"Every person who passes through our life is unique. They always leave a little of themselves and take away a little of us. There will be those who will take a lot, but there won't be anybody who doesn't leave us anything. This is the proof that two souls don't meet by chance." Jorge LuĂs Borges
M
asters frequently wish to imprint strong, firm and even rigid guidelines to their teachings. Wielding certainties that everyone lacks, but which are based on their own shortcomings, they believe that their truth is beyond all doubt - the truth to be transmitted -, and that their only mistake is being "soft". Such attempt is not only banal, but a clear sign of their lack of wisdom in their teaching authority. "Autoritas" cannot be imposed by force, but by virtue and this is not coercive, but friendly and graceful... only he who convinces wins at the end. Almost 90% of today’s problems come from excess pressure, including depression, which is nothing but a "false opposed", result of the former. In this scenario, traditional teaching formulas must find inspiring alternatives and there are many in the East. Once overcome the anachronisms and ego problems, East has to offer effective teaching and reflection vehicles that invoke and evoke the best of each student, without resorting to the usual fraud, humiliation or punishment. However much a donkey can be guided with the stick and the carrot, modern methodologies should learn to sharpen the carrot to the detriment of the stick. Sure, the stick has its advantages in the short term, but it leaves some scars that are difficult to erase and, as in the case of taming the bravest horses, you risk losing the best ones in the naive attempt of achieving the best of them by means of whipping. Between the violent horse breaking of the Far West and the initiatory domestication of American Indians, there's a long gap. But everything is a product of the environment... the abundance of horses in the American West didn't require from cowboys any sophistication for the development of their taming method. They rode a horse and whipped him until the animal surrendered. The bravest ones, the best of them, however, would die because they refused to surrender. Native Americans followed much more subtle methods. For them, horses were an extremely
"I do not know where our humor comes from, but in the worst situation in the world that may occur you can simply sit there and laugh. I guess it's because good always emerges from within, regardless of when or where." Renne Hallett, Seneca Tonawanda Tribe
valuable asset and conquering them called for manhood far away from violence. Usually getting one’s own horse was an initiatory experience which required several days of dedication and commitment. The young teenager equipped himself for the task with some dried meat and a water gourd, and with no other weapon than a blanket and a rope headed the herd. At first, horses ran away as soon as they saw him coming, but he persisted and the animals, uncomfortable with the presence of a visitor, took an increasingly longer time to move away. Once he had chosen his goal, the youngster started approaching the horse he liked all day and night. The herd itself was isolating the individual, perceiving that he was the cause of their troubles. The first stage had been achieved. Horses need a long time to graze, so the insistence of the boy ended up taking the animal to a state of hunger and frustration, whereas he, alone and armed with his determination, could hold out with buffalo dry meat. Typically, after several days, the colt, isolated, tired and hungry, allowed the rider to get closer and closer, as he tried to eat as much as possible. Finally, at the right distance, the young man offered him feed and water from his hand. The rest was done by caresses, the magic of words and the beautiful intimacy of Indian people with nature. As the old sayings go, brain is better than brawn and honey catches more flies than vinegar. Any formula that appeals to violence, hardness or stiffness, produces physical, emotional and spiritual scars. Every martial artist should reflect on this point, because violence lurks behind every practice, art and tradition, and dragging along methodologies and formulas that are only based on fact that they were always done so, doesn't favor transgression, evolution, or improvement. The melancholy of "any time in the past was better" it is a force contrary to growth. Bones ache after a few years and what is worse, the soul is dried. But one thing is true: Impassive and proud, cowboys gallop towards the sunset horizon. If you love scabies, they don't hurt.
Alfredo Tucci is Managing Director to BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com
https://www.facebook.com/alfredo.tucci.5
3
Shaolin Master Shi Yanti was born in Henan Province, China, in 1984. He is a monk of the 34th generation of the Songshan Shaolin Temple and a direct disciple of Venerable Abbot Shi Yong Xin. Seeing his father practice Kung Fu, he became interested in Martial Arts at an early age. When he was 13 years old, he began to practice in a more serious way; he loved Kung Fu so much that he finally decided to enter the Shaolin Temple. In 2002 he was selected by the Group of Shaolin monks and he immediately began to train under the tutelage of Abbot Shi Yong Xin, who is his Master to this day. The Abbot taught him a lot, and seeing the potential of his disciple, he sent him to Nanjing University in 2008. There he studied religions and philosophy of the world. Later he passed all the exams to become a true monk (bhikkhu) fully ordained; but that was not enough for Master Yanti who wanted to learn more. So once he finished his studies in Nanjing, Abbot Shi Yong Xin and the Chinese government qualified him to access to the University of Singapore in 2009, where he studied Buddhism, English and Science and Society for two years. Later, when he returned to Shaolin Temple, he continued working with his Master Abbot Shi Yong Xin and was given the task of caring for foreign visitors who came to the Temple. This allowed him to practice and improve his English. Recently, thanks to his valuable experiences and his exceptional skills in Kung Fu, he has had the opportunity to travel outside China, mainly to Europe, to teach the Shaolin culture, Chi Kung and Kung Fu, and where he has found many students. Until today, the Shaolin Master Shi Yanti continues to learn Chan Buddhism and the traditional Gong Fu at the Shaolin Temple.
Text: Shifu Bruno Tombolato Shi Xing Jing, 32nd Generation of the Shaolin Temple Photos: www.budointernational.com
Shaolin Qin Na Qin Na can be seen as a style in itself, since it requires a thorough study not only of the joints but of anatomy in general. Qin (擒) means "capture", and Na (拿) means "control." The two words together, Qin Na, can be translated as "capture and control", then we can say that Qin Na techniques are those movements of gripping, pressure and dislocation through which we can control our opponent in a defense situation. The Shaolin Qin Na techniques are used to neutralize or interrupt an attack. The Shaolin Temple has an illustrious history and a long track in Martial Arts and more precisely in Qin Na techniques. Although its origins date back almost from the foundation of Shaolin Temple, is well known that during the last Chinese dynasty (Qing Dynasty 1644-1911), the Qin Na techniques were already quite popular among the general population so it was in this time that the capture and control techniques lived their heyday and expansion.
The legend of Shaolin Qin Na Damo (Bodhidharma) developed his techniques by observing the trapping of animals. In ancient Shaolin there already existed a style called Chan Chin Na Shou (缠 丝 擒拿 手). According to legend, the Shaolin Chin Na was born in the times of Damo (Bodhidharma) and originated from the techniques of capturing animals. It is claimed that Damo taught Buddhism in the Shaolin Temple in the Song Shan Mountain, and he had often seen wild animals attacking the monks, so he thought of a way to protect the monks but without harming living creatures. Damo began to imitate the movements of capturing animals used by the townspeople, while studying the system of joints of the animal body and weaknesses; in the end, he found a way to twist and turn bones and joints and completed a whole series of capturing techniques, and that was the beginning of Chin Na. Then, and while his disciples increased, Damo created various forms of Kung Fu, although some of his disciples before being Shaolin monks had their own techniques of Kung Fu, so
they made a great contribution to enrich and develop the Shaolin Chin Na.
Tan Zhong, the invincible monk Another popular story dates the evolution and development of Qin Na techniques in the final period of the Sui Dynasty and the beginning of the Tang Dynasty, in a war between Emperor Li Yuan (李渊), of the Tang Dynasty, against General Wang Shichong (王世充), of the Sui Dynasty. The son of Li Yuan, Li Shimin (李世民, the second emperor of the Tang Dynasty) was imprisoned in Luoyang. To save his son Li Shimin, Li Yuan sent a letter to the Shaolin Temple asking for help. In the year 620, the
Shaolin monks enlisted in the war and rescued Li Shimin. Among the warrior monks, there was a monk named Tan Zong (昙 宗), with a very high level of Kung Fu, he specialized in Shaolin Chin Na and earned the greatest merit in the war. When Li Shimin succeeded his father on the throne, he appointed monk Tan Zong as General of the Tang Army, and rewarded the Shaolin Temple with 40 hectares of land. The Emperor ordered the construction of more than 2000 homes in the Temple, and over 2000 warrior monks were trained. In addition these monks were allowed to eat meat and drink wine. At that time the Shaolin Temple had reached its peak. At that time, the Kung Fu of the Shaolin Temple was directly related to
the war, therefore, the development and training of Shaolin Kung Fu began to be much more important. To improve their fighting techniques, the monks decided to train Chin Na, amongst other reasons because they realized that it was very practical in the hand to hand combat. Instructors and Masters of the Temple invited other famous masters from other regions to teach the monks. Also many famous martial artists came to the Shaolin Temple because of its fame and offered their own Kung Fu techniques. So from its origins, the Shaolin Qin Na, combined with different styles from different regions, and through its constant evolution and improvement, was gradually developing its own
“Qin Na can be seen as a style in itself, since it requires a thorough study not only of the joints but of anatomy in general.�
characteristics to what we know today. While these are just legends, in regard with the development of the Qin Na techniques in Shaolin, it is worth noting that the Qin Na has been present in all Chinese Martial Arts and still is; even it may be considered a subsystem within other Martial Arts systems or, as mentioned above, a style in itself.
Characteristics The practice of Qin Na practice should be carried out giving a greater emphasis on the development of control and the needed sensitivity to leave the attacker defenseless by means of any of the five principles of Qin Na.
The 5 Qin Na Principles (wuqínnáyuánzé 五 擒拿 原则) 1. The division of the muscle or tendon (Fenjin 分 筋) Fen Jin uses two areas of attack and defense: "Zhua Jin" and "Na Xue." Zhua Jin (抓紧) is applied through the tearing of the muscle and / or tendon, while Na Xue (捺 穴 ) is performed by applying pressure on the cavities (pressure points).
“Qin Na can be seen as a style in itself, since it requires a thorough study not only of the joints but of anatomy in general.�
2. Incorrect placing of the bone (Niugu 扭 骨) Niugu focuses on bone manipulation and dislocation, which results in dislocating or breaking bones and damaging the joints, muscles or tendons around the bones.
3. Blocking or stopping the breath (Biqi 闭 气) Bi Qi are techniques to block or stop the breath. One example is a blow in the upper chest, below the armpit, or an attack to the solar plexus, which will result in the interruption of breathing frequency. These attacks cause the muscles below the ribs surrounding the lungs to constrict, forcing them to stop working for a few seconds. Another way is to press, hit or block the neck to close the airway.
4. The blocking of a vein or artery (Dian Mai 点 脉) Dian Mai (known as Dimmak) is used to interrupt the blood circulation, the motor function, or the body movement. When used correctly, these pressure points can help in healing the body, but when used in other combinations, Dian Mai can cause great physical pain,
immobilize the body, loss of consciousness or cause serious injury or, very rarely, cause death. Dian Mai is a very dangerous aspect of Qin Na and it should be only revealed and taught to those with the highest moral and ethical principles.
5. Pressing a channel of Qi (dianxué 点穴) Xue Dian or "cavity pressure," also known as "pressure point". Qi channel - nerve and vein / artery or nerve pressure center. These body points govern the proper functioning of the organs, the blood circulation, or the maintenance of body, mind and spirit. While the first four principles are easy to teach and easy to apply, only high level Martial Arts Masters are able to properly use the techniques of Dian Xue. Xue Dian does not require as much muscle power (jinli 劲力) as the first four, but it requires the ability to use the personal energy. This energy is known as Qi (气), the vital energy or life force that feeds the body, the mind and the spirit. Shifu Bruno Tombolato Shi Xing Jing, 32nd Generation of the Shaolin Temple
It is with great pleasure that I present a new series of videos about Shaolin. It took us a while to find the right person for the task, but when Master Tombolato told me about Master Yan Ti, I immediately saw in him the ideal profile to work in a new video series for all of you lovers of Kung Fu and Shaolin . With this work, we are also inaugurating a series of videos also translated into a new language, Chinese, which pleases us greatly. This first video will be much cheaper than the previous ones, only 15 euros! and its price on download is the usual one. We hope that the new formula pleases you. Alfredo Tucci, Director.
Shifu Yan Ti belongs to a new generation of better trained Shaolin Masters (he speaks excellent English as well as other languages) which have arisen under the shadow and tutelage of big names like the great Shi de Yang. Spreading the knowledge of Shaolin has been and will always be a guideline of this magazine. Alfredo Tucci, Director.
In this DVD, Master Marco Morabito, with exclusive rights for Budo International, presents a preview of the Israeli Krav Maga Survival System. In this colossal work, the basic method and techniques of this discipline are illustrated in a clear and transparent manner. That is, no secrets, but in an extraordinary job that will take you to the very core of self-defense. The techniques are illustrated so that they are easily understood by all. A truly unique opportunity to approach selfdefense or improve your knowledge on the subject. The author is one of today’s top self-defense exponents worldwide and has to his credit an extensive experience both in the military field and in security companies; awarded several times in various countries and acclaimed by his courses and seminars around the world, he has become an international spokesperson for different combat and self-defense systems, little known but highly effective. He has learned and studied all over the world, from Japan to the US, via Poland, Spain, Cape Verde, Germany, Israel, France and Russia, a continued research in remote areas of the world, such as Siberia or the desert of Texas, without stopping at any point in his tireless search for new knowledge without ever stop asking questions. The Israeli Krav Maga Survival System is not a discipline or a set of rigid rules, but a method, a process of continuous and constant evolution. This makes it adaptable to any situation and circumstance and permeable to any changes, and then be able to take stock of its mistakes and use the experience as an opportunity to improve.
REF.: • KMISS-1
All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Farang Combat Farang Combat and Puerto Rican Boxing One of the main bases of the Farang Combat martial style can be found in the boxing rudiments of Puerto Rico mixed with the positions and attacks of Farang Mu Sul (martial style founded by Grand Master Michael De Alba). Using eight basic combinations of blows and movements, the Farang Combat system develops effectively surprising and quick attacks in the practitioner's defenses and attacks. According to cyber information networks, Boxing is a combat sport in which two opponents fight using only their fists to hit each other above the waist. While also using Boxing combinations, the Farang Combat style adds blows to the opponent's thigh with high efficacy.
n general, the word Boxing refers to a wide genre of combat sports in which two opponents face one another using their fists, exclusively or not, differing from various sports according to their rules, like the aforementioned English Boxing or Boxing itself, French Boxing or Savate, Chinese Boxing or Shaolin Boxing, Kickboxing or Japanese Boxing, Muay Thai or Thai Boxing, ancient Greek Boxing systems, like Pygmachia and Pankration, etc. In ancient Greece, Boxing was included in the Olympics. From its origins it was a popular sport. In Rome, the contenders used the "cestus", metal hand protectors studded with nails, with which they even got to kill their contenders.
I
“Boxing and Wrestling are two of the oldest sports and there are records in Egypt and in the East dating back to the fourth millennium BC.�
Farang Combat
Boxing and Wrestling are two of the oldest sports and there are records in Egypt and in the East dating back to the fourth millennium BC. The first data of a Boxing match in modern times is located in England in 1618: the Duke of Albemarle organized a match between his butler and his butcher. Boxing was also practiced in the early days of ancient Rome, but with the emergence of Christianity it was virtually eliminated as an activity across Europe. Contrary to what happened in Europe, Boxing was widespread throughout Asia. It is commonly thought that Muay Boran or Ancestral Boxing appeared at the beginning of the Christian era in Southeast Asia. Its origin is African and dates back to 6000 a. C., in the area of modern Ethiopia, from where it first spread to ancient Egypt and then to the Mesopotamian civilizations, where bas-reliefs depicting boxers dating from 5,500 BC were found amongst its ruins. From Egypt, Boxing passed to the Minoan civilization that was developed in Crete, while from Mesopotamia it expanded to India. Egyptian boxers used a kind of glove that covered their fists up to their elbows. The custom of wearing gloves is also found in Crete and then in ancient Greece, where we find references to Boxing in Homer's Iliad, in the 8th century BC.
My first experience with boxing begins in 1979. One of my neighbors had won the featherweight "Golden Gloves". As you can imagine, most days he instructed me in the rudiments of boxing to learn its moves and combinations. Every Friday, the adults in the community did their own boxing posters, thus creating enthusiasm and fanaticism for the sport among all of us from an early age. At that time, boxing gloves were very expensive, so we only had a pair of gloves. I remember my father used to flip a coin in order to raffle the right glove. The left glove, of course, went to the loser... Our quarrels were no set time, the winner was the one who knocked out or tired the opponent. Our boxing events went on for a couple of years. As we kept using only one hand to punch and the other to block, we became masters in fighting with just one hand! I remember as if it were only yesterday my first street fight. Two abusers were seeking the excuse to see someone bleed. To my dismay, I was the chosen one. Without a word, the brawl began. Very quickly, I knocked down the first attacker and, to my delight, the second chose not to fight! Today I continue to use the movements and attacks of one hand that I learned in our boxing billboards, which were so effective for me in the violent streets and then on the ring.
Roy Jerry Hobbs has had a Martial Arts career that extends to the mastery of seven disciplines. Beginning with Judo in 1958, he became a highly respected master teacher of three styles of Karate, Kobudo, Aikijujutsu, and Iaido. He has lived in Japan, and traveled to South Korea, China, and Indonesia to research in the martial traditions of those countries. Hobbs Sensei has had a very successful military career, retiring from the U.S. Air Force as a Colonel in 2004, after 33 years of service. He now spends his time traveling the world teaching Martial Arts. Additionally he regularly travels to Japan to deepen his in knowledge of Okinawan and Japanese martial arts. Currently Hobbs Sensei's biggest passion is the study of Iaido. In that realm he serves as the International Director of the Dai Nippon Toyama Ryu Iaido Kyokai, and as the Vice President of the Kokusai Budo Koryu Kyokai. Both groups have their headquarters in the Kansai area of Japan. Text: Sensei Boulahfa Mimoun
Arts from Japan Budo International: In what countries do you think that Martial Arts are still practiced as in ancient times or as tradition demands? Roy Jerry Hobbs: From my experience there are a traditional martial artists in virtually every country. As an example, the Dentokan, has a presence in seventeen different countries on virtually every continent in the world. B.I.: Where have you trained most, in a more realistic way and with a greater intensity enough to desire going back home? R.J.H.: I have trained most in the USA and Europe, but I have spent a lot of time in Japan. I lived in Japan from 1980 to 83, and again from 1997 to 99. Furthermore I have visited Japan many, many times for training. B.I.: On which of the Martial Art styles that you practice you feel more at ease? R.J.H.: I feel equally comfortable doing Karate and Jujutsu. But, as I get older, I find I really enjoy Iaido. B.I.: Tell us any history that impressed you, during your journey through Martial Arts? R.J.H.: My fondest memories are the times I have been able to train with many of the old teachers in Okinawa. Three of my Okinawa Karate masters have passed away, and another one is now 86 years old. These masters were and are the generation that has preserved the old ways of Okinawa Karate and Kobudo. It is now our duty to do the same. B.I.: What was your worst experience in Martial Arts, if any? R.J.H.: I trained with a really crazy master one time. It was a bad experience, but it was also funny in a way, especially when he cut himself. B.I.: When you teach, can you feel the difference among people of different countries? R.J.H.: Yes, culture does play an important role. Unfortunately in many developed countries the students are too lazy, it's the result of living a soft life. B.I.: Which are your objectives from now on after 57 years of practice? R.J.H.: All I want is to continue to learn, teach, and train. Now I am concentrating on the Japanese sword. It is a really fascinating art, with deep cultural and historical roots. B.I..: Your next trip? R.J.H.: My next trip will again be to Japan. I will be visiting and training in the Kansai area and Okinawa. B.I.: How long have you been studying Martial Arts? R.J.H.: I have been studying Martial Arts since 1958, that is, 57 years. B.I.: What was the first martial art that you began to practice? R.J.H.: I first studied Judo. In 1965 I began to study Karate, Jujutsu, and Kobudo. Finally in 1970 I began to study Iaido.
Arts from Japan
B.I.: How did you manage to study so many martial arts? R.J.H.: I was a member of Shogo Kuniba's Seishinkai organization, which included the teaching of Shito-Ryu Karate, Okinawa Kobudo, Goshin Budo (Jujutsu), and MugaiRyu Iaido. Also at that time in America there was a kind of cooperative agreement between the Seishinkai and the U.S. Hakko-Ryu Jujutsu association.
with in Japan? R.J.H.: I have trained extensively with Kiichi Nakamoto (Goju-Ryu Karate & Kobudo), Seiki Toma (Shorin-Ryu & Kobudo), Shian Toma (Seidokan Karate & Kobudo), Seikichi Odo (Okinawa Kobudo), Yasuo Kawano (Goju-Ryu Karate), Ryuho Okuyama (Jujutsu), Yasuhiro Irie (Jujutsu), Atsushi Shimojo (Toyama-Ryu & Mugai-Ryu Iaido), and Takashi Ishikawa (Toyama-Ryu Iaido).
R.J.H.: Currently we teach GojuRyu Karate, Shorin-Ryu Karate, Okinawa Kobudo, Nihon Aikijujutsu, Toyama-Ryu Iaido, and Mugai Ryu Iaido. We are also in the process of establishing the Shito-Ryu Karate presence within the Dentokan.
B.I.: And you also studied in Japan, right? R.J.H.: Yes, in fact I lived there from 1980 to 1983, and again in 1997 to 1999. Besides, I have traveled there many, many times for training.
B.I.: What is the name of your organization? R.J.H.: It's the "Sekai Dentokan Bugei Renmei, Inc.", that roughly translates as "World Traditional Martial Arts Federation".
B.I..: How many Dentokan branches are there throughout the world? R.J.H.: At present we have seventeen country branches located in Austria, Botswana, France, Greece, Indonesia, India, Ireland, Kenya, New Zealand, Russia, South Africa, Switzerland, Turkey, United Kingdom, United States of America, Zambia, and Zimbabwe.
B.I.: Who are some of the teachers that you have trained
B.I.: What arts are taught within the Dentokan?
B.I.: Is there any main focus within the Dentokan?
R.J.H.: No, not really. Some of our members only do one art, others do everything we offer. It just depends. However, we have been very active lately in strengthening our Iaido program. Atsushi Shimojo, Soke, has been very helpful in this regard. He is the President of two Martial Arts organizations in Japan: the Dai Nippon Toyama Ryu Iaido Kyokai (DNTRIK), and the Kokusai Budo Koryu Kyokai (KBKK). I serve as International Director to the DNTRIK and Vice President in the KBKK.
B.I.: I see that you travel a lot. Is it mainly for business or pleasure? R.J.H.: I travel very often outside U.S.A. to teach in other countries. I also travel to Japan several times a year for training and organizational meetings. Interview made at Moulton College Northampton (England). Jerry and I have been close friends in the last 30 years.
Brazilian Jiu Jitsu “When that fifteen-year-old judoka asked to meet the already famous Helio Gracie, he couldn’t have imagined that he would become one of his closest collaborators and best students.”
At the early age of fifteen, a young judoka entered the gymnasium of the already very famous Master and fighter, Helio Gracie, asking to see him. After waiting a while, Helio, who h a d o v e r h e a r d t h e y o u n g s t e r ’s comment, went out to see who it was. “You have said that the judokas are weak, and I’m not weak,” said the boy. Helio, who never missed an oppor tunity to demonstrate the superiority of his system, and c h a r m e d b y t h i s y o u n g s t e r ’s character, invited him to fight then and there with a student of his, with Judo rules. “Helio’s student was so technically superior that he was all over me!” Masur tells us. “Nonetheless, I held firm, getting up over and over again, without giving up. Things heated up and we began to throw strikes. Then Helio detained the fight and said: “No! If you want to fight Vale Tudo, then do it with this other student of mine.” I don’t even have to tell you that I kept getting beat on, and even more so! Helio thought that I had already had a big enough lesson, but I didn’t give up. “Leave it, already,” Helio said. “That’s enough.” But I said to him: “No, I don’t want you to think I’m weak.” He laughed and led me to the dressing room. Coming out, he invited me to train at his school, but I didn’t have any money then…but Helio, who no doubt liked my fearlessness, told me that that was not a problem. That day changed my l i f e f o r e v e r. I c o u l d n e v e r b e appr eciative enough of my dear Master!
Text: Alfredo Tucci Photos: © Budo International
“In the Kioto Self-defense system, the keys are in controlling, leading, and eliminating the adversary in the first defense. The details on the ground belong to another part of Jiu-Jitsu” “That which today they call MMA is simply Jiu-Jitsu, because in Jiu-Jitsu there is everything, and that is so because Jiu-Jitsu is self-defense.”
Brazilian Jiu Jitsu
The complete Brasilian Jiu-Jitsu self-defense system Jiu-Jitsu was created as a real fighting system. According to Grand Master Mansur, this is the true strength of Jiu-Jitsu: “This is the reason why, from the first day that a student attends a Jiu-Jitsu class, he can begin to apply the techniques that he learns. The essential thing in Jiu-Jitsu is self-defense; without it, there wouldn’t be any Jiu-Jitsu.” When that fifteen-year-old judoka asked to meet the already famous Helio Gracie, he couldn’t have imagined that he would become one of his closest collaborators and best students. Over the years, that learning bore its fruits, and Mansur grew as a fighter, first-rate practitioner, and afterward, as a teacher and expert, creating in Rio two of the most successful Jiu-Jitsu gymnasiums, today run by his sons. His special teaching ability
and his charm, as well as his firmness, allowed the young students from his school to win again and again in all the championships. This man’s pedagogy, his ability to teach, is undoubtedly one of his greatest qualities compared to other teachers in the field. He has developed a perfectly organized system so that students can take maximum advantage of each class. This is also the case of his videos and book that we are honored to present. On this occasion, Mansur undertakes the arduous task of adapting the methodology of the complete system that he learned from his Master Helio Gracie, with regard to self-defense. He doesn’t recognize the improvements he has included in it, which shows how much respect he has for his Master! On the other hand, it is natural that it’s been like this; it is the obligation of all good students to try to improve the work of their Master. Not carrying out this task would be to negate evolution itself. Helio did the same thing when he received Japanese Jiu-Jitsu,
“The details on the ground belong to another part of Jiu-Jitsu.”
Brazilian Jiu Jitsu
Great Masters
transforming it, improving its efficiency. In Kioto JiuJitsu, Mansur has completed a similar task, the fruit of undeniable experience, almost 50 years as a teacher, 35 of them as a policeman in the city of Rio de Janeiro. Could there be a more adequate place to speak of effectiveness and realism? For those who don’t know this city, well… let’s just say that surviving in it for 35 years as a policeman is already a merit. Mansur, who adores and respects Helio, would never admit it. Surely, when he reads this text, he’ll get angry
with me, but I owe it to my readers, and this is the truth. Mansur’s vast work in self-defense really fills up three normal videos (basic, intermediate, and advanced), which appear on two DVDs full of didactic material. We didn’t want to leave anything out. The techniques are explained in great detail and demonstrated. Even when they are done in kimono, the Master assures us that its application in street-clothes is the same. Nothing changes. “You can apply the techniques with kimono, on the ground, and even in water! My wife, Sheila, knows this very well” (laughter).
Brazilian Jiu Jitsu
Sheila, the Master’s wife, who accompanied him on this trip to Europe, nods: “It’s true that when I was much younger, I had a lot of success with men (smiling). On one occasion, I was sexually assaulted in Copacabana while training in the sea… The assailant got what was coming to him (laughter). Jiu-Jitsu also works in the water!”
Sport or Self-defense? The proliferation of Jiu-Jitsu as a sport is ultimately taking away from its value as a self-defense system, to
the point where some of the professionals and experts in the material are unfamiliar with its technique in this regard. “I can’t understand how one can be a black belt in Jiu-Jitsu and not know self-defense! It’s like writing in a language without knowing how to spell!” affirms Master Mansur. “For a Jiu-Jitsu athlete to be truly complete, he must learn self-defense; this will provide him with knowledge that will improve his ability to fight.”
Great Masters
“If it’s true that simplicity is the basis of the efficiency of Helio Gracie’s system, simplicity is not simpleness!” The motor coordination and its development are the center of the teaching of the Kioto system. This aspect is always noted when one witnesses the teachings of this Grand Master: “Can you be a great fighter without coordination? The base of the teaching is imitation and integration of the experience of movement, and for that the Kioto system always returns to the same point: Coordination!”
Brazilian Jiu Jitsu
Great Masters
The Gracie self-defense system was based on t h e d e f i c i e n c y i n H e l i o ’s s t re n g t h . T h e d e f e c t converted into a virtue makes for mastery, since necessity is always the mother of all things. For Mansur, it was his work as a police officer that forced him to perfect and go more deeply into the ideas that his Master taught him. The price was high. Mansur survived 11 shots and innumerable
violent assaults with empty hands and with bladed weapons. “If it’s true that simplicity is the basis of the efficiency of Helio Gracie’s system, simplicity is not simpleness!” Though the MMA don’t utilize many self-defense techniques for their limitations and the sportive
Brazilian Jiu Jitsu
regulations, for Mansur, this is nothing more than another way of denominating Jiu-Jitsu: “That which today they call MMA is simply Jiu-Jitsu, because in Jiu-Jitsu there is everything, and that is so because Jiu-Jitsu is self-defense.” With weapons, without them, facing leg or arm attacks, standing or on the ground, for the Master, Jiu-Jitsu is in essence pure self-defense. Of course, as with everything in life, it’s successful application will depend on our training.
“In order to be effective, it is not enough to learn the system; one must practice it frequently.”
Great Masters “In order to be effective, it is not enough to learn the system; one must practice it frequently. This, and nothing else, is the key of mastery and of effectiveness.” “It is practice that gives you domination and confidence in yourself. It’s like learning to ride a bicycle. Once you learn, you don’t forget, but your skill in riding it will depend on the freshness of your practice.” If it is so that the Gracie system has become famous for its ability to dominate adversaries by closing the distance in order to control them on the ground like an anaconda, this has been its most questioned self-defense uses in martial circles, especially when confronting several attackers. We asked the Master about the suitability, or lack thereof, of going to the ground in a self-defense situation. “Self-defense is the part of Jiu-Jitsu that is most done standing. Every defensive movement ends with an atemi or some form of submission that definitively neutralizes the opponent. In fact, many of these movements are prohibited in sportive Jiu-Jitsu for obvious reasons.” “In the Kioto Self-defense system, the keys are in controlling, leading, and eliminating the adversary in the first defense. The details on the ground belong to another part of Jiu-Jitsu.”
“Para ser eficaces no basta con aprender el sistema, hay que practicarlo con frecuencia”
Brazilian Jiu Jitsu “The Gracie selfdefense system was based on the deficiency in Helio’s strength. The defect converted into a virtue makes for mastery, since necessity is always the mother of all things. “
Brazilian Jiu Jitsu This video from Master Mansur is, in my opinion, a magnificent piece of work that no martial artist should miss out on, since in the end, the Martial always begins here, with hard and true defense. His proposals are as coherent as they are effective, and undoubtedly they will be the source of inspiration for all those who study the Martial Arts as something more than a sport.
“This video from Master Mansur is, in my opinion, a magnificent piece of work that no martial artist should miss out on, since in the end, the Martial always begins here, with hard and true defense. His proposals are as coherent as they are effective, and undoubtedly they will be the source of inspiration for all those who study the Martial Arts as something more than a sport.�
Reality Based Reconsidering the traditional techniques of fist and leg from the perspective of efficiency in self-defense, this is the purpose of this extensive work with which this worldrenowned expert in the self-defense and police sector presents today his last two videos. In addition to being a vivid and practical reflection on the effectiveness of the main fist and leg attacks and defenses, the substantial work of Jim Wagner is extremely useful for traditional martial artists; many of them have encountered serious difficulties to defend themselves of a real attack on the street and need guidance to take advantage of their skills by simply using judiciously the techniques they know so well. "The street is not a gym, and the rules are very different," repeats often Sergeant Wagner. "It's not the many techniques that you might know, but the proper use of those that we know work well and commit us to a minimum," he says. Furthermore, the system that Jim presents us today has been created for anyone can learn very quickly to respond to an aggression. If in addition you are fit and possess the appropriate discipline and physical ability, all t h e b e t t e r. I n s h o r t : k a r a t e k a s , taekwondokas, boxers... That's how you defend yourself!
Self-defense
The Defense "Metric" System
Blocking and attacking with arms and legs Text: Jim Wagner Photos: www.budointernational.com
Reality Based The Defense "Metric" System Blocking and attacking with arms and legs Go to any traditional Martial Arts school and ask the instructor: "I want to learn to defend myself, how long will it take?� Probably the most common answer that you will find is "Three to five years". Well, it's a correct answer if the instructor refers to a choreographed series of movements, repetition of steps, dozens of kata, antique weapons and learning the terminology and foreign customs. However, if you ask an instructor of Reality Based Self Defense, anywhere in the world, he will say: "No need to spend years learning real Self Defense, it's enough with a few days"; and, surely, he will be supported by Military and Police Forces that will back up this assertion. Well, with my Defense and Blockade Metric System, learning everything you need to know about boxing and blocking with your hands and arms is just a matter of hours; so it's up to you students to decide on how to use perfectly your skills.
Definition of Metric System What does this concept mean applied to Self Defense? We all know that the metric system is based on the number 10; for example, 10 millimeters per centimeter, etc. Applied to Self Defense it means that there are only 10 ways to hit a person, 10 blocking angles and 10 directions to shift from one place to another. This rule applies both to a housewife defending herself with a knife from an intruder, and to a member of an anti-terrorist unit that moves toward a goal. The first two directions are: front and rear; which means moving ahead towards your opponent to close the gap or stepping backwards to avoid the blow of a bottle of beer for example. This implies either hitting an assailant in the face with a straight punch directed forward, or giving a hammer punch to someone who is behind trying to hold you. I've assigned a number to each of these directions: forward is 1, backward is 2.
Self-defense
The Defense "Metric" System
Blocking and attacking with arms and legs
Reality Based
The two following angles of attack are horizontal: to the left and to the right, the numbers of which correspond to 3 and 4. Then we have the vertical plane, in which you can only hit in two ways with the fist or with the elbow: upward (corresponds with number 5) and downward (6). In any case, the same number applies to any ascending blow, whether it is directed to the ribs, the elbow or the chin; the goal depends on its viability. The final four lines to hit are diagonal, which I graphically represent with an X whether the blow is descending (to the left or to the right), or ascending (to the left or to the right). Here's how this Metric System works; working these main angles you will cover a total of 10 directions. It does not take into account the angles formed between the main angles, also known as "angle minutes", since they lack interest in a fluid combat. In fact, if someone tries to punch you in the face with his fist drawing a path between horizontal and diagonal, the angle of the arm to block the blow scarcely changes its dynamics.
Reality Based
Self-defense Rediscovering the ancient knowledge If you stretch out your fist or plot a blow with an open hand toward a goal, you will only find 10 directions. If you delve in history to find a map of angles of attack, you will find an Italian wood carving of the 17th century, or the Filipino Kali diagram of 1940, or the Indo-American ancient traditions, or even the current US Marine Corps Martial Arts Program (MCMAP), where you will discover all the main angles. In my case, I limited myself to simply calculate those angles that were possible, and only 10 of them are, in order to teach all my students, whether Police, Military, Security professionals or civilian personnel. So how can there be so many instructors ensuring their students that "they can show them 300 ways of hitting the opponent with their empty hands"? Actually, there are a couple of reasons to maintain such a claim. The first is that such instructors have never participated in a real fight and refer to techniques that they were taught without acknowledging a common denominator. The second reason is that by teaching you "hundreds" of things
they assure a steady economical income. In my case, if I told my students, most of them Military of Police members (such as the German Federal Police – Bundespolizei -, or the security forces of the US Air Force), that I had to teach them hundreds of techniques that take years to learn, in addition to laughing at me, they immediately would seek another instructor; because most of the police and military members know that the techniques they need in the streets or on the battlefield should be simple, effective, and they should require very little time to learn to master them. If you want to simplify your training and learn only those blows and blocks that really work in combat, I advise you to take a look at my two new DVD's.
Too simple to be true Many martial artists will have a hard time when it comes to assume that there are only 10 directions for a kick, as their instructors have always assured them that there are
countless ways to kick an opponent. That's why most martial artists believe that "the more the better". However, if you browse through any military manual, former or present, you will notice that in all of them very few techniques are proposed. Military combat systems are based on the main angles. The reason is clear; techniques in the battlefield should be simple and effective. Police Corps have adopted many military techniques and training methods since they are paramilitary organizations. In this type of control systems you will not see high kicks or on the shins, nor gymnastic movements. My Reality Based Self Defense system was also born from the Military and Police systems; this new work is based on the same techniques and training methods.
Kicking The most reliable kick in the Reality Based arsenal is the front kick launched with the rear leg, just like you'd never use the front leg to kick a door, since you project much more strength from behind by taking advantage of the movement forward. The aim of these kicks is the pelvic area, being the gravity center (GC) of an opponent standing up. In a Reality Based system, kicks are never thrown above the pelvic area, since high kicks are unstable, easy to block and they hardly reach the opponent. In the case of horizontal kicks (also called side kicks), the target is the knee or the shinbone. In a side attack, without time to turn to the aggressor (the most instinctive reaction), it will suffice launching a horizontal kick. A Reality Based horizontal kick is a gravity-assisted kick, as it is thrown toward its target in a downward angle and not perfectly horizontal like a traditional side kick. In the case of rear kicks, only one in a million reaches its goal, and I've never launched any in a real fight. You may ask why. And the reason is very simple, if you intuit that you are going to be attacked from behind, your instinct forces you to turn around and face the threat; but if your aggressor manages to reduce the distance before you turn around, you will probably shrink your shoulders and bend slightly forward, just like when the ball was about to hit you when you were a child, and just this would be the position from which you'd throw your rear kick.
Reality Based
As for the "round" kicks (often referred to as "roundhouse kicks"), they simply don't exist in our Reality Based Self Defense System, since we never impact our foot instep or shin because of the fragility of the bones. The closest we've come is the diagonal kick, which is similar to the front kick but drawing a diagonal line toward the target; usually the pelvic area is hit with the heel. In vertical kicks there are only two movements: up and down. To launch the kick down and forward we have to trample strong and fast; we will usually stomp on the opponent's foot every time he has it placed on the ground. We resort to trampling in the need of using a reasonable force (stomping on the
limbs even if it causes bone fractures) or a dead force (on vital areas or those of special risk: head, neck, torso, spine and pelvis). A vertical upward kick will impact the genital area of ??the opponent if he has his legs apart, or will hit him in the face if he is bent over. However, direct the attack towards the chin would be a real suicide. When I was in the U.S. Federal Air Marshal, an instructor of defensive tactics in the Los Angeles headquarters, asked his students in one of his classes to try to kick a terrorist on the chin in the narrow aisle of an airplane on going. I was not allowed to attend training because they said I was "too rough". They were right! When what is at stake is the lives of people, I
don't practice or teach "ostentatious" techniques such as kicks to the chin. And speaking of ostentation... In our technical arsenal we never turn our back to the opponent, unless we are fleeing, neither do we throw roundhouse kicks. We maintain the old Spartan philosophy: go forward or die trying. As a witness and protagonist of many conflict situations, I can assure you, from my experience, that with my system you will only have the chance to launch one or two kicks, so each one of them has to be effective. Of course, knees can be used as effective weapons and they turn into powerful tools when they enter the red zone of the opponent: the
Self-defense
Reality Based grappling distance. A spear-shaped front knee strike works well, while it is impossible to execute a knee technique backwards. Horizontal knee strikes are powerless, but vertical are devastating. An upward vertical knee strike can go directly to genital area or to the face if you pull down your opponent's head at the same time. A downward vertical knee strike can go to the torso of the opponent while you keep him down on the ground to control him. In the field of kick blocks, the Reality Based Self Defense System only has 3 techniques sufficiently adequate to block the main 10 directions. The detention kick: when the front foot is raised laterally to intercept a telegraphed front kick (that is, you can see it coming). Then we have the detention knee, which is used to stop most of the kicks below the waist line. It is simply executed rising up the front knee to the genital area as a spear to protect the centerline. Finally, high kicks to the head are blocked with the arms (to which we call lateral arm shield), or we just step back and let the kick pass by. The beauty of this new Defense System is the relative ease in learning the techniques, which are the same used by many Military and Police Forces around the world, as it is about learning 10 main directions while keeping your skills. As you can see is a lot easier than what is being proposed by most of the current fighting systems. Be a hard target!
Self-defense
Self-defense
Fu-Shih Kenpo
RaĂşl GutiĂŠrrez "In any physical activity, and especially in Martial Arts, is vitally important achieving a perfect joint mobility and stretch ability."
KICKING IN MARTIAL ARTS, Part 2 JOINT MOBILITY AND STRETCHING In any physical activity, and especially in Martial Arts, is vitally important achieving a perfect joint mobility and stretch ability. These exercises are essential to ensure a complete preparation of the body tissues for the physical effort, being also in charge of optimizing the structural part of the body. Warming up in any sporting or martial discipline is the initial phase and comprises a set of previous exercises for a better performance of that particular activity. Its aim is to prepare our body to face and endure to the physiological demand to which we voluntarily will submit.
Fu-Shih Kenpo he right choice, duration, intensity and execution of warm up exercises are critical because it depends on it that may occur in the body the physiological changes needed to achieve increased neuromuscular coordination, delay the onset of fatigue and decrease the risk injury. We recommend that you start out your physical activity in an order such as:
T
1) Active joint mobility static exercises. It consists of carrying out a stretching exercise in a rest position, to the limit of what is comfortable, stretching out the relaxed muscle until reaching a certain position and holding the position for 15 "- 30". In this type of stretching there is no effort on the part of the agonist muscles so the energy expenditure is much lower than in dynamic stretching. Moreover, being slow and
relaxed movements, it is attained a better muscle relaxation, increasing blood circulation and reducing the sensation of pain. There are, in turn, two main types of static stretching: * Active stretching: it consists of stretching the antagonist muscle without using any external assistance. * Passive stretching: is the stretching of a muscle in which an external force is applied to the limb to be stretched. This external force can be a partner, a wall, a stool, etc. There is also the isometric stretching, a type of static stretching in which the muscles involved exert strength against the stretching, and get tensed in order to reduce muscle tension. There also exists the so called of Proprioceptive Neuromuscular Facilitation (PNF) method, which combines both static stretching and isometric stretching, and its embodiment comprises four phases:
* Performing a static stretching. * Isometric contraction with resistance for ten seconds. * Relaxation at rest. * Static stretching with a wider motion range. If we speak about Stretching by Bob Anderson, we are talking about the static method par excellence because it improves coordination, prevent pulled muscles and increases muscle extension. As a drawback, it is very monotonous and promotes statism. It consists of: * Adopting the correct position in 5 seconds without pain and hold it 20" to 30". * Return to the starting position. The Sölverborn and PNF Stretching, unlike Stretching by Bob Anderson, improve their results strengthening the muscles around the joints. Note that any work involving isometric contractions may cause muscle pain. Returning to the Sölverborn Stretching, it comprises:
“In the warming up initial phase it is desirable to undertake joint mobility static exercises and stretching, while joint mobility dynamic exercises are suitable in the warm up phase of locomotion prior to activity.”
Fu-Shih Kenpo * Performing an isometric tension of the selected muscular group for 10 seconds. * Total relaxation for 2 or 3 seconds. * Position of maximum range of movement (without pain) is reached. * Return slowly to the starting position.
Dynamic stretching This type of stretching involves stretching through impulses but without exceeding the limits of static stretching. The antagonist muscles stretch out thanks to the repetitive contractions of the agonist muscles. It corresponds
with exercises based on jumping and balancing, avoiding ballistic movements (rebounding) because they may exceed the limits of muscles and cause injuries. This way of stretching can be counterproductive unless it is preceded by a session of static stretching or when the muscles have not received a good warm up, as dynamic stretches in cold body segments can cause the stretching miotatic reflex whereby the muscle would end up getting shortened and it wouldn't give the intended effect. Moreover, dynamic stretching improves the range of movement and increases the strength and flexibility of muscles to a greater degree than static stretching. In short, static stretching doesn't improve muscle performance, only the tolerance to the discomfort produced by
“Special attention must be paid to the preparation of those joint nuclei that facilitate general mobility of the locomotor system, as well as those that are especially vulnerable to injury, like ankle and foot, knee, hip, shoulder, trunk and neck.�
Raúl Gutiérrez the stretching improves; moreover, dynamic stretching doesn't maintain the muscles weak as do static stretching, but it increases the strength and the flexibility of the muscles. To achieve a significant sports improvement it's necessary to carry out active muscular efforts and quick movements (dynamic stretching) so as to stimulate the muscles to take on the task with a greater performance. And don't forget that in order to relax the muscles at the end of the task is highly recommendable to practice static stretches. 2) Active joint mobility assisted exercises. Joints are the biomechanical axis of the body, real fixed points where human movement originates and supports itself, expressing in all its breadth. A stiff and immobilized joint gives an idea of the decline in quality of life. Joint mobility exercises allow you to therefore maintain the health of your joints, tendons and ligaments. You should do joint mobility exercises for toning the joints until you feel like a kind of burning sensation in the whole area you are working and the muscles involved in the movement are fatigued. 3) Joint mobility passive exercises.
“Static stretching doesn't improve muscle performance, only the tolerance to the discomfort produced by the stretching improves; moreover, dynamic stretching doesn't maintain the muscles weak as do static stretching, but it increases the strength and the flexibility of the muscles.”
They are especially helpful in keeping muscles and joints healthy. They are made with the help of someone when the person is unable to do it on his own, in cases of injuries, accidents, etc. They are very important because if the muscles are not increased, joint mobility and flexibility helps the blood flow which helps to keep the knees and elbows for example in optimal conditions. 4) Muscle stretching static exercises. 5) Dynamic joint mobility exercises during the warm up locomotion phase. 6) The dynamic stretching exercises previous to the main phase are optional. 2. Stretching and joint mobility before physical activity.
Fu-Shih Kenpo When a good warm up is carried out, the main effects are centered on achieving: * Increasing heart rate. * Increasing systolic pressure. * Respiratory tract dilation. * Adequate redistribution of blood flow to the active areas. * Increasing energy substrates and oxygen in the circulation. * Improved neuromuscular processes. * Prolonged fatigue in the shortterm. * Improved metabolic processes providing energy. * Eliminating initial oxygen deficit. * Decreased muscle viscosity. * Improved joint movement mechanics. * Increased capacity or muscle elongation. Warm up improvements are oriented to the achievement of an adequate cardiorespiratory adjustment and the preparation of the tendinous and articular muscle system for activity. Locomotion exercises are the best placed to facilitate adjustments to a respiratory and cardiovascular level, and stretching and joint mobility exercises are essential to ensure a complete preparation of body tissues for physical effort. In the warming up initial phase it is desirable to undertake joint mobility static exercises and stretching, while joint mobility dynamic exercises are suitable in the warm up phase of locomotion prior to activity. It is desirable to do joint mobility before performing any muscle stretching. In this way you can get an important endogenous warming up that becomes a key factor in preventing injuries of capsuleligament nature. Special attention must be paid to the preparation of those joint nuclei that facilitate general mobility of the locomotor system, as well as those that are especially vulnerable to injury, like ankle and foot, knee, hip, shoulder, trunk and neck.
The temperature rise is an element for facilitating stretching of tissues associated to the mobilized joint nucleus, therefore, joint mobility static exercises previous to muscle stretching are recommended. 3. Joint mobility and stretching after physical activity After performing physical activity is appropriate it is convenient to set an appropriate muscle stretching work that favors the recovery of tissues subjected to movement, thus avoiding the "straightjacket" effect (a person little spontaneous, too restrained and rigid in his behavior).
If the main activity is continuous in nature, stretching exercises should be performed at the end of it, contributing decisively to eliminate contractures and muscle stiffness, and even more so if the main phase has been intense. When the main activity is fractionated in nature it is recommended to alternate the resting phases with joint mobility dynamic exercises and muscle stretching, contributing thus to a better recovery of muscle tissue and avoiding possible contractures due to the effort. The more intense the effort made, the greater importance must be given to the realization of joint mobility and stretching.
Martial Cinema ALFRED HSING - AFTER THE SCENES OF "DRAGON BLADE" Text: Emilio Alpanseque Photos: Golden Network Asia, Lionsgate Premiere
Alfred Hsing is a former member of the Wushu National American Team of San Jose, California. After more than a decade of intense training, Hsing decided to quit his "daily work" in order to train full time for the World Wushu Championship. This decision paid off as he became the first American to win a gold medal in Wushu Taolu in the 10th World Wushu Championships in 2009. In addition to his career in tournaments, Hsing has gained much recognition as an actor, acrobat and action choreographer participating in numerous projects of all kinds, from television commercials and series, to short and feature films, including major Asian hits like "The Sorcerer and the White
Martial Cinema Snake" of Jet Li (2011), "My Lucky Star" of Zhang Ziyi (2013), or "Ip Man 3" of Donnie Yen (2015). Today, Hsing shares with us some of his experiences working as a member of the JC Stunt Team in "Dragon Blade". Budo International: Please tell us about your experience working on this film. Alfred Hsing: Well, working with Jackie Chan has been my lifelong dream. Just like that, a goal in my life was that of being hit or kicked by Jackie in one of his films. Over 20 years ago, when I was a child and I saw his films, the idea of meeting him in person seemed so far away... and, of course, the dream of working with him seemed even further, but I guess it all starts with a dream. Then you visualize it, believe in it and set your goals. By setting goals, you are taking real steps that convert dreams into an achievable reality. And now I'm here ... now I have achieved that dream. I have worked with Jackie and the JC Stunt Team for four months. I have been set on fire, thrown through high beams, I've crashed against boxes, they've thrown coals over me, I've fought Jackie Chan and I've even faced John Cusack! B.I.: And your throat was also cut by "Tiberius"? A.H.: Oh yeah! I was assigned to work with the actor who played Tiberius (Adrien Brody) in all his action scenes, so in one way or another he stabbed me, chopped me and cut my throat on numerous occasions. B.I.: How did you get the chance to work on this project? A.H.: It's an interesting story. After a few years living in China, I returned to Los Angeles by the middle of last year and I could have lost this opportunity if it were not for a couple of seemingly random events in my life - One was the wedding my friend in Vietnam, and as I was in Vietnam, I decided to do a full Asian tour. I stopped in China to see my friends and attend a few meetings. There I learnt that El Jun, a major coordinator of Jackie Chan's stuntmen team, had been trying to get in touch with me, but he couldn't contact me (because I was in LA and my phone in China was off). But when I went back to China, I had the opportunity of reconnecting with him, so a month later they were calling me to work with the JC Stunt Team for this film and I immediately flew back to China.
Martial Cinema B.I.: So, you had to travel from Los Angeles directly to the Gobi Desert? A.H.: No, shooting began in Hengdian, in the Zhejiang Province. Some call it China's Hollywood because they often roll movies there. Later we transferred the production to Dunhuang. Now realistically, however much it has been an amazing experience and a dream of a lifetime, it hasn't been without difficulties. We shot in Hengdian for weeks without a day off. At this point I began suffering delusions because of heat, excessive acrobatics, and lack of sleep. Then we moved to the Gobi Desert. It was a different kind of heat. We sweated less because it is very dry, but sandstorms are frequent and the sun is very strong. If you don't use sunscreen and you stand uncovered in the sun just one single day you will suffer severe burns. We shot for a whole week, we exited the hotel at 6am and we returned at about 10pm. There were people who got hurt and I had some dangerous encounters. I'd never change this
experience for anything, but the reality of everyday life for us Stunt guys was a lot of work. In short it was physically and mentally exhausting. B.I.: How were prepared all those scenes of the Chinese team in which sequences empty hand and sword were performed? A.H.: During the pre-production the team prepared the routine on the spot. Filming was pretty fast. We shot so much that I really can't remember specifically how many days it took. I think it was 1 or 2 days and one of these days it rained, so we had to take a break in filming while we waited for the rain to stop. The cameraman had worked with Jackie's team before, so there was a lot of chemistry and rolling was pretty simple. B.I.: Please tell us more about Jackie Chan as a person.
A.H.: Jackie is possibly one of the most generous public figures I’ve ever met. In Chinese we call him "Big Brother". He often invites the production team to dinner and he brings food to the shooting. He pays for everything out of his own pocket. He doesn't have to do it, but he sees how hard it's going to be working day after day on the set and he decides to invite the team to dinner. He is amazing in many ways. First, note that
Interview
Martial Cinema is 61 years old, but he's still extremely fit and active. He's always out there doing acrobatics, choreography, acting, assistant direction, directing the action, operating the camera, and doing almost everything in the set. He has more energy than many young people of 30 years old (laughs). He knows what he's doing on set. You can tell that he loves making movies. He has been making films for more than 4 decades. B.I.: Can you talk about the process behind some of the fight choreographies? A.H.: Jackie was very involved in every part of the action design - from concept itself to the specific movements and the addition of upsets in the history on the fly. While he was filming or busy with other aspects of the film, us, his team of specialists were constantly experimenting with choreography, new movements, and so on. Then, when a sequence was prepared through the efforts of everybody in the team, we showed it to
Jackie and he approved or made some changes. It's really a fun process to work with Jackie because he comes with movements that are to a large extent a signature of his style, but at the same time he always brings something out of nothing that surprises you. B.I.: Which has been the most memorable trick for you and why? A.H.: In the film, there was a scaffold about seven stories high which was used to fix the walls of the city. I had an unforgettable experience when I was to a height of 6 stories. A couple of specialists had to jump without safety harnesses. We clung to a rope that was attached to a counterweight that was on the floor. It was a general shot. Each of us had a number and we jumped in order. I was the seventh in jumping. In the second shot, when I jumped, the bucket underneath spun and crashed into the back of my head as I was coming down. I lost consciousness for a few seconds as I fell, but my hand was holding tight the rope. If I had released the rope I would
have fallen down out of control and the bucket would have fallen on me. When I reached the floor I regained consciousness and I continued acting in the scene. Jackie's role was that of a commander who was inspecting the construction and he was playing his character talking to another Roman general about certain things of the logistics of construction. Just when they yell "cut!� Jackie ran back and said to me "Are you okay?" I rubbed the back of my head where I had been hit by the bucket and said, "Yes, I'm fine. No problem." Then he left. Jackie is amazing because he sees everything. It reminded me of some of his comments between racks in "Police Story" (1985). If a trick went wrong, he emphasized that all his stunt men should continue playing their role, even if someone got hurt, because if someone stopped interpreting his character, it meant that the trick had been in vain and that shooting could not be used. Working with Jackie Chan was a real honor for me and a dream come true!
FIRST WORLD MEETING OF BUDO MASTERS Dear BUDO lovers, this event will be a unique opportunity to meet in person masters around the world and to enrich the culture and brotherhood among arts, styles and persons; a great celebration of innovative format, where to share through seminars the endless techniques of Martial Arts, and where you will be able to exchange views and meet those persons who write and have become famous in the pages of our magazine. Currently published in 7 languages (Spanish, English, Italian, Portuguese, German, French and Chinese) and soon available in more (confirmed the Turkish edition in November), our magazine will support with all its media potential, networks and contacts this excellent initiative of the respected Master Sifu Paolo Cangelosi. Students joining a specific group should contact their Master for reservations. Those of you who simply want to be part of the event, whether in the seminars or at the gala
dinner, can make your registration directly. Everyone is welcome under the banner of respect, martial brotherhood and cooperation.
The event will be held in two days: SATURDAY 16 AND SUNDAY 17 APRIL 2016 IN ROME-ITALY The program will be divided into seminars and a Gala evening.
Details: SEMINARS: every master is entitled to a few minutes to share his own techniques; the available time may vary depending on the number of participating masters.
SCHEDULE OF SEMINARS: SATURDAY APRIL: 16, 10.30 - 13.30 hrs. SUNDAY APRIL; 17, 10.30 - 13.30 hrs. COST OF SEMINARS FOR STUDENTS: 1 dAY â‚Ź30 E 2 days 40 E Masters to join the initiative of our event should confirm their participation stating whether they come alone or with their students before the end of November; in a second step, before February 28, they should send a list of their students with name, with a deposit of 20 euros per student. The final settlement of the seminar shall be directly made on the day of the stage.
SATURDAY NIGHT GALA April 16 at 20.30 Aperitif and buffet dinner. During the Gala certificates of participation will be awarded to all students. Masters will be awarded the Certificate of "Budo Masters Council Director", globally recognized and endorsed by the signature of the most famous masters of the world. Students in turn will receive a certificate of attendance asserting their participation in the meeting and signed by all of us. A Photocall will be available at all times in the same place of the Gala, where photographs will be taken with all board members, friends, students, etc. Photographic evidence will be published in the Budo International magazine, at that time already translated into 10 languages, in an extraordinary article that will largely describe the whole event and its participants, highlighting the presence of each Master.
As Masters confirm their attendance at the Gala, they will be also included in the advertising pages of the event, both in the magazine and across our network. Some examples of this advertising are inserted at the end of this document, showing some of the masters from all over the world, whose assistance has already been confirmed. PRICE FOR THE GALA NIGHT: 80 E Since the objective of the meeting is not monetary, but that of cultivating friendship and cooperation, we have established a very affordable price. For the GALA night reservations, each master must send a list with the full name and a fee of € 80 per guest before February 28, 2016. Participants going on their own can register directly. Considering the great participation demand worldwide, please do not delay sending your list, because reserves are limited.
FOR BOOKING PAYMENTS: Banco Popolare GENOA AG.3 IBAN: IT90 X050 3401 4030 0000 0000 824 SWIFT: BAPPIT21Q60 PLEASE SEND YOUR RESERVE LISTS OF THE SEMINARS AND THE GALA EVENING TO: budo.masters1@gmail.com
SEMINARS AND THE GALA EVENING WILL BE HELD AT: CENTRO SPORTIVO FONTE MERAVIGLIOSA VIA ROBERTO FERRUZZI 110/112 (ZONA EUR) ROMA – ITALY (AMPIO PARCHEGGIO GRATUITO)
HOTEL For overnight stay in Rome, we will be reunited with convention, at: HOTEL SHANGRI LA CORSETTI VIALE ALGERIA 141 00144 ROMA (ZONA EUR) ITALY TEL. +39 06 5916441 FAX. +39 06 5413813 email: info@shangrilacorsetti.it ACCOMODATION PRICE: SINGLE ROOM â‚Ź 60 DOUBLE ROOM â‚Ź 85 BREAKFAST INCLUDED To book in, please contact the hotel, identifying yourself as a participant in the convention by using the password: BUDO MASTERS. We have reserved a limited number of rooms. It is advisable booking before March 15, 2016 (we would like to
note that, for those arriving late might not be easy to find accommodation in Rome, since the Jubilee is being celebrated on those dates). For those staying at the Hotel Corsetti, we have made available a Pullman bus that will take our "Budo Masters" group to the place of the seminars and Gala Evening. Our director Alfredo Tucci has kindly placed himself at the service of the organization through his personal mail, budo@budointernational.com, for all non-Italian friends who might have questions about the event, and he didn't want to pass up the chance to leave you a few words: "Dear Budo Brother, it is my pleasure to support the great idea of the Master Cangelosi. Many of you know the participants of this meeting through our pages and are aware about their extraordinary work as trainers and Masters. Now you have the chance of meeting them in person as part of a unique event of its kind, take some pictures with them and access the opportunity to learn from the best, bringing with you home
a great experience as martial artists and as individuals, together with a certificate signed by all of them, that certainly will deck out your personal history as budokas. My grandmother used to say that "ever ything is transmitted, less beauty"... Then come and make up part of the greatness!" Alfredo Tucci Chairman of Budo International Publishing Co. Samples of the certificates to be delivered and on which we keep working. Of course, names will be added as participants confirm their presence. The first one is the students' certification and the second is that of the Masters.
News
by Clinton H Wallace James E. Wilson, Grand Master Maurice Elmalem, Don "The Dragon" Wilson & Ewart Chin, Celebrate Maurice Elmalem Day at The Martial Arts History Museum, Burbank, CA Maurice Elmalem is a legend in the Martial Arts world and now he has his own day at the Martial Arts History Museum in Burbank, California. Numerous luminaries from the martial arts world attended including kickboxing champion Don “The Dragon� Wilson and Ewart Chin. Grand Master Maurice Elmalem attended the Celebration The Martial Arts History Museum recognized Maurice Elmalem as a Martial Arts Grand Master, having studied for 50 years under world-renowned masters such as Dr. Richard Chen, Joe Hays, Tiger Kim and Gideon Kadari. Because of problem with bullies Elmalem decided to study the Martial Arts. Elmalem has the distinction of holding seven world
Maurice Elmalem and Family attend Maurice Elmalem Day Celebration Ceremony at The Martial Arts History Museum, Burbank, CA
USA News
records and several time U.S. Cup Gold Medalist, he has competed in over 600 championships worldwide. Elmalem has the title of “World Extreme Daredevil Champion” for his outstanding martial arts demonstrations and has been nicknamed “The Houdini Of Martial Arts” he is a 9th Dan Black Belt with PWMAF and 8th Dan Black Belt with World Taekwondo Federation. Elmalem's achievements have been featured in over 200 magazines and newspapers; Maurice has accumulated over 550 trophies and 47 gold medals in fighting and breaking and millions of people have witnessed his awe inspiring technique on television shows such as ABC Sports, Fox 5, Pix 11, Madrid TV, Spike TV, Discover, ESPN, David Letterman Show and Madison Square Garden TV Network. Maurice Elmalem Archives A true renaissance man, Maurice is an author, movie producer, musician, painter, real estate developer, sculptor, engineer, craftsman, photographer, mountain climber, editor of Budo Magazine, marathon runner, gymnast and holds seven world Championships and eight documentations in the Guinness Book Of World Records. Elmalem was born in Morocco, North Africa; he grew up in France and Israel before immigrating to America in the early seventies. Grand Master Maurice Elmalem attend Maurice Elmalem Day Celebration Ceremony at The Martial Arts History Museum, Burbank, CA Photograph courtesy of Maurice Elmalem Archives Elmalem graduated from Columbia University with a degree in architecture and engineering. He is the founder of Maurice contractors & designers, Inc. & Maurice Butterfly Art in New York. For more information on The Martial Arts History Museum please click here (http://martialartsmuseum.com/) for Maurice Pro Martial Arts please click here (http://www.mauriceproma.com/) and for Budo International please click here (http://www.budointernational.com/) Read more at: http://demigoddesschronicle.com/2015/09/21/maurice-elmalem-honored-by-the-martial-arts-historymuseum/