no fear but I am so nervous When he is a couple of weeks off his about it. Is it the right thing for her? next birthday, take him down to the Mick Delaney Purbright gym (just make sure they are reputable and have the correct qualificaIf you trust her instructor then there tions, child protection policies and should be no problem. I started insurance in place.) let him have a fighting when I was 8 and have done look, enrol him and as soon as he is ever since, but so did my brother 5 then he can start. When he starts and he decided it wasn’t for him. So if they do pad work make sure that let her have a go and she will tell he wears hand wraps and a good you whether or not she wants to do quality bag glove for maximum proit again. Don’t worry about your tection as his bones are still forming and protection is vital, but his instruc- fears it is quite normal for a parent to feel the nerves more than the child. tor should go through this with you. I’m 27 now and my Mum still shuts her eyes when I fight! A good instructor will involve her in what we call sparring application and one step sparring which is the attacks and counter defences taught in a simple step by step technique scenario. She will be constantly assessed in her ability to cope with this. At his type of age it will all be controlled and maybe with no head contact. Light continuous sparring is 80 COMBAT WWW.COMBATMAG.CO.UK

practice, because practice really does make perfect. I do a lot of self study in front of a bag and continuously put myself in the same position and look at how I would approach it differently. These techniques and movements should be practised until you feel totally natural with them. When it then comes together in your sparring you will feel a great sense of achievement and that you will be able to cope with the same situation easily next time. Even when I win my coach gives me a week to get over the glory, then he sits down and tells me anything I still did wrong! the best at this age which will introduce the student to sparring steadily and safely. (Obviously FULL safety equipment must be worn). So yes, Mick you should be concerned as your daughter will always be your little girl! I think the key element here is a professional instructor who has a good track record with young fighters who they have brought up through the ranks, if she trains safe, she will want to continue.

How do you condition your body to take shots? I do loads of sit ups every day and it still hurts when I get hit to the body. Dave Smithurst Doncaster I love body conditioning but unfortunately there is only one way of being able to take a body shot but before you do you need to work on your internal abdominal muscles. A six pack doesn’t mean you can take a good shot to the body. To work your transverse muscles you need to work your core (abs and back) things like the plank, which I have covered in previous articles. Make sure you work your back also (dorsal raises are good.) A lot of people just work their abs and forget about the back but this leads to injuries as you will end up with a muscular imbalance. Body conditioning (Especially for younger students) Should start off nice and light with open hand patting/striking and making sure that strikes keep away from the vital organ areas. (Always seek professional instruction). When you have developed your muscle strength internally then you can start to raise the level of body conditioning. The best way I have found is to bend your arms at head height, elbows out and hands on the back of the head and get your partner to strike you around the midsection area, as you get stronger you will be able to take more and more. When you do this exercise do not hold your breath as you will not be able to do this in a fight, just tense your muscles when the punches are coming. Instruct the person striking with two operative words “up” and “down” which relates to the amount of power you want applying.

I am a 62kg woman who trains with a friend at a local health club (I used to attend proper classes for 1 year), I don’t think I will ever fight but I would like to know how do you get KO punch power? I know you are well known for that right hand! Julie Sheffield Natural strength is a very good start. KO punch power comes with accuracy, speed, focus, timing, the correct foot work and the correct breathing. Practice makes perfect. You need to work on impact power on pads and bags of your individual punches and kicks for maximum power. This is a very complex area, I can teach a student a fast flowing

combination for points scoring within a round or change it so the last technique is full power and strong breathing as the last punch or kick is applied to try and effect a knockout finish. I think this is definitely a practical area which needs to be practised under qualified supervision. If I am right it appears you train just on a casual basis in a spa type gym? There’s no problem with this but I do think your foundations should be taught by a professional. I am in easy travelling distance of Sheffield, why not come to my classes even if it’s once a week and then continue your training at the spa? I think this way you will definitely see the benefit. WWW.COMBATMAG.CO.UK COMBAT 81

Welcome to...

WAKO WORLD ASSOCIATION OF KICKBOXING ORGANISATIONS Founded in 1970 WAKO is the largest unified kickboxing organisation in the World with over 100 nations currently in membership. WAKO World H.Q. is based in Milan. ★ WAKO History ★ WAKO started its activity in Europe in 1976. The founder was Mr Georg Bruckner from Berlin, who promoted the first ever World Championships in semi and full contact karate (as it was called in those days) back in 1978 with 110 competitors representing 18 countries. WAKO immediately created the rules and regulations for the new fighting sports and acted, since the very beginning, as the authentic Kickboxing Federation of the world. In our Championships, only national teams are accepted. Each member country can present only 1 competitor in each weight class. The WAKO World Championships are NOT open competitions therefore each representative is the premier competitor in that category, from their country.

World Governing Body for Kickboxing World and European Amateur Championships Title Fights held continually both Amateur & Professional Regional Competitions are held throughout the year British Amateur Championships to choose British Teams Full-Contact, Light Continuous-Contact, Semi-Contact, Musical Forms Licence, Membership and Insurance available to all of U.K., Southern Ireland and Republic of Ireland Coaching courses, Referee Training, Seminars and Training Dan Gradings and WAKO certificates for all Members For upto the minute details of all forthcoming W.A.K.O events visit our website To see national ama/wako listings of over 13,000 instructors/clubs on the web, type: www.bt.com/thephonebook then in ‘business’ type: martial arts and town

Contact: WAKO, 66 Chaddesden Lane, Chaddesden, Derby, DE21 6LP Tel: 07973 507716 / 01332 663086 / 01628 784254 or Fax: 01332 280286 WAK001/21

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Why is it I can run for miles but I can not do a 3 round fight without tiring out after the 2nd round?

Hi Kerry really enjoying your Chatterbox column. After seeing last months section on conditioning I would Leon Smart IOW like to offer you a free and unlimited This is a simple question to answer supply of Dit Dar Jau (Fall and Hit Kickboxing is more of an explosive Wine). Within the Chinese Martial Arts sport than a full out endurance sport and Southern Mantis System we as you are not working constantly or believe that all conditioning should be flat out for the full 2 minutes. Each supported by using a good quality Dit round has a high energy burn period Dar Jau before and after training. and lower levels when your moving, This herbal lineament has really helped countering or using ring craft rather me and my students over the years. than punching or kicking. You need to The version I use was passed down to change your fitness programme, still me through the mantis lineage and condo your runs but do a mile run warm tains 24 herbs taking over 6 months to up then add some explosion sprints make. I have also made you a bamboo eg 10 seconds sprint 20 second jog., striking pole which we hang from the do this for 2 miles, then do a mile run. bag brackets and use for advanced You can also add this into all your conditioning training and if you are training on the bag, skipping etc. trust using that you will definitely benefit me you will feel a difference, you need from the use of Dit Dar Jau. If you to emulate the fight by using interval have never used one I will give you full training where you train at a high pace instructions to its use. and come back down and then push Feel free to use the Dit Dar Jau as again, just like when your fighting. you want (Externally). The best way to You will also burn nervous energy get the most benefit is to apply along when you fight and everyone has this the length of the bones and muscles as it’s part of the adrenalin rush and is before conditioning and in the same way what gives you the desire to win. straight after you finish conditioning. Avoid rubbing across the grain of the I’m just approaching 30 and have done kickboxing for 2 years. I really want to have a go fighting but I am really un flexible and can only kick to waist height what can I do?

muscles as this can make any bruising worse. Don’t apply with any deep heat products as they open the pores and Dit Dar is an alcohol base fluid. Keep up the great articles and good luck with your training. Tony Willis Sifu, 5 Elements Martial Arts. www.5-elements.co.uk What a kind gesture Tony! I will call you to take on further advice and allow me to get your full details. I know that conditioning will be a major part of my new style and I also am keen to do it correctly as I don’t want my legs to look like they have been smashed al over the place. It sound as though the Dit Dar Jau will not only help with the bruising but ensure I heal properly. Again thank you sir. There you have it folks, I have included Tonys web site address to enable anyone else to contact him if they want to purchase any Dit Dar Jau from him. I will comment on its effectiveness in a coming article. Looking forward to hitting that pole (I say smiling!)

Female Anon. To be a fighter you do not need to kick to head height, if you look at the top professional fighters they do not kick high regularly as it burns energy a lot more than kicking to body and you don’t get any more points for a head kick in full contact and you may even become more vunerable if they block it. Why don’t you try the low kick format as this is full contact with kicks to inner and outer thighs. Either way make sure you step your hand training up so you have two really good weapons, I only throw high kicks if I feel I am in a good lead position but until then its short powerful kicks and strong hands on the inside. Goodbye until next time, keep up the hard work everyone! Please do not forget I offer this advice on a topical basis, you should always seek the advice of your doctor before starting any type of exercise or a registered professional in the field of martial arts if you want to relate to the advice given. Yours in sport Kerry-Louise. WWW.COMBATMAG.CO.UK COMBAT 83

FORMS FORUM By Joe Hallett

WISH LIST TO REALITY

Top of my wish list last year was that musical forms would move into the 21st century and to that effect I have been working with ISKA (International Sport Kickboxing Association) to make the wish a reality. Dave Busby and I have joined forces with ISKA to change categories, scoring, judging system and refereeing for musical forms. ISKA is the only association taking up the challenge and which is willing to listen and act. In the pipeline are categories for both creative and extreme forms. This means all competitors will have an equal chance, whether their forms are extreme with

84 COMBAT WWW.COMBATMAG.CO.UK

tricks and flips or martial arts based. In creative forms no moves where the head drops below the waist and no spins more than 360 degrees will be allowed. This is an enormous step forward and means that the same old faces will not be guaranteed a win. So come on people support this new category by attending and competing. Over recent years martial arts has been lost from musical forms. We at ISKA will be introducing martial arts back into forms by judging in a completely new way. Each competitor will have two scores awarded for their form. The first score will be for martial arts content which includes stances, aggression, kicks and power. The second score will be awarded for creativity and originality. This means that you will not automatically win if your form is not martial arts based. Referees will have strict guidelines to follow, and an arbitrator will be on the area to make any deductions if needed, to time the form and ensure that martial arts etiquette is followed at all times. Dave and I are working with ISKA to try and have these changes in place for the ISKA qualifiers on Sunday 29th March at Crystal Leisure Centre, Bell Street, Stourbridge, West Midlands DY8 1AE. Please start practicing now, perfect your forms and turn up on the day to compete in the 21st Century. A huge thank you goes out to Andrew Hennesey and Pete Richardson at ISKA UK for listening and being prepared to act to make sure musical forms grow in the UK and are no longer a Dinosaur. Also thanks must go to Dave Busby who has worked tirelessly with me to make the dream a reality. For the new rules, categories etc or simply to discuss the changes to forms feel free to contact either myself or Dave Busby, Heads of musical forms administration, ISKA UK. Ring me on +44 (0)786 506 2234 or email formsforum@joehallett.co.uk or Dave Busby +44 (0)781 434 8070 or email him at visionmartialarts@blueyonder.co.uk

Katie Harrison My profile this month is on Katie Harrison who never ceases to amaze me with her martial arts ability and aggression. Katie for the people who do not know who you are could you just give us a brief insight to your martial arts background? KATIE HARRISON: I started when I was five in the little dragons program I thought it looked fun because my oldest brother was doing the kickboxing. I progressed from there and I am now on the certified instructor training program and hope to be an instructor one day.

Why did you start martial arts and how did you fall into musical forms? KATIE HARRISON: I started because my brother was doing judo and kickboxing and some friends from school were going to start. When I was in little dragons they did a Christmas party and Dan Luckin and Jimmy Jones did their forms it looked really cool. I have always liked doing things to music and I said then that I would like to do forms. When I moved up into the kidsâ&#x20AC;&#x2122; class I started the forms lessons and it has progressed from there

You are still at junior school is it hard to train in martial arts alongside lots of homework?

In your opinion what is great about the UK forms scene and what needs to be done to make it better. KATIE HARRISON: The best thing about the forms is that although everybody wants to win the competitors are really friendly but there could do with being more competitors and more under 12 categories, often it is under 16 so it is hard for younger competitors.

You have won many UK competitions including the CIMAC Super league but will we see little Katie Harrison competing abroad soon? KATIE HARRISON: I hope so, I am saving up.

At the moment you are competing in musical open hand not weapons are you interested in the future maybe branching out into weapon forms too? KATIE HARRISON: I am training in weapons in Kamas and nunchucks, but I am also working on my tricks at the moment so it will be a while before I do a weapons form.

You are just at the beginning of your martial arts career but what is in the future for Katie Harrison? KATIE HARRISON: I have started to teach basic forms and I enjoy that and I have also done some fighting. I would like to just keep having fun and keep competing; I would like to go abroad to compete.

KATIE HARRISON: Itâ&#x20AC;&#x2122;s not too bad at the moment because I am still at junior school but it will get harder. My brothers (I have three) are all at secondary school and it is hard for them.

Name: Katie Harrison Age: 10 Height: 133cm Weight: 29kg Residence: Surrey Style: Freestyle Kickboxing Grade: Forms Green Belt, Kickboxing Brown Belt Years Training: 5 Years Instructor: Master Curtis Page and Mr Oliver Worsley Present Club: GBMAA Most Valued Title: Super league Grand Champion Other Styles Studied: Lau Gar Kung Fu Likes: Animals, Music and Martial Arts Dislikes: Bad Losers Hobbies: Swimming, Badminton Favourite Food: Grapes Favourite Film: Mama Mia Favourite Martial Artists: Jackie Chan

WWW.COMBATMAG.CO.UK COMBAT 85

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