Combat v34i11

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1974

THE BEST IN MARTIAL ARTS COVERAGE

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ZARA

FREE!!!

Pull ou

ta keep Pos nd ter

PHYTHIAN Looks like a model...

Hits like Bruce Lee! 10 THINGS YOU SHOULD ASK YOUR CHILD’s INSTRUCTOR! What every parent needs to know!

3 EXERCISES TO KEEP YOU YOUNG...

Fighting fit past 40!

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DEFEND YOURSELF THE KUNG FU WAY!

Vol. Vol. 34 34 No. No. 11 11 £3.50 £3.50

We show you how!

NOVEMBER 2008

WANT TO IMPROVE YOUR SPEED?

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The Traditional Wooden Dummy Company ● ● ● ● ● ● ● ● ● ● ●

Hand made to Hong Kong Council Dimensions Solid hardwood construction.

Suitable for indoor and outdoor usage Unique fully height adjustable from 4’8’’ to 6’8’’ Hand applied Tung Oil for ultimate weather proofing Hand Painted Chinese Wing Chun motif Trunk-Kiln dried laminated hardwood Arms-One piece hand turned hardwood Leg-Laminated 6 piece construction,dowelled for extra strength Width of frame can be customised to individual requirements Hardwood supplied from managed forests Purchasing Details: Personal cheques, postal orders, Internet transfer (details supplied with invoice.)

Delivery: Typically 14 days. Delivered by insured courier.

Notified 48 hours before delivery. Delivery at cost.

The Traditional Wooden Dummy Company was founded with one goal.To produce the very highest quality traditionally handmade Wooden Dummys at the very best price.The Wooden Dummy is,in many ways the trademark of Wing Chun Kung Fu.It plays a vital role,enabling the practicitioner to become proficient in understanding correct body position,footwork and distancing from opponents.This can only be achieved by playing with a Dummy that properly replicates the correct spring,angles of strikes and movement,promoting a deeper understanding of centre lines.

COMMENT On this month’s poster we chose the words, “There’s no such thing as I can’t”, perhaps more than at any time we now all really need to believe in ourselves. Often determination will carry you through when all else fails.

I was recently talking to Vinny Shoreman, a Neurolinguistic programmer, and he said. As long as you wake-up in the morning it’s going to be a good day.

I can hear you all saying “That’s fine but I can’t pay my mortgage, or my child’s not well, etc, etc, but Vinny claims it’s not what’s happing to you it’s the way that you handle it that counts. So what’s all this got to do with martial arts, well plenty! Martial arts teaches people, determination and the power of positive thinking. Nothing illustrates that better than ‘breaking; this form of training is often dismissed these days as outdated but there is nothing better for teaching you belief in your own ability and conquering doubt. This month we tell you how to go about incorporating it into your training regime.

We believe in not compromising on quality in any way.This entails hand applying our ultimate weatherproofing,Tung Oil.The most water,heat and mildew resistant treatment available.It strengthens the wood and conditions the fibres,creating a Mook Yan Jong that will last a lifetime and of heirloom quality.Our frames feature our unique height adjustable stand,catering for 4’8’’ children and disabled artists through to 6’8’’ adults.Available customised with short/long legs and arms.The width can also be customised to fit your personal requirements for space saving area’s.Our Wooden Dummies cater for children,adults,disabled,teachers and students alike.

We also give you the ten questions to ask your child’s instructor, it’s all too often, easy to believe, that just because someone puts on a uniform and stands at the front of a class that they are above question. Well never be afraid to ask questions of any instructor those with nothing to hide will always be only too pleased to answer them openly and fully.

Following a recent publication by the Wing Chun Kung Fu Council with cooperation from Grand Master Ip Ching,we now have the exact dimensions for Ip Chings fathers personal Wooden Dummy,namely Great Grand Master Yip Man. Most designs from other Wooden Dummy companies are copies of Yip Mans students Dummies,these do not offer the correct angles as taught by Yip Man through his son Ip Ching.

The human quest is one for eternal life, well we can’t promise that but we can help you stay fit and active after 40, with three exercises to stave off the aging process.

Hand crafted by British Wing Chun Practioners.

Contact Details: Cameron Charles The Traditional Wooden Dummy Company E-mail:TTWDC@hotmail.co.uk cameroncharles@hotmail.com

Telephone: 07971-405582 or 01280-701389 WDC001/06

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Read and enjoy COLUMNISTS 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

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VOLUME 34 NUMBER 11 NOVEMBER 2008

REGULARS 7 -

PUBLISHER/MANAGING DIRECTOR Paul Clifton

MARTIAL ARTS NEWSLINE

EDITORIAL TEAM

34 -

LETTERS

36 -

COMBAT FILM

52 -

COMBAT GAMER

66 -

UNLOCK THE SECRETS OF SHAOLIN BODY CONDITIONING With Shifu Yan Lei

70 -

MIKE FINN - Magic of Martial Arts, part 5

84 -

THE NEGOTIATOR - By Aran Dharmeratnam

88 -

CHATTERBOX - With World Champion Kerry-Louise

0121 344 3737

SENIOR DESIGNER Mark John Davies 28

ADVERTISING/SALES Julie Davies (0121) 356 7616 HOW TO GET WORK PUBLISHED

115 - CALENDAR

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).

117 - CONGRATULATIONS 155 - CLUBS DIRECTORY & CLASSIFIEDS SECTION

FEATURES 16 -

LOOKS LIKE MODEL, HITS LIKE BRUCE LEE Zara Phythian

24 -

WHO DO I THINK I AM Meet Combat’s latest columnist, author, television star & martial arts extraordinaire Chris Crudelli

28 -

TEN THINGS YOU SHOULD ASK YOUR CHILD’S INSTRUCTOR Discover the facts!

44 -

MIKE HOLDSWORTH - Shooting the action

51 56 -

FIGHTFACTORY COMPETITION SILENT PARTNER - Fighting Fit past 40

64 -

DEFEND YOURSELF WITH WING CHUN KUNG FU

By Sifu John Agar SPEED TRAINING - By John Swift

74 78 -

MAKE THAT BREAK! The object - not your hand!

94 -

’LIGHTS OUT’ The art of Shimewaza

98 -

KEEPING IT REAL - Mixed Martial Arts with Andy Cooper

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

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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

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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.

120 - WALTER SEATON Interviewed by Graham Noble & Harry Cook

134 - TRANSITIONAL ASPECTS IN KARATE Are you appreciating only a small portion of your technique?

140 - BACK KICK - By Grandmaster Tony Vohra 146 - BOOK REVIEW - The Taegeuk Cipher 150 - PATTERN - Taegeuk Il Jang

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

110 - PEACOCK GYM The home of sport and friendship

130 - TOOLS OF THE TRADE

By Albie O’Connor

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.

104 - KARATE WORKS IN THE CAGE Part 3 by Gavin Mulholland

126 - KARATE’S NOT A DIRTY WORD Vince Morris revisits Kushanku/ Kanku Dai

GRAPHIC DESIGN Kevin Thompson

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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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Looks Like A Model, Hits Like Bruce Lee Zara Phythian

By Tina Gill - Raw Force Productions

Photos by Carrie Austin

She’s one of the UK’s most talented rising martial art performers, recognised world-wide for her all round martial art abilities and achievements. Now multiple world martial arts champion and academy owner Zara Phythian, is ready to be introduced to the general public through a new biography television documentary from Raw Force Productions called ‘Looks Like A Model, Hits Like Bruce Lee’.

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A 60 minute documentary shot over a 6 month period, following her training, personal life and on going rise in film and entertainment. The documentary, produced by Avone Keene in association with NB Pictures and Zara herself, clearly shows why many Martial Art Masters hold her in such high regard, not just for her physical and spiritual prowess but also very evident from the documentary, her amazing work ethic as a Business Woman, Instructor, Mentor, Action Actress and Performer.

Zara is quite unique, holding World Titles in Forms, Weapons, Points Fighting and Weapons Combat. She is the proud owner of 6 World Grand Champion Diamond Rings and is the only British Martial Artist to date to be inducted into the IKK Hall of Fame, listed alongside legends such as Bruce Lee, Chuck Norris and founder of American Karate, Ed Parker. Just recently, Zara received yet another of many achievement awards, the World Organization of Martial Arts Athletes ‘Contribution to Martial Arts International Award’ and ‘World Female Martial Artist of the Year’.

These days Zara doesn’t get the chance to compete either in forms, weapons or fighting, but that is understandable when you realise she must be one of the busiest and most hard working Martial Artist’s in the World. Her student’s, young and old, adore her. Her training colleagues and associates in the martial arts community highly respect her.

Senior Grandmaster JP Choi once said of her, ‘She Is A Legend In The Making’...

Raw Force Productions were honoured to capture the last few months and gain a real insight behind the scenes of this amazing woman, including her teachings, business life, training and recent live performances including her well received cameo guest spot in the electrifying show ‘Babes with Blades’ by Cecily Fay. Those in the game that know Zara, know she hits hard.

Harder than most males they say. But its her humble way, her love for the arts and her ability to motivate men and women in martial arts and the reason she’s she an extraordinary women.

All of which is presented in the programme itself.

Her high level of cross training in martial arts since the age of 7 is evident, one moment you see her graceful traditional elements from karate and Tae Kwon Do. Then you see her pounding the hell out of opponents with her realistic training, through a system combining JKD, Silat, Ground Fighting. The next thing you see her speed and accuracy from Sport Kickboxing, We took time out from shooting to get this exclusive interview with her for Combat Magazine.

Zara it’s been an amazing few months getting to know you up close with everything you do. One of the things that truly stand out is your incredible energy to cope with so many aspects of your life, how the hell do you do it?

ZARA PHYTHIAN: (haha) I have no idea myself, I didn’t realise it was so manic until filming started, but its all fun, I think if you enjoy your life you don’t realise how manic things are, but recently yes, people have made me a little more aware that I need to have a look at it (smiles).

OK, lets start with your new goals, getting into movies and stuff, hows that going?

ZARA PHYTHIAN: it’s good, I’m enjoying the opportunity to get involved in that side, especially action related. It’s kinda like an extension of playing at what I do for a living.

You had a great brutal fight scene with Joey Ansah (Bourne Ultimatum) in the movie Underground, what’s been happening since?

ZARA PHYTHIAN: We did a non budget project (Horror/ Action) called ‘Furor’ which I helped produce to learn the basics of filmmaking really, an experiment before we go in to two movies of some budget with NB Pictures, that was fun, and since then I’ve done a horror, Adrian Whites After Dark project, also worked on Peter and Heather Halletts new UK action project, and some music video work such as Exit 10’s ‘Warrior’ and DTOX ‘Do That’.

Anything new coming up?

ZARA PHYTHIAN: There are some promising projects co-ming along nicely, much more for 2009 so fingers crossed...

To read the rest of this article why not take out a subscription by calling +44 (0) 121 344 3737

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Master Angelo is the Chief Instructor for The Philippine Classical Arnis- Abaniko Tres Puntas System in the UK. Directly under Grandmaster Rene Tongson. Welcome to my Filipino Kyusho Association after 36 years of training in the fighting arts, it’s time to share my passion of the Filipino arts , Kyusho Jitsu (pressure points) and Aikido . Our goal is to spread Abaniko Tres Puntas through out the UK and to share knowledge about the Filipino martial arts and the rich heritage and traditions of the Filipino culture. This coupled with authentic pressure point training and applications, gives you a dynamic insight into the fighting arts.

Martial arts has been my passion everyday I practice or do something relating to Martial arts, it is my strong desire and belief , that we should constantly develop our character and skills to help everyone we come in contact with to grow, mentally and spiritually.

7th Dan Filipino Kyusho, 6th Dan Kyusho jitsu, 5th dan Shotokan, 1st dan Aikido Master Angelo welcomes you to join the Filipino kyusho Association, Benefits include gradings , regular dan grade training, seminars , dvds, knowledge sharing, self defence, kubotan, instructor certification after training and help when you need it. See first hand why Master Angelo is highly sort after by instructors and students from all over the world.

Contact Master Angelo at www.masterangelo.co.uk Or phone 07873120515 BAL001/02

Special offer Pay for two dvd’s from my site and get one free quote COMBAT PRO1 and state which free dvd you would like when ordering . Free P & P in the UK Pressure Point Nerve Strikes Simplified This dvd from Master Angelo, is over an hour long, explaining pressure points in clear and concise manner, I have not used confusing terms it has been kept simple so you can understand it. Included in the dvd is the best twenty points to hit for self defense , with the locations and angle and direction explained fully. How to set up an opponent, how to stretch the nerves, restoration of energy, yin and yang, grappling using the nerves, on screen graphics and much more, much will be learnt from this dvd Only £9.99 Pressure point self defence Over an hour and twenty minutes long packed with pressure point techniques that you can use for self defence , close up filming has been used throughout the dvd so you can get close to the action which will aid your learning this is a must for any serious martial artist who wants an insight into pressure points or anyone wanting to add pressure points to their self defence program , Master Angelo has been studying the fighting arts for over 35 years and now teaches all over the world giving seminars on pressure points and how by adding them to your system how much more effective your technique become . It does not matter what style or art you practice it can easily be applied to your art or training method Master Angelo shows you the angle and direction to KO or incapacitate an attacker .This is an awesome dvd and much will be gained from it, don’t miss out!!

Only £9.99

Kubotan and Advanced Kubotan is an explosive series from internationally acclaimed Master Angelo Baldissone 7th Dan. These dvds goes into more details on how to stretch and strike the nerves using the stick, defence when being grabbed, bear hugs, while sitting on a chair, common assaults on the ground and much more. Master Angelo with over 35 years in the fighting arts and graded under 4 Grandmasters shows you this devastating weapon of pain, learn how to protect yourself using simple techniques with maximum effect, the method used is Shock Strike and Escape. See how this 6ins of metal or wood can help protect you and your loved ones , used as a key ring this self defence stick will give you the upper hand when faced with an attacker. Don’t think it will never happen to you be prepared !!

Master Angelo is available for seminars on the Kobutan, self defence, pressure points, filipino arts, kata breakdowns, knife, stick, empty hand , flow drills etc.

Only £18.99

Send cheques or Postal orders to payable to Master Angelo, 49 Andrew lane , New Milton, Hants, BH25 5QD, ph 07873120515 for customer service Visit www.masterangelo.co.uk for full range of dvds easy payment by Pay Pal or Credit Card, don’t forget buy 2 get one free!!!!!!!

Please state which FREE dvd you would like

Warning these Dvds contains the striking of pressure points BAL001/03

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Ten things you should ask your child’s instructor Discover the facts!

A

martial art club opens in your area and your son and daughter are both mad keen to join. Being a good parent, you don’t just sign them up, give them the training fees and drop them off at the club. You want to find out about the club and the coach before ever you entrust these two young persons into the coach’s care. So this is what you do....

First you will need the coach’s name. Once you have that (and confirmed the spelling), check the names of sex offenders to see whether there’re any matches. Assuming no listing, then go with your children to the club and watch the session. Don’t join or allow them to train on this first visit and check with the kids afterwards to see whether, having seen the training, they are still mad keen to join. Did the coach impress you with a professional attitude, sensible remarks and obvious competence?

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How does the coach behave with the children? Like a teacher - friendly but remote? A certain amount of physical contact is unavoidable when positioning people for kicks and for stances, but does this appear to be done in a careful and studied way or do the more attractive children receive noticeably more physical attention?

Let’s assume everything impressed you. Now ask the coach if s/he has 10 minutes to speak to you. Assuming s/he has, then ask the following questions:

What martial art do you teach?

What is the name of the founder?

Start out by finding out the martial art taught at the club. What is its name and where did it begin? Is it Japanese? Korean? Chinese? Who was the founder of the style? Afterwards research the style claimed and check out what you were told.

Don’t be afraid to ask more questions later if you need clarification because a good coach is proud of his/her affiliation.

It’s important to trace the parent organisation because this may affect whether your talented child ever has a chance of competing for Britain in some future Olympics, or whether their hard-earned grades and status will be laughed at by followers of schools with more standing.

Stick with schools you can trace back to known world-class martial artists!

What are your qualifications in the martial art you teach?

What qualifications does the coach have in the martial art s/he claims to teach? Ask what grade they currently hold and who graded them to where they are now. Can they produce a certificate with names and dates for you to check? Otherwise ask for names or references you can follow up on-line.

Ask how long have they been practising? Make an estimate of the coach’s age and try and relate it to the grade they claim...

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 29

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Mike Holdsworth

Shooting The Action!

By Phil Hobden

I’ve had the pleasure of working with some interesting people in my time but I don’t think I have ever seen anyone turn up to one of my film sets with more kit rammed into such as small car than when Mike Holdsworth arrived for a rehearsal/promo shoot for ‘Fixers’. White screens, lights, tripods, two cameras, gels... the fact that Mike could even get IN the car was a miracle, let alone that it didn’t collapse, under the weight, on the way. But as always the results were very much worth it.

Ashley Beck

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Jamie Cho

What would I find in your camera bag equipment wise?

MIKE HOLDSWORTH: “I’ll go and have a look...its a bloody big bag...lots of used rechargeable batteries, gaffer tape, lots of lens (4), 2 cameras (one backup), business cards, filters, lens cleaning equipment, sensor cleaning equipment, cables for connecting the camera to laptop, remote controls triggers for firing studio lights off, a load of stuff I picked up at SENI where people were using my photos (always cool) and a reflector.”

You have become an expert in Screen fighting and Professional Martial Artists photography. How did this come about?

MIKE HOLDSWORTH: “Word of mouth mainly. Also access, I have been given access to a lot of truly gifted and talented martial artists who make my job so much easier. The shots seem to be what people are interested in. Working on films has given me access to more people as did being official SENI photographer in 2006.”

What do you enjoy most & least about working in this genre?

Mike admits that his photography bug started when he lived at home with his parents, in Robin Hoods Bay, North Yorkshire. “Coming from an artistic family, but with no control over pencil, pen or brush meant that I had some creative juices that needed to flow and pinching my mums camera at the age of 16 and going and taking black and white photos around the village gave me that” His career so far he has seen his work published in numerous magazines (including Combat), adorning countless film covers and he has worked with some of the best established as well as up and coming names in the business. Silvio Simac, Scott Adkins & Brendan Carr have all had the ‘Mike Holdsworth treatment’.

In 2008 Mike was inducted into the London International Martial Arts Hall Of Fame for ‘Dedication to Martial Arts’ adding to the numerous awards he’s received since starting out in the industry.

As one of the industry’s brightest stars I thought it was about time Combat sat down with Mike to find out a little more about him, his work and his plans for the future.

Mike, where and when did you get your start in photography? Do you have any formal training?

MIKE HOLDSWORTH: “Since an early age I have been interested in photography. I still remember how it feels to pinch my mums black and white film and sneak off with her camera and take random photos of our village. That was when I was about 16. Living on the North Yorkshire Moors coast, you tend to be surrounded by nature and glorious landscapes so I tended to use that as my subject to start off with. It wasn’t until much later that I started to photograph people. Formal training, I would have to say no in the purest sense. Photography, however, is guided by mechanical rules, and how you control or play with light. So with film cameras you have to learn mechanically how the camera works and so I learnt that inside and out (I have an engineering background). My best friend was on an ‘A’ level Photography course so I used to pick his brains and while I was at university one of the people I lived with who was doing a Photography degree. Then after submitting my initial martial arts portfolio, I became a Fujifim Professional Photographer on their ‘Envisage’ program for 5 years. I was also a member of the Society of Wedding and Portrait Photographers and the British Institute of Professional Photographers. That was until someone pointed out that it’s the photo’s that count not the ‘brand association’ and so I left.”

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MIKE HOLDSWORTH: “Mostly getting a good pic, and people using my photos for effective promotion and getting film work. That really spurs me on to take better photos of people.

Also Front Covers are nice too (;-) What I don’t like is people migrating from martial arts to films with an attitude that the film world owes them something.

One person accused me of taking a photo of someone that made them look too good! They had cast them for something and didn’t think they were all that (It was tongue in cheek though...). Everyone has to start at the bottom, and it’s no different for photographers or martial artists. I’ve witnessed some bizarre egos on film set’s, from people who haven’t ever been in a film before. My advice, you have 2 ears and one mouth; use them in that proportion. I’ve had to stand in snow, mud, pigeon poo and be covered in fake blood...just get on with it!”

In 2008 you were inducted into the London International Martial Arts Hall Of Fame for ‘Dedication to Martial Arts’. What did that mean for you?

MIKE HOLDSWORTH: “It meant a lot to me; a lot more than a photographic association or magazine giving me an award. I also felt a bit like it was a team effort for all the people I had worked with over the years.

Martial artists understand what is a good martial arts photo, but professional Photographers don’t have a clue. A takedown where the receiver is just about to slam into the mat, an au batido perfectly executed, karate form, taekwon-do flying kicks. I once worked out that I had taken nearly 100,000 martial arts photos and done 4 books on technique, and the award made me feel really proud. Like I was doing something useful for the martial arts community”...

To read the rest of this article make sure you get your copy of combat available from WH Smiths & all good newsagents

WIN A SITTING WITH MIKE HOLDSWORTH! One lucky reader will get the opportunity to have an exclusive action photography sitting with Mike Holdsworth. The images will then be published in a future edition of COMBAT magazine!

To win this exclusive prize just answer this question...

Which of these people are NOT on Mike Holdsorth’s list of people he’d like to photograph? a. Mr T b. Jason Statham c. Eddie Murphy As usual send the answer to

mikeholdsworth@martialartsinprint.com Winner will be announced next month!

Scott Adkins

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10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 Works out 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 average scores KARATE Score Board 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 or adds each 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 (Set Up for WKF Rules) score.

10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 £315.00 inc vat and delivery 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 Excellent quality 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 £480.00 inc vat 01010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101 10101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010101010 and delivery 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SONY COMPETITION in conjunction with

magazine

To celebrate the launch of The Fight Factory, a specialist martial arts label from Sony Home Entertainment whose titles feature some of the biggest names in the industry such as Dolph Lundgren, Jean Claude Van Damme and Steven Seagal, this month we have a massive Fight Factory competition.

To win a package of EVERY DVD release (That’s a total of almost 40 bone crunching action FILMS!!!!) so far from www.fightfactoryfilms.co.uk including Shepard, Wake Of Death, Today You Die, The Defender, Second In Command and MUCH MORE...

All you have to do is answer the following question: Who Directed Jean Claude Van Damme in Shepard?

a) Isaac Florentine b) Steven Spielberg c) Richard Donnner Email your name, address and answer to fightfactory@martialartsinprint.com

Silent Part Fighting fit past 40 The age of 40 represents an important milestone in life. It is marked by the growing realization there may well be fewer days ahead than there are behind. Prompted by this realization our fortieth birthday is typically met with as much stoic contemplation as it is party anticipation. For many this is the first time they become aware of the insidious effects of the aging process. Creaking joints reinforce the fact time has rendered everything just a little more difficult than it once was, pointing a grave and unwavering finger in the direction of inevitable deterioration.

Degeneration The exact causes of the aging process remain unclear. It does, however, begin from the point of maturation, around age 18, and continues until to the end of a lifespan, which currently has a ceiling of around 115 years.

Manifestation Second only to the change in our external appearance, the deterioration of physical performance is the most obvious symptoms of aging, due to a progressive loss of muscle tissue and strength as we grow older. As a result daily activities become harder, increasing the overall sense of effort and often encouraging the tendency toward a more sedentary lifestyle. In the end we may no longer able to perform even the basic functions required to take care of ourselves.

Amplification Our bodies function through a series of interrelated systems and decline in one impacts all of the others.

Muscular activity is fuelled by oxygen provided by the Cardiovascular System, controlled by the Nervous system. Lack of physical activity is associated with loss of muscle over time. The lower demand for oxygen leads to degeneration of the cardiovascular system directly, through loss of heart muscle. Our capacity to deliver oxygen to working muscle is also compromised indirectly, as changes in 56 COMBAT WWW.COMBATMAG.CO.UK

blood chemistry favor the accumulation of fatty deposits, which block our blood vessels. The decline is one system therefore ramifies to more widespread degeneration. This magnifies the impact of aging and associated risk of illness and premature death.

based occupations. The result has been a marked trend toward physical inactivity. This portends an earlier and accelerating rate of physical decline with age. So, while we are living longer, we are weaker and more prone to illness than ever.

Behaviour

Transitions

Deterioration is not an entirely inevitable outcome of aging. The rate of physiological decline associated with age is massively affected by our lifestyle. A sedentary lifestyle is associated with a significantly lower level of muscle mass and physical performance at all ages. Physically active individuals, especially those engaging in heavy resistance training, can retain uncompromised strength into the seventh decade of life.

Superimposed on the contemporary lifespan are several major transitional events. Reaching the fifth decades can be associated with some fairly grim realizations regarding the nature of our mortality. Growing attrition among friends and colleagues supports this awareness as mortality rates significantly accelerate.

Retirement is a particularly critical event. An individual often faces being stripped of the identity; purpose and social networks accrued during decades of working life. The chances of losing the support of a long-term partner increase, our fragmented communities reinforcing social isolation. These events can represent particular windows of vulnerability.

Disorientation and depression are typical responses. In turn these have been shown to compound the affects of aging, risk of illness and premature death.

Environment There remains a deeply ingrained cultural expectation associating an aging role model with an increasingly sedentary lifestyle and ultimate infirmity. Most of us will conform to this role model and simply accept it as a consequence of growing old.

Progress The social environment has changed enormously over the last hundred years, producing unprecedented change in the way we live and work.

Technological progress has moved us away from physical labour in rural communities toward sedentary, office-

Prevention Through muscular activity we are able to influence the aging process.

Physical exercise builds and maintains muscle, while prolonged exertion pro-

ner

By Matthew Mills

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motes cardiovascular health. Regular exercise has been shown to improve mood, self-image and reduce the likelihood of depression. The benefits of exercise are short-lived however, lasting only hours or days, so regular adherence is required across the lifespan to forestall age related decline.

Unfortunately, long-term adherence to exercise programs is extremely poor, with less than 5% of exercisers sticking with their program beyond a year.

Synthesis The chips are very much stacked against you in the aging process. The odds are getting worse, driven by a powerful wave of social change.

Clearly, few but the most determined can swim against the tide.

through the social environment they offer. Many arts deliver structured practice times, a path of progression and milestones for achievement, such as grades or coloured belts. Set against a culture of self-improvement practice has an open-ended quality, with enormous scope for variety, remaining fresh, absorbing and attractive over time. These are essential ingredients for consistent exercise motivation.

Tradition

The Way The Martial arts collectively offer an excellent palliative to aging, and enormous flexibility in the depth to which it can be applied. For self-starters, the demands of regular practice to refine fighting skills can develop and maintain excellent condition. A variety of techniques can be found across the arts for building muscle, such as the deep stance training in Karate and Hard-Kung from Kung Fu. Extended bouts of forms, sparring and shadow boxing offer combined arm and leg exercise whose potential for cardiovascular conditioning is unparalleled.

For those who require a motivational nudge from inspirational role models, Morihei Ueshikora (the founder of Aikido) and Gishin Funakoshi (Okinawan Karate) remained formidably energetic products of adherence to the arts well into their eighties. Famously, Ip Chun, Grandmaster of Wing Chun, continues to teach and practice in his eighties.

Culture Arguably the greatest age defying potential of the arts is realized 58 COMBAT WWW.COMBATMAG.CO.UK

Martial arts provide a stable platform of values, structure and codes of behaviour. The preservation and observance of tradition ensures we retain something familiar even while the rest of our lives may change.

Further, joining the arts makes us part of that tradition with like-minded peers. Conformity with the group and its values reinforces a secure sense of identity and consistent purpose.

Insight Finally, the arts are associated with a rich legacy of philosophical inquiry and thought. Some concerning our conduct in life, such as Budo, provide lessons in maintaining our positive habits. Others, most notably Buddhism, offer a more intimate exploration of the nature of being and death. Taken to its logical conclusion, this suggests a route to answer some of the deeper questions about the final transition in life and the end of the aging process. Importantly, many of these philosophical concepts can be applied by anyone, and need not exclude any existing beliefs.

Consistent with this theme, all the features of the arts discussed here are inclusionist, in that anyone can engage and integrate them into their life at some level.

Silent Partner It is a profound irony that at a time when technology promises to extend our lifespan well into the tenth decade, we also bare witness to the appearance of physical degeneration and associated illness in the youngest ever age groups. Paradoxically, the traditions of the Martial Arts offer a powerful and positive counter-culture, with the facility to deliver an effective aging prevention strategy across the lifespan. Therefore, for those who choose The Way, it is a loyal, Silent Partner defying the degenerative direction of social trends.

Silent Partner Fighting fit past 40 continued...

3 EXERCISES TO BEGIN YOUR ANTI-AGEING JOURNEY

8. Repeat this sequence a few times, then as you begin to breath in imagine the air flowing down the inside of your chest into your lower abdomen. As you breath out, imagine air from your abdomen flowing up your spine and over the back of your head before exiting through your nose. Repeat this sequence a further 7-9 times.

Variations Visualisation is the key to this exercise. Once you’re comfortable with the movement focus on the flow of air, or chi, around your body.

Different images work for different people, so find one that works for you. Think of the flow of energy as a bright light, stream of water, air, or whatever appeals.

Benefits

1. CHI KUNG Catching the moon

Explanation Chi is synonymous with Air or Energy and the translation can almost be used interchangeably. Chinese medicine contends that we draw energy into our body through the air we breath and this flows throughout the body along special channels called meridians. The uninterrupted flow of chi throughout the body is essential to good health and this is the aim of Chi Kung. Catching the Moon introduces a more advance form of abdominal breathing, reinforced by movement of the whole body, plus a visualisation technique to help the flow of chi.

Whether you subscribe to the idea of Chi or not, the visualisation technique offers a useful means to focus the mind and coordinate your breathing with movement. Chinese medicine also maintains a healthy back is central to health and longevity. This fact is almost self-evident as a weak back will limit or prevent almost any activity you care to mention. Catching the Moon mobilises the spine and the muscle that support it. Continued practice of this movement will also maintain a healthy back.

Performance 1. Stand in a relaxed posture, feet shoulder width apart.

2. Place the hands in front of your tummy, palms pointing toward the floor.

3. Using the thumb and forefingers, form an ‘O’ shape between both hands.

3. Press your tongue against your palate and breath through your nose.

4. Slowly breath in, down into your abdomen. Focus your attention through the ‘O’ between your hands. As you breath in lift your arms in an arc in front of your body while keeping them straight. Arch your back and take your hands back over your head, still looking through the ‘O’ shape, as far as is comfortable. You should end up looking up and back through the gap between your hands. Then hold this position for a second or two.

6. Relax and gently breath out while lowering your hands to your sides. Continue breathing out and bend forward, reaching with your fingertips toward the ground.

7. When you have fully exhaled, gently breath in, repeating the whole sequence again.

The coordination of breathe, movement and visualisation is central to many martial arts. The ability to achieve this coordination can significantly increase your focus and achievement in almost any physical activity. A fact demonstrated by Kung Fu practitioners who have mastered this skill. The demands of practicing such focus also takes your mind off other concerns, giving you a mental break from day-to-day concerns and promoting mental relaxation...

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Defend yourself with

Wing Chun Kung Fu

By Sifu John Agar

I have been asked if I would like to write a series of short articles to appear in this magazine. I thought that this would be a great opportunity for me to share with Combat readers a valuable insight into just how practical the Wing Chun style of Kung Fu is, especially with regards to its practical and straight forward application for self defence.

It is therefore my intention to show you, the reader, a sequence of practical self-defence movements that can be learned and mastered in a relatively short period of time. I recommend that the movements be repeated over and over again to the left and the right side until they become second nature.

To further enhance the drill the attacker could wear focus mitts, for the defender to hit, to fully apply and develop their punches.

The next 4 Pictures are same positions as sequence 1 but shot from a side on angle.

Pic 3D - defender finishes attacker off with another strike

Pic 2A - Standing in the on guard stance (Yee Chi Kim Yang Ma) Pic 2B - Turn, simultaneous block and strike (Tan Da) Pic 2C - Step forward right leg with a left straight line punch Pic 2D - Slide forward with a right straight line punch

Traditional Training Sequence

Self Defence Sequence One

Pic 1A - Standing in the on guard stance (Yee Chi Kim Yang Ma) Pic 1B - Turn, simultaneous block and strike (Tan Da) Pic 1C - Step forward right leg with a left straight line punch Pic 1D - Slide forward with a right straight line punch

Pic 3A - attacker and defender square up opposite each other Pic 3B - attacker throws a left hook punch - defender blocks the punch with Tan Sau and simultaneously punches attacker straight down the centre line Pic 3C - defender steps forward with left foot and strikes attacker again

Pic 4A - attacker and defender square up opposite each other Pic 4B - attacker throws a left hook punch - defender blocks the punch with Tan Sau and simultaneously punches attacker straight down the centre line Pic 4C - instead of launching a second punch this time the defender throws a groin kick to help incapacitate attacker.

Pic 4D - defender follows up the kick with a left centre line punch Pic 4E - attacker has been rendered unable to continue to be a threat; defender can now retreat to a safe position.

Pic 1A

Pic 1B

64 COMBAT WWW.COMBATMAG.CO.UK

Pic 1C

Self Defence Sequence Two

Alternative Shots Pics 5A - traditional front view of the groin kick Pic 1D

Pic 2A

Pic 2B

Pic 2C

Pic 2D

Pic 3A

Pic 3B

Pic 3C

Pic 3D

Pic 4A

Pic 4B

Pics 5B - traditional side view of the groin kick This is just one sequence that could be used to defend against the hook or swinging punch. Wing Chun has many more applications that could be used in this situation. The principles of simultaneous attack and defence, striking down the centre line and keeping up a relentless attack until the attacker has been neutralised are the important Wing Chun principles to consider when practising these sequences.

Pic 4C

Pic 4D

About the author Sifu John Agar is a professional Wing Chun instructor based in the North East of England. He has been teaching the art of Wing Chun Kung Fu for a period of over 30 years. He has recently formed his own Martial Arts film production company and has to date produced a series of 4 affordable Wing Chun Kung Fu for the complete beginner. These can be downloaded straight to your home computer from his new web site at Pic 5A

Pic 4E

www.martialartsinstructionalvideos.ci.uk.

A series of new, intermediate, videos are currently being planned and filming will hopefully start early 2009.

Sifu Agar can be contacted on 0191 4100613 or by e-mail at sifujohnagar @tiscali.co.uksifu .

For further information on Sifu Agar or any of his classes/private lessons then please visit - www.wingchun northeastenglandandscotland.co.uk Pic 5B

Points to focus on As you step and punch both the step and punch should land together thereby transferring body weight behind the punch Exactly the same applies when you slide and punch, both slide and punch should land together to transfer body weight behind the punch All punches need to run down the centreline, giving less chance of your opponent being able to ‘ride’ a punch Simultaneous attack and defence not block and then counter WWW.COMBATMAG.CO.UK COMBAT 65

Unlock the secret Shaolin body cond High-performance techniques to make your body into a weapon haolin Body Conditioning is not just about being able to take someone’s punches or kicks, it is also about being able to use our body as a weapon. Body conditioning includes our neck, torso, fist, arms, legs, feet, and most importantly our mind.

S

Brand New Body When a student comes to me to learn body conditioning, the first thing I tell them to do is go for a thirty minute run. Once they come back to the training hall they then do flexi-

bility work, Kung Fu, and Qi Gong. If they are not physically strong then they can never learn body conditioning. The first step to learning body conditioning is to change our body so it becomes a martial artist’s body.

This means we must greatly increase our health by training our muscles and tendons, and increasing our stamina and flexibility.

Break A Brick Many of my students have been surprised at this approach. They have had a mistaken belief that body con-

ditioning is simply standing still and being able to break a stick or brick with a part of their body but this is simply an empty demonstration that a part of our body is strong. The ultimate test of body conditioning is being able to use it in the ring.

Body As Weapon In order to be able to take blows from an opponent it is vital that we have exceptional stamina. The more stamina we have the stronger our body can be. When we lose our stamina we lose our body conditioning because body conditioning is controlled by our breath. Through our training, we learn how to direct our Qi to different parts of our body, this acts as an armour and at the same time a weapon. Even if we are only using our body conditioning as a defence - such as Iron Shirt - it becomes a mirror which reflects the power of our opponent back onto him or her making it increasingly painful for him or her to kick or punch us.

Two Wings Of A Bird

To read the rest of this article make sure you get your copy of combat available from WH Smiths & all good newsagents 66 COMBAT WWW.COMBATMAG.CO.UK

The Shaolin Temple body conditioning techniques are sometimes described as super-human. Developed over thousands of years they are a combination of Yin (internal) training and Yang (external) training. The Yin and Yang are like two wings of a bird, without one or the other the bird cannot fly properly.

We would never practice body conditioning without specific Qi Gong exercises, which are designed for the part of the body that we want to condition...

of itioning

By Shifu Yan Lei

WWW.COMBATMAG.CO.UK COMBAT 67

NTK001/03 DOS001/06

VER001/04

Make that br The object - not your hand!

Following last month’s article on why martial artists should still include breaking in their training, we follow up this month with the first of two articles on how to go about it. This month hand toughening.

One of the worst feelings in the world for a black belt is when the boards you have just punched don’t break; there are several hundred people looking on expectantly and your throbbing knuckles are bleeding all over the floor.

Hard wood and dithery helpers have proved more than a match for many a good breaker, so let’s look at how it might be possible to avoid the nightmare scenario.

Firstly train your body to do what is being asked of it. Smashing your knuckles through three inches of board or a brick without making sure they are up to it is a positive recipe for pain and long term injury. Only a complete fool would try it.

I’m assuming you will wish to train your knuckles without scarring, or losing precise control over the way your fingers operate. I’ll also take it as read that you want to make your knuckles iron

hard without disfigurement because disfigurement is unnecessary and is the sign of a poor training programme.

Decide which knuckles you want to toughen. One type of punching will not toughen them all equally because the fist is more or less rounded.

Karate, taekwondo and tang soo do all concentrate on the knuckles of the index and middle fingers. Short-arm Chinese boxing styles concentrate on the lower three knuckles. But what happens if the long-arm stylist hits the target with his lower three knuckles or the short-arm stylist with his first two? So far as I am concerned, you should toughen all the knuckles, though by all means give a little extra training to those which your particular style favours. The object will be to produce five iron-hard yet unscarred knuckles that can break wood however they land.

But first a warning! Do not attempt any form of knuckle toughening programme if you are under 18 years of age. The reason for this is that people below that age do not have fully formed bones; there are still bits and pieces of cartilage which are all-tooeasily damaged and deformed by repeated impacts. The bone that subsequently grows into the damaged cartilage takes up the deformed shape and permanent disfigurement results.

If your grading syllabus requires under 18’s to perform breaking techniques, then leave your association for a more sensible group...

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eak!

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CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL CENTRAL

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‘Lights out’ The art of Shimewaza

I

n the animal kingdom many predators, when they want to go for the kill, will attack the throat and neck area of their chosen victim. This quickly subdues their prey and will bring it down fast.

In the world of self defence the only guaranteed way to stop a determined attacker in their tracks is by slapping on a hard and tight strangle or chokehold.

There really isn’t any other unarmed fighting technique that carries the brutal efficiency of closing down the airway or blood supply when executed correctly.

Whether it be the sporting arena, self defence or serious combat, strangulation and choking are the top ‘manstoppers’. Regardless of your assailant’s size once the hold is in place they are going to sleep.

A punch or kick doesn’t carry the high percentage finish in the same way as the chokehold .The arm bar or shoulder lock will not stop a fired up attacker .The strangle will.

I can recount dozens of stories of individuals who carried on fighting after having an arm or leg broken, an

94 COMBAT WWW.COMBATMAG.CO.UK

eye gouged, an ear bitten or even after receiving a good kick in the balls.

The human body is hugely resilient to punishment when it goes into fighting mode. Many of the highly touted pressure point strikes and ‘ninja death holds’ will not work under live combat conditions.

When an individual is high on large quantities of alcohol or drugs the knowledge of shime waza (strangulation) is crucial to bring this type of dangerous foe under instant control.

These types of holds will deal with dangerous individuals fast.

I remember some years ago on a seminar the legendary Roy ‘Pretty Boy’ Shaw speaking about how a prison warder took him out with a classic sleeper hold.

Roy Shaw was at one time probably the most dangerous man in Britain .He was a ferocious fighter on the cobbles, in the ring,and in umpteen hardcore prison institutes including Broadmoor.

But he was controlled in this particular instant with a technique he had not encountered before. This story illustrates the power of these holds.

I have worked with and taught many security personnel who have had to rely on a strangle or choke on many occasions to stop a particularly nasty situation.

In the world of cage fighting & MMA the strangle is right up their as the most fast and efficient tap out and finisher.

Today in training the word choke is generically used to describe the choke and/or strangle. But both are very different in their applications. We are going to explore the differences and also look at exactly what happens to the human body when they are applied to it.

The stranglehold attacks the carotid arteries and slows the blood flow to the brain whist the choke puts direct pressure on the windpipe closing down the airway.

Stranglehold (sleeper) Running down the neck both sides of the windpipe are the common carotid arteries that divide into internal and external caratoid arteries. Near the base of the neck the artery enlarges, this is called the Carotid Sinus, running

with the Carotoid Arteries are the Vertebral Arteries. All these supply oxygenated blood to the heart. The internal Carotoid supplies blood to brain and eyes, external supplies the face and scalp. In addition, two vertebral arteries rise from the subclavian arteries and run up the neck through openings in the cervival vertebrae to supply blood to the brain and skull.

The blood collected in the brain is eventually emptied into 2 large veins, one on either side of the head called internal jugular veins which carry the blood down the neck for passage back to the heart. There are also smaller external jugular veins which help collect blood from outer parts of the head. You cannot stop the blood flow to the brain by pressing the carotoid arteries because the vertebral arteries will just take over. But you can drastically drop the flow by pressing at the carotoid sinus which in turn causes the vagus nerve centre to stimulate the slowing of the heart rate to drop blood pressure. A person trained in the art of shimewaza can lapse another into unconsciousness very quickly: 3 to 12 seconds.

To cut off the air you must restrict the trachea (windpipe) by pressure.

High up in the windpipe is the larynx and the hynoid bone both can be ruptured and damaged, as can the thyroid cartilage (adams apple) and the cricoid cartilage at the base of the trachea.

Chokehold Usually the radius bone of the wrist and forearm (thumb side) are used to execute this choking method. Choking is an unpleasant situation. A person being choked can struggle for minutes and make some pretty unpleasant gargling noises. Choking can be lethal and

is only used as a last resort combat. If the trachea is collapsed, there is no recovery from this.

In competition fighting the strangle is most often used. Unless the person being strangled has a history of heart or blood pressure problems, they should recover consciousness. Holding a strangle on for 3 minutes or more can result in brain death.

More advice on these topics are covered fully in my books ‘I thought you’d be bigger’ and ‘In your face.’

In the Ju Jutsu circles that I have travelled over the years, the generic term for all strangles and chokes was ‘Shimewaza.’ This covered bare handed or sometimes referred to as naked chokes. Also Gi, jackets or T-Shirt strangles and chokes. Plus compression, smothering or any constriction around the neck and throat.

Neck cranks, twists and wrenches can also be put in this category but not strikes to these areas. They would come under the heading of ‘Atemi waza.’

Setting Up The Choke Or Sranglehold.

From a confrontational situation in the street you will need knowledge of how to setup the application of the choke or stranglehold. This is very different to applying these holds in a ground grapple.

You will have to close your attacker down and then take their back.

There are a few methods of doing this but I am going to give you the simplest of options to use.

If you have no other choice leave to you other than go physical, then look the person in the eye and verbally say something i.e.’ relax, I don’t want any trouble, don’t hurt me’ (anything along those lines) then execute a low line front kick to their shinbone. Use

the inside edge of your boot. Now quickly hit the front of one of their shoulders with a palm and pull the other shoulder forward. This twists the body around off balance and allows you passage to get to their back to finish off with a strangle or choke. This is a combat proven method and will work. Practise makes perfect as they say, so train it.

I have taught this method to forces, security, those working in high risk mental health field and also prison services. All have found this method highly effect in a dire circumstances.

Word Of Caution Never use any of the described methods without professional instruction and supervision plus knowledge of resuscitation.

If you choose to use a strangle or choke in a street self defence situation.

Be sure you are justified. It is good practice to have knowledge of the recovery position.

Don’t fool around with these holds.

Treat them with respect and only use them when you have no other options open to you. Train hard but train safe.

Kevin hopes to soon release a 2 disc DVD set on chokes and strangles .Keep an eye out on his website kevinohagan.com

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KARATE THE COMPLETE ART UNCOVERED

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To mark the 50th Anniversary of the founding of the first karate organisation in Great Britain COMBAT is proud to announce the reprinting of Dr. Clive Layton’s classic work, SHOTOKAN DAWN. SHOTOKAN DAWN charts how Vernon Bell introduced karate to Great Britain in 1957, with the founding of the British Karate Federation, through training with the infamous Tetsuji Murakami and the arrival of JKA Shotokan instructors, to the formation of the KUGB nine years later. SHOTOKAN DAWN comes in two, high quality paperback volumes and contains 225 historical photographs. The text is astonishingly detailed with many good stories. is also delighted to announce the publication of two BRAND NEW titles by Dr Clive Layton

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SHOTOKAN HORIZON In a series of interviews shortly before his death, Vernon Bell, the founder of the British karate movement, described, in some detail, what he taught his earliest students, before his encounter with Master Tetsuji Murakami, in Paris, in August 1958. Shotokan Horizon, therefore, is concerned with the karate that Bell learned from Henri Plee and Hiroo Mochizuki, whilst under the auspices of the Yoseikan dojo, in Japan. The book thus concentrates on the period 1956-1958 and makes for a truly fascinating read.

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Keeping it real Mixed Martial Arts with Andy Cooper I’ve said it before and I will doubtless say it again: Too many of us in the Traditional Martial Arts fool ourselves. We all too often practise techniques that have been developed purely for scoring points in competition, or for improving ‘form’, and we believe that this will make us invincible on the street. If we stop and think about it honestly, we should all be able to see the difference between those techniques and training methods that will benefit the practitioner in a real-life scenario, and those that will not.

Of course there is nothing at all wrong with the Traditional Arts. If there were, believe me, I would not have practised them for as long as I have. The point I do want to make, however, is that we have to be realistic about what techniques we are practising as self-defence and, more importantly, passing on to our students.

It is for this reason that I, unlike many traditional stylists that I have spoken to, wholeheartedly welcomed the arrival of Mixed Martial Arts competitions. Whilst never having the desire to compete, (even if I were younger), I feel that MMA has raised the bar. If we want to claim that some of the very fancy, lightning fast, but relatively weak competition techniques are the ultimate in self-defence, there is now an arena where that claim can be tested.

To those of us outside of the world of MMA, or ‘Cage Fighting’ as it is invariably sold to the masses, the Mixed Martial Arts practitioner seems to be a breed apart. To find out just how different the MMA fighter is from the rest of us, I went to speak to Andy Cooper. Andy was a competitor in the early days of MMA in the UK. He had 17 cage fights, winning 11 and losing 5. He won the Millennium Brawl British Title, and won the first ever Cage Rage British Title by stopping Shane Torvill with a

knee to the face. Andy still trains regularly, though now, his training is not for competition, but for the realities of ‘the pavement arena’. Working on Nightclub doors in a Northern City whose biggest tourist attraction is its drinking establishments has its hazards.

Andy and his small group train in the upstairs room of a local gym. As he points out, it’s not a ‘club’ as such. They don’t advertise. They simply train; and they train hard. After a short warm-up and a little pad work, they are straight into the main body of the session. Each of them takes a turn on the mats with the others around the outside. They fight one round against each of the others, initially using only boxing techniques, and then the next fighter takes his turn in the middle. The whole thing then begins again with the addition of kicks, and again with takedowns, eventually working their way up to full on Mixed Martial Arts.

Finally, there is a short session where Andy shows his training partners new techniques and allows them to practice in a controlled way. Today it is a variation on ‘the jackknife’ which, as Andy points out can be a difficult technique to pull off against someone who is tall. This variation is from Catch Wresting, and as Andy points out, it works on the street. He has, he says in a matter-of-fact tone, choked down a violent attacker with this technique before.

Despite the harshness of the training, the group all seem to get on very well. As they all sit round for a post-training chat, I got a chance to speak to Andy in greater depth.

That was very impressive. You were certainly having a good set-to there.

ANDY COOPER: Our strength has never been our technique. When I went down and fought, I was never technically the best. My stand-up game was different. The only reason that I was beating people with the stand-up game is that in the beginning of MMA, a lot of people were Jiu Jitsu guys, and some Thai Boxers, all wanting to learn how to punch well, because you can’t really take a lot of kicking in MMA. It’s mainly hands; grappling, especially when I was doing it. Nobody really knew what they were 98 COMBAT WWW.COMBATMAG.CO.UK

doing, so they were just starting off and trying to develop their boxing skills, whereas I already had boxing skills.

So, what was it that drew you to MMA rather than any other particular style?

How long have you been involved in Martial Arts altogether?

ANDY COOPER: Well a couple of things at first. I’ve always had a lack of confidence in myself, always looked at other people and thought: ‘This guy’s better than me’. I remember going to fights and being sat there quietly. A lot of people thought I was dead cool because I’d just sit in the corner and close my eyes. Actually, I was just trying to keep myself calm. It worked: I’d have the medicals and they’d be going: ‘You seem really relaxed’. I was just trying to combat that lack of confidence.

The other thing was, I used to watch a lot of Chuck Norris movies. Unlike most people, it wasn’t Bruce Lee for me. Anyway, Chuck Norris used to do this technique where he’d do a backfist with the right hand and follow it up straight away with a right hook. So, when I was about 18 or 19, I got into Chuck Norris and I used to emulate him the way other people try to emulate Bruce Lee. I had this technique down to a ‘T’. Anyway, I was out one night having a drink and this guy barged past me, and he did it a few times. Eventually, I asked him to stop doing it. Well, he pushed me backwards and squared up. I thought ‘the first fight I’ve ever had as a Martial Artist, and all my mates are watching.’ I thought it was going to end badly.

So, of course, I went into Chuck Norris mode...

ANDY COOPER: I started when I was 18, back in 1982, so 26 years ago.

What styles have you practised?

ANDY COOPER: I first started out in Kung Fu. From there, I started training with a guy called Paul Perkins, doing Karate and Kick-boxing, and I also started doing boxing, which became the core of what I was doing. I boxed with Bob Tuckett at Sharlston Boxing Club. It was a brilliant gym. It was the dirtiest, dingiest, most horrible place. You know, everybody trains in these really nice gyms nowadays, like this one, with mirrors and suchlike. I was brought up training in dirty, dingy horrible gyms, and I loved it! I think it rubbed off on the way we trained. Instead of it being this nice, clinical, technical atmosphere, we’d just go in and knock the hell out of each other.

You see, most of my fights in MMA, apart from a couple where I took them out in the first round, most of them went the distance, and it was down to stamina. I’d get pushed and pushed. The guy would be all over me and then he’d tire. When you start tiring, technique goes out of the window and it’s all down to heart. You develop heart through hard training like this.

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Karate Works in the Cage

Yes Karate!!!

Part 3 by Gavin Mulholland

Gavin Mulholland is the Chief Instructor for Daigaku Karate Kai based in London. In recent years, under the banner of DKK Fighters he has coached traditional Karate fighters to compete successfully in Cage fighting events to the highest level. With just three defeats in the last twelve outings, his statistics boast 9 wins; 6 coming in the first round; 4 in under one minute. In Gavin’s last article he talked about MMA’s identity crisis (i.e. ‘mixed’ martial arts or a style in its own right?) and explained why people looking for stylespecific techniques are always going to be disappointed.

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In my last article, I questioned the notion that any single person could be truly said to represent, or indeed be representative of, a complete martial style. I went on to show that far from being a new phenomenon, the ‘mixed’ nature of martial arts is in fact, common to all arts and styles and what’s more, it always has been.

“Karate is like a pond. In order for the pond to live, it must have fresh water. It must have streams that feed the pond and replenish it. If this is not done then the pond becomes stagnant and dies. If the martial arts teacher does not receive an infusion of new ideas/methods, then he, too, dies.”

Choshin Chibana.

106 COMBAT WWW.COMBATMAG.CO.UK

I now want to look at the nature of Karate in particular. At the same time, I want to point out why I think it is irrelevant, and which elements of traditional training I think hold particular relevance for the caged arena.

In the first place, I think it is irrelevant because while everybody it seems has an opinion on what ‘karate’ is, the vast majority are looking at it from a very restricted perspective.

When karate got exported to mainland Japan from its southern island prefecture of Okinawa, the whole look, feel, and arguably, purpose of the art itself changed, virtually overnight.

In 1922 a 54 year old Okinawan Te exponent named Gichin Kunakoshi arrived on mainland Japan and started to teach what would become known as Shotokan Karate. By his own admission he played down the fighting elements of his system, removed the more dangerous elements, and targeted his teachings more towards Japanese youth.

By 1922 Japan was already moving towards militarization and the martial arts were deemed useful for boys who would soon be required for the armies of Imperial Japan. As such, the way in which Karate was taught changed radically, both to emphasise a more militaristic approach, (more line up work, more shouting, more bowing, more moving in time with each other etc), and to cater for much bigger class sizes than were ever evident on Okinawa.

While the original styles did, and indeed do still exist, Shotokan easily became the single biggest style. It was so successful in fact that a reverse feedback loop was created where Japanese style training was fed back into Okinawa where it influenced the training there as well. The problem is that Shotokan was not set up to be a fighting system per se. Funakoshi himself, placed the development of the self, over and above the development of the fighter and so subtle changes were made. For example, the stances became lower - less useful for fighting, more useful for developing spirit through hardship (low stances held for long periods of time hurt!).

It was largely Shotokan and its derivatives that got exported to the West and it remains largely Shotokan that people think of when they hear the word Karate. In fact, someone says that used to do Karate as a kid, there is a very high chance that it was Shotokan that they did. This is in no way meant to belittle or even criticize Shotokan.

I have seen and trained with some amazing Shotokan practitioners, but their art form does not resemble or represent mine in anything but the most superficial of manners.

In fact, I would even go so far as to say,

there is no such thing as Karate. Karate as a single identifiable entity does not exist.

The name ‘Karate’ originally came into being in Okinawa on the 25th of October 1936 when the then Masters of the native systems of Te, met to discuss how the Okinawan Martial Arts might best be moved forward into a new era. At that meeting it was agreed that the combat systems that they were currently practicing, should come together under the umbrella name of Kara-te - empty hand.

Up until this point, the names of systems were mostly based on the area that they were from - hence Shuri-te from the then capital city of Shuri, Naha-te from the now capital city of Naha, and Tomari-te from the coastal town of Tomari. This in itself was a diversion from the older naming conventions of mainland China where the martial systems tended to be named after the families which developed and propagated them. Again we can see the irony of an ancient practice being perceived as something new in the naming of Gracie Ju-Jitsu after the Brazilian family of the same name.

Originally therefore, the name ‘Karate’ was supposed to be a universal name for all of the unarmed combat systems. While, the new name was supposed to encompass the indigenous arts, it was never intended to replace them. The problem is that the global name ‘Karate’ has now come to mean a specific type of unarmed system. Some would even argue that if you are practicing an empty handed fighting art - any empty handed fighting art - you are practicing Karate irrespective of what you choose to call it.

As such, as we are clearly unable to correctly reach a consensus of what Karate is, does, or seeks to achieve, it really makes no sense to credit ‘Karate’ with either wins or losses in the cage. As I have already said, when two men face off in a cage, one man wins, the other doesn’t. In no way can that be said to say that one style wins, while the other one doesn’t. It simply doesn’t work like that.

Having said all that, there are aspects of training which we could realistically label as ‘traditional’ and there are a number that I have found particularly useful in the cage.

The first thing to say is that traditional training, when understood and applied properly, does teach people to hit hard.

It’s probably worth pointing out at this stage that while I believe in Goju and its methods, I am by no means implying that it is the only way to do things. It clearly isn’t and my intention here is simply to highlight those elements of traditional training that I think have stood the test of time.

What I see a lot of people doing when teaching striking is simply to hold up pads and get the new student to start punching.

I’m sure that this would eventually pay dividends but it would seem to me to be a bit like teaching someone to swim by chucking them in the pool, (actually I like that idea and I’m in danger of losing my own

Edgelson Lua vs Chris Rice @ Cage Rage 26

argument here!).

As outlined in the previous article, Goju training seeks to break a strike into its three distinct parts - the trigger, where the punch is fired via mytetic and stretch reflex; the freeflight, achieved through maximum relaxation during flight to target; and the impact.

As we have seen the initial trigger can be drilled and trained in standard line-up style training. Achieving relaxation needs to be drilled and worked on by striking a bag or pads but all thoughts of trying to hit hard must be eliminated. In fact, this is one of the problems I have found with the pads on/start hitting approach. New students are invariable too tense and the harder they try to hit, the tenser they become. Time and effort must be invested in ‘soft’ hitting to develop true knockout power.

The final part of the equation is the impact and while if I had to choose between makiwara or heavy bag, I’d choose heavy bag every time because of the penetration, movement and angles it allows, I’m in the happy position of not having to choose and I can have both!

While it must be done gradually, repetitive striking on the solid surface of the

makiwara toughens both the hands and the spirit. Moving on to the point where you can punch through a house-brick is a definite plus when you know you are stepping in to fight somebody. Having knockout power means that you can win fights.

It’s as simple as that. You don’t even necessarily have to be the best fighter in the fight. If you can render someone unconscious with one blow you are always in with a chance of winning.

When Neil Grove stepped up to fight James ‘Colossus’ Thompson at Cage Rage 22 on just two days notice, we knew he only had one chance. But because we had trained his power we knew he could do it and after just 10 seconds of round one he did. We were clear with Neil that this was no sporting MMA competition, this was a fight and his brief was to storm over and knock James out. Supreme knockout power gave Neil the confidence to take and win the fight on virtually no notice at all...

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