Magazine usa july

Master Montana and his instructors surprise us once more with this new dvd showing the concepts and basic techniques with the Sarong from a more western perspective without leaving out it´s indoniasian roots. He shows various methods of working starting from a traditional aspect to more police and military work under a simple, practical methodology of teaching, a step by step guide, starting with hold, leg techniques, empty hand while paying special attention to knife and stick disarms, finishing with the kerambit in symbiosis with the sarong, connecting this with his former work on indoniasian and Filipino double edged weapons.

Discover the noble art of the sarong, how they dress and how he defines this caracteristical and invisible Filipino and indonisian weapon, both two fo the main pillars os his system M.T.S. After learning the general applications based on his system he will adapt the techniques in a personal way and style in order to expand on his development and study that may look similar but that will open to a whole new range of possibilities.

With a continuous practice of the sarong it will become a intuitive and free form within your system.

REF.: • BIERMAN3

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

ORDERS: Budo international. net

BRUCE LEE

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MIYAKO FUJITANI

The first screen role of John Ben was an extra in "The Magnificent Seven" of 1960, where he played one of the villains fighting against Steve McQueen, Charles Bronson, Eli Wallach and Yul Brynner. He also appeared in "The night of the Iguana", 1964, with Richard Burton and Elizabeth Taylor, but the role that granted him fame worldwide was that of the Mafia godfather in "The return of the Dragon ". When Bruce Lee first met him, he told him, "John, I won't make you rich with this film, but I will make you famous..." "And right he was!

I've enjoyed the fame ever since".

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KYUSHO

QUEBEC OPEN 2013 The Quebec Open 2013 held April 26-27, 2013 in Quebec City, the oldest and most beautiful town of Canada with a history dated back to the 1800s.

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KRAV MAGA

p. 118 BOXING

Knife: According to the division of ranks and belts as Imi decided on August 16th 1971, in the end of the first krav-maga instructors course, the Blue Belt in the kravmaga contains most of the defenses an armed opponent of the Israeli Budo art.

“BUDO INTERNATIONAL” is a publication of: BUDO INTERNATIONAL PUBLISHING CO. Central: Office: Andrés Mellado, 42 28015 Madrid - Spanien Local pages: Maurice Elmalem mauricenterprise@aol.com International pages: Alfredo Tucci: budo@budointernational.com

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Within the range of Martial C i n e m a , perhaps few actors have been able to play the role of villain with such aplomb and rawness as Hwang Jang Lee.

“What if you could KARATE CHAMPIONSHIP calm someone's 33rd Annual Ocean nerves so that they State. This event by far respond and react is the most prestigious quicker and more championship of the efficiently?” “What if east coast where young you could make them and old competitors more alert with one demonstrate their single slap on nerves, respective disciplines to or teach them to do celebrate the diversity of this to themselves the martial arts. p. 32 anywhere anytime?”

JEET KUNE DO What would you do if youThe leg obstruction is one of the least known of the JKD techniques, but at the same time the Wednesday Night Group considers it one of the most valuable techniques in our self-defense arsenal.

p. 56

“Exclusive interview with one of the biggest names in Boxing, Olympic Gold Medalist who dared to try Mixed Martial Arts (MMA), a champion with an exceptional career, on the occasion of the presentation of his work to learn the art of Boxing in a series of six DVD's. "

p. 26

MARTIAL CINEMA

How I met Steven Seagal.

It was at the time when I was a 2nd dan, and she was a 1st dan. We packed our aikido outfits and hakama, and first went to San Francisco. However, when we arrived at the airport, our aikido acquaintance, Yohei, hadn't arrived to pick us up. I don't know whether it was because I was foolish or brave, but I didn't feel concerned in the least.

VINCENT LYN F a c i n g Cold Steel What would you do if you were confronted at knife point?

p. 56

HARAGEI

The power of Kiriotoshi in the Japanese.

Sword Arts. To date, the Kiriotoshi is a movement that belongs to the arts of the sword. It is taught as a technique to open the opponent. Considered a rather heavy technique, it can be also extremely efficient if performed with consistency and technical criteria.

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e al , w e o of h d s

SDS-CONCEPTS KUNG-FU He is no doubt one of the most respected Kung Fu experts worldwide. For years, he has shared with us through these pages countless demonstrations of his knowledge and p. 138 martial skills in different styles of Kung Fu: Pa Kua, Tai Chi, Wing Chung, Hung Gar, Tao Yin, etc ....

KARATE

p. 82

He has long made himself known all over Europe - Peter Weckauf is an outstanding master of modern-day self defence. He developed the SDS-Concept, a system which meets all the demands of an up-to-date system of self defense.

p. 74

Our guest is perhaps the most prestigious master in Kyokushinkai Karate worldwide. Shigeru Oyama (to whose family owes the Kancho his name, since, as almost everyone knows, Masutatsu Oyama was Korean), settled in America in 1967,

HUNG GAR The first step of "growth" in the traditional training of Hung Gar Kung Fu is the one many students describe as the learning of the main form of the system: the Gung Gee Fook Fu Kuen or "The Conquest of the Tiger Fist".

p. 144

HWA RANG DO®

WINGTSUNG

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"Walking is shown by the steps" The old adage of popular wisdom is true once again this month, in which Sifu Salvador Sanchez presents his first DVD with Budo Inter national, in which he honors the great texts he's been publishing in the last months in this magazine, as well as his recent book, the bestseller "WingTsun, High level".

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With a high technical level, yet vibrant at the same time, he masterfully explains in detail the particulars of his style in this new DVD we present today, in which he takes us into the complex world of joint manipulations.

RUSSIAN ARTS

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He is one of the greatest in the Russian Martial Arts circle; behind his wolf eyes lies a Master of Slavic Arts, someone who, traveling around the world, has come further than anyone in disclosing the revolutionary ways of conceiving the fight that were developed in the former Soviet Union

General Director & Art Director: Alfredo Tucci. Advertising: Maurice Elmalem - mauricenterprise@aol.com International pages: Alfredo Tucci. budo@budointernational.com Columnists: Don Wilson, Yoshimitsu Yamada, Cass Magda, Antonio Espinós, Jim Wagner, Coronel Sanchís, Marco De Cesaris, Lilla Distéfano, Maurizio Maltese, Bob Dubljanin, Marc Denny, Salvador Herráiz, Shi de Yang, Sri Dinesh, Carlos Zerpa, Omar Martínez, Manu, Patrick Levet, Mike Anderson, Boulahfa Mimoum, Franco Vacirca, Bill Newman, José Mª Pujadas, Paolo Cangelosi, Emilio Alpanseque, Sueyoshi Akeshi, Marcelo Pires, Angel García, Juan Díaz. Photographers: Carlos Contreras, Alfredo Tucci.

"I personally hate the darkness and morbidity of the mind. I like the vastness of thinking."

Carlos Castaneda

nowledge is analogous to the light, a strange and small good in a Universe dominated by obscurity. Light illuminates what we see, it gets us out of the darkness of ignorance and allows us to understand the nature of things or its own existence. Us human beings have struggled to improve our understanding, our ability to interact with the visible world, so we have come to achieve some remarkable success, although, seen in perspective, many of them are something illusory with no background.

Mystery remains in the essential and so far we haven't been able to respond to almost any of the big questions.

Yet, since a few decades ago we light ourselves with the light bulbs that released us from the tyranny of the circadian cycles, we move in motor-powered vehicles, we can communicate remotely by technical means rather than shrieks and we use special arsenals against the "enemies" of our species.

The visible Universe however, keeps hiding the mystery of our existence; its meaning is just a sea of hypotheses, as it happens with our origin and destiny.

Science itself finds it hard to simply define what is "life".

We know much more than before about life mechanisms, but we are unable to determine what finally encourages them. The realm of the unknown has been reduced somewhat concerning the visible, but we are pretty much the same as before in the face of the invisible.

The problem is that we have progressed very little in this area since the times in which the priests and shamans of old decided to explore the mystery with much more determination and common sense that our current scientists, more centered in demonstrating whether "there is or there is not", rather than trying to find an access to interact with it.

The guts, the infinite courage and determination of those ancient sages, made possible that leap in the void for two reasons: the first and foremost of them was the pragmatism of shamans in front of the mystery, and the second, perhaps paradoxical reason, was their own ignorance, which forced them to search in the invisible all of the reasons of the visible, something that, in any case, science today achieves with relative success and in a very relevant way in relation to the visible world, a luxuriousness old sages couldn't dream of.

For the Shizen Miryoku, as well as for the American shamans, all knowledge came from their relationship with two essential types of force: the one inherent to the material realm, and the energy that animated things from the Invisible.

When they set out in search of answers, they used their inner perception tools: their unmistakable and deep capacity of observation was channeled through an analogic method of interpreting reality. Instead of the analytical method (starting from the unity to understand), they tried to decode the interactions of the unity through the similarity and difference of the forces that made up

K

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the Universe. Since they were dealing with undifferentiated forces, they assumed that all other worlds, the invisible ones, would operate in a similar way with those great forces, these being but the polarization of a great force that underlies everything and all things. Resulting of their research they found a whole Universe of different invisible dimensions, which they called the Spiritual World.

Centuries of searching and interaction with these invisible planes, gave rise to large cultures, many of them already lost and forgotten, and reduced in the best case to archaeological monumental remnants, but unknowable in its true essence. It was so because those who held the knowledge were just a few priests who only passed on their wisdom to others orally, from master to disciple and in the frame of sacred initiations.

Knowledge thus remained confined to a guild or caste and within it; its very essence belonged only to a selected core of pyramidal hierarchies. Everything bears in itself the seeds of its own destruction, so it was that same staunch secrecy what advocated for a long time its validity and perpetuation, but paradoxically, it was also what in turn led to its extinction...

Most of these cultures left no written records and if they ever they did, they used a language totally incomprehensible meant to perpetuate the secret, and the reader should have the key to decipher its meaning; in that way they guaranteed the secrecy of their writings in case these fell in the wrong hands and their knowledge would remain impervious to the eyes of the enemy.

The second reason that assisted to the extinction of such a vast information, was perhaps that the human nature of these individuals (or could it be their own evolution itself) was not ready to assume the consequences of its practice, but that's another story.

The arrogance and ethnocentrism of our modern culture, do not help to the interpretation of the limited data available to us when it comes to understand those cultures, because we assume that they were ignorant and, of course, we are very clever.. It si paradoxically, however, that the yardstick of science continues to fail to explain or equate to some of their material achievements, not to mention some of their scientific or mathematical knowledge, much more advanced than ours at that time, like, for instance, the concept of number zero within the Maya culture, the perfect location of their buildings respect to the cardinal points, the celestial vault and so many other things that even today fascinate scholars. Religion and science ended with the little that remained of that ancient wisdom, perpetuating the ignorance of the invisible world to ordinary mortals.

Ancient traditions as those of the Shizen people are still a great enigma. Woody Allen said that tradition was the illusion of permanence. But from modernity, all we have is indictment and complaint about something we don't even receive any more. The traditions of the

Alfredo Tucci Managing Director BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com

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Invisible that were bequeathed to us by our grandparents in the West are mostly formal shreds away from all spirituality, a frame without a picture inside, or, at most, a set of pious superstitions. The little that could resist the historical push of the religious fanaticism was hidden in small secret factions; now they seem to start coming out from their burrows, but without losing sight of the fire lovers, there will always be, or fanatics, forever determined to convince others of what they don't even know or understand.

We all die in our cultures, but so far we've stayed symbolically alive in the rituals carried out by those who succeeded us. But in postmodern societies we can't even rely on that, because we live turning our back on death in a constant self-deception and the scare of denying what is evident, that is, that everything is transient and we all have our own expiration date. In the West, our new measuring unit is science, since religions are on the decline and most of the ancient knowledge in our cultures has been lost. The rest of the world, moving at its own pace, remains immersed in its own chronologies, with some people bent on killing those who do not think alike, as we all know.

Do you still wonder why the ancient shamans would keep their knowledge secret?

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THE GODFATHER OF "THE RETURN OF THE DRAGON"

Text: Pedro Conde With the collaboration of Salvador MĂşgica Photos: Courtesy of John Benn Cover: Courtesy of Miguel Tudela

W

ith the current t e c h n i c a l development, nowadays there are no distances.

This interview has been made possible thanks to technology.

The first screen role of John Ben was an extra in "The Magnificent Seven" of 1960, where he played one of the villains fighting against Steve McQueen, Charles Bronson, Eli Wallach and Yul Brynner. He also appeared in "The night of the Iguana", 1964, with Richard Burton and Elizabeth Taylor, but the role that granted him fame worldwide was that of the Mafia godfather in "The return of the Dragon ". When Bruce Lee first met him, he told him, "John, I won't make you rich with this film, but I will make you famous..." "And right he was! I've enjoyed the fame ever since".

John Benn was born in 1935, so he is 78 years old now. He lives in Shanghai, and for him, acting is an amusing hobby with which he earns money. He has appeared in 51 films, most of them shot in Asia. He has also participated in 14 CCTV (China Central Television) series. A long list of fellow performers accompanies and thickens his career as an actor.

He has worked together with the great celebrities of the Far East, like Bruce Lee, Jackie Chan, Jet Li or Yuen Woo Ping, as well as with some of the biggest stars of the West. For instance, in "The man with the iron fist" he shared filming with Russell Crowe, Lucy Liu and Pam Grier, in a Hollywood production recently filmed in Shanghai. In his own words: "My job as an actor was not something I had planned, but it's something I enjoy, I have the opportunity to meet many famous actresses and I'm glad of that." Although John has a long career as an actor, he doesn't live to and for interpretation, as he himself admits: "My work as an actor has always been part time, I do it for fun and I really like it."

Indeed, John is a businessman who has his own company, Unison China Ltd., of which he is consultant, business advisor for food and drink, licenses etc. John knows well the world of business linked to restaurants, in fact, he's run several throughout his life. As a curiosity, he directed for a while three "Spanish tapas" restaurants in Hong Kong, which were the first ones of the kind in all of Asia and had a great success.

John is constantly involved in a lot of projects: "Lately I've been working

Marcial Arts films

on a big project, preparing a Japanese style lounge with a restaurant, below the JW Marriott Hotel, in Tomorrow Square in Shanghai".

As for his film career, owing to his physical features, he usually plays the v illain. When as ked if it is because he is bad, ugly or really a wicked g uy, he replies : "A combination of these factors, yet I don't dislike it. But not all of my roles have always been featuring the bad guy; a few years ago I worked on a film with Fan Bingbing, one of China's most famous actresses. The movie was called "East wind rain" (2010), and I played the role of a good priest."

As discussed above, John Benn has been the only actor (an occidental, to make matters worse) who has shared set with Bruce Lee, Jackie Chan and Jet Li, the great three names in the genre of martial arts films. For this reason, it has been inevitable insist in he stablishes a comparison between them. In the case of Jackie Chan, he met and worked with Bruce Lee. Jackie played a part in "Fist of Fury" (1972) and "Enter the Dragon" (1973). Both have been number one stars in Southeast Asia, Bruce first and then Jackie, who has become the most famous oriental actor in the West. However, the roles they have played on screen are completely different: as Jackie Chan himself would confess John: "I'm a specialist. Bruce Lee was a martial artist."

John had a cameo in the documentary titled "Jackie Chan: my stunts", 1999. "I've known Jackie for a long time, we met in Hong Kong.

Recently he came to Shanghai for a TV interview. I was among the audience, and he saw me, came up to me and gave me a big bear hug.

He still remembers me!"

John worked with Jet Li in "Fearless". How can you possibly compare the martial skills of Jet Li's, a Wushu champion of China, that is, classical Martial Arts, with those of Bruce Lee's, a master of entirely innovative and revolutionary ideas, who publicly criticized traditional Martial Arts? Bruce Lee created and perfected a style of fighting. Jet Li was champion of Wushu, which is an established style, in a number of competitions in China; however, both of them were, and still are, the best in their style, yet John does not seem to have doubts: "Definitely, Jet Li is an extremely good martial artist, comparable to Bruce Lee, but I think most Martial Arts practitioners would

think or say the same thing: many tried to get up to where Bruce Lee had arrived, but no one was able to make it ... " John has explained to us how he met and worked with Jackie Chan and Jet Li. But, how did the opportunity arise to work on "The Way of the Dragon"?

- "It was by chance, one day I met a producer at a party, Raymond Chow, and he asked me: 'Would you like to participate in a movie with Bruce Lee?' At that time, I had no idea of who was Bruce Lee, still I said 'Sure'. I thought it would be fun to appear in a Chinese movie, so we negotiated my salary and the very next day they came to picked up at 8 am. After signing the contract, I was taken to the set, where we arrived at 9 am. They gave me a cigar and I had to sit behind a table to play the role of a Mafia godfather. In the meantime, my assistant explained to me that Chuck Norris was on his way to fight with Bruce Lee in the movie. Shortly after, we shot the first scene in just about 20 minutes, with no problem."

Perhaps this way of shooting, and the absence of a pre-production is amazing to some. On this subject, John tells us: "Bruce Lee never used the typical script of a film, all he had was some handwritten pages. He directed as he felt, so everything was reduced to 'O.k., now say this, or do that'. And it usually it looked good, so we then got ready for the next scene.

I guess this will surprise many, obviously films in Hollywood are not made like this, but it was the way all films were shot in Hong Kong in 1972".

John witnessed a totally unknown facet in the life of Bruce Lee: that of film director. This was the first and only film he directed; on this issue he states: "He was very good ... he worked very quickly and very efficiently. He was sure it was going to be a great film. I remember he never shouted or got angry with no one, but being a perfectionist, he kept everybody working until things came out ok. He was highly selfdemanding, so he used to rehearse many times any sequence before filming, however, although he made everybody work, he was always joking, turning the set into a pleasant and fun place. He often suffered from severe headaches. When this happened, he normally sat and waited for the pain to pass, he then apologized for the delay and we continued with the shooting.

The first encounter John Benn had with Bruce Lee was in the Golden

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Harvest studios, after signing the contract. From the outset, there was a great empathy between them; apart they had a few things in common, for instance, both of them were born in San Francisco, they loved the movies, both were very optimistic and apart from that, acording to John, they shared other hobbies ... "Bruce Lee was joking all the time on the set, many days I brought in girls because they all wanted to see him in person. He once told me: 'John, be sure not to bring girls tomorrow because my wife will be here' ... Bruce Lee loved to flirt with them and all of them wanted to meet him. Here they call me 'The Hugh Hefner of Shanghai', so I guess this is something we also have in common�.

Evidently, John feels a soft spot for Bruce Lee, it's no wonder, when he speaks of him, he doesn't stop praising him: "I think Bruce Lee is the smartest guy I ever met, he wrote six books on philosophy and not only that, he was also the

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strongest man I've ever seen and someone terribly nice ".

Regarding how strong he was, John speaks knowingly because he had the chance to verify and suffer it in his own skin Bruce's strength during the filming: "In one scene, I was in front of a desk armchair.

Bruce was supposed to sit me on it with a push, but he hit me so hard with his shoulder that I fell on the armchair and it overtur ned.

Apologizing, Bruce helped me to my feet and said 'Oh, I'm so sorry!'. In the following shot, he had a big guy holding the armchair from behind to avoid it overturned again .. then he hit me again, also quite strong, he was not aware of his own strength.

He was very strong, I can assure it."

The actor not only was perplexed by his power, but also by his speed: "It was the best of the best, they even had to reduce the speed of the cameras as no one would believe how fast it was".

Throughout the filming of "The Way of the Dragon", John did not stop getting surprised with Bruce

Interview Lee, every working day on the set, his admiration grew for him: "In a scene in which I was not involved, although I had to remain on the set, I was quietly sitting in my chair while Bruce was fighting in my office, after beat up my bullies, I saw him leap in the air and break with his foot a lamp that was hanging from the ceiling. I hadn't seen anything like that in my whole life, I just couldn't believe it, I got petrified by the power of his kick". It was not the only time that Bruce Lee amazed him with his kicks; on this issue John still remembers a joke Bruce played on him: "On another occasion, I was smoking my cigar, waiting for everything to be ready for the next scene, Bruce was standing next to me but I din't realize, then he threw a kick and nudged the ash of my cigar, just the

ash, the rest did'nt even move. He had such self control, he could kick near your face - and you would feel the air move - without even touching your nose with his foot."

Once he gets started, John just can't stop eulogizing the Little Dragon: "Bruce was an amazing guy. Physically he could carry out incredible things. He liked to show off, he was the best and he knew it.

Just for boast, he'd do hundreds of push-ups on two fingers, performe hundreds of kicks... what I think he liked most was going beyond the limits. He had a gym at home with a lot of training equipment, most of which had been designed by him.

While in the filming set, sometimes over eight hours a day, he practiced push-ups and trained between shots; when we were through, he went home and trained

some more hours in his gym. He was never still. I remember he had a device, a special box that he himself had designed with several holes, the largest of 4 inches wide, and the other ones of 3, 2 and 1 inch repectively. The hole edges were sharp and cutting. He threw his fist in the larger hole, and on touching it a lamp would turn on.

He used to do it very, very quickly, then he'd do the same with the other holes, using three fingers, two and finally one. Failure meant to cut yourself with the edges. Every time Bruce touched the device, he received a small electric shock. That made his reflexes so fast. The movie cameras had to slow down his movements because no one could believe his fantastic speed. I think that this device had much to do with the speed he had."

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Marcial Arts films Despite being a novice in martial arts, John witnessed the make-up of some fight scenes, there he could see the warmups and other techniques used by different martial artists, however, he has no doubt about who was the best: "It was but clear that Bruce was much better than any of them, including Chuck Norris. Of course, Bruce Lee stood out from the great champions who participated in the film. In all the fight scenes it was palpable that all wanted to prove they were the best; there was a kind of rivalry between them, it was something like "I can do better than you", however, Bruce Lee was light years ahead. Simply, I can not make a comparison, because there was not."

John never addressed this issue while filming with Chuck Norris, Bob Wall or Ing Sik Whang, however, he had the chance to do it much later with one of his protagonists. His statements leave no doubt: "On one occasion I was in Manila (Philippines), a few years after filming "The Way of the Dragon", I was in a small bar, escorted by two little beauties, one on each side. Then I looked up, and saw that at the other end of the bar sat Chuck Norris, also with a girl on each side. Upon greeting and chatting for a while, we decided to have dinner together. After some lively conversation, I asked him: 'Tell me Chuck, who would have won if you had actually fought to death, your or Bruce?' Chuck showed no hesitation or doubt to answer: 'Bruce, of course, no one could beat him!'. Chuck was himself a World Karate Champion, so I think that his opinion has some value."

Some martial arts experts and actors do believe that Bruce was nothing of special in the fighting arts, they think he was just a movie product, or someone who, failing that, had the ability to make up a whole choreography. On this subject John thinks: "They don't know what they are saying, they are just jealous of not being able to do it as good as Bruce. To me there is an unquestionable fact: it's been more than 30 years and no one so far has been able to overcome his achievements."

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Perhaps John speaks knowingly; he has shared the screen with some of the clones of the Dragon in "The Clones of Bruce Lee",1977, in which he played a teacher. In it he worked with Bruce Le, Dragon Lee, Bruce Thai and Bruce Lai. The goal of all these "actors", at a cinematographical level, was to fill the void Bruce Lee had left, however, John is very clear: " It's not trying to imitate his grimaces or shouts; is a matter of talent, charisma and genious. Also, Bruce Lee was not a bad actor, being still a boy he rolled over 20 films, he had started when he was 6 and his father was also an actor, it was in his blood."

What is out of the question is that Bruce Lee to o k ro o t among the public, to the point that over 30 years later, his fame is still fresh. And not only his, but also that of all those who were lucky eno ug h to meet him and work with him: "You can't even imagine the millions of fans Bruce Lee has in China; every day when I go out someone stops in the street and asks me: Hey, didn't you work with Bruce Lee in one of his films?" If people recognize Jo hn Benn after s o lo ng , it must be for two reasons: one, becaus e they hav e no t forgotten Bruce Lee, and two, the years must have treated him very well. "More or less, I'm just the same, before I had no hair, and now, I still have no hair; now about the fame, I'm nothing compared to Bruce Lee, ho wev er, his life mus t have been hell in Hong Kong; it was difficult for him to walk down the street because there was always a lot of fans who wanted to talk to him and be with him."

Bruce Lee fans are to be found everywhere, not only in the past but also the present.

When the guitarist Carlos Santana arrived in Hong Kong, the first thing he did was ask for the Bruce Lee Museum, to which they responded that it just didn't exist. This was not an isolated case, many tourists and fans made the same question on his arrival in the colony, so John decided to open a Bruce Lee Museum & CafĂŠ & Restaurant in Hong Kong. "That was the only Hong Kong Museum of Bruce. It was a three-story building with a

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bar. Downstairs was the museum, where there were lots of photos, original movie posters, nunchakus, a replica of the mask Bruce Lee wore in Green Hornet, etc.

More than 20,000 people came from all over the world to visit Bruce's museum. The Hong Kong government appointed me as an Ambassador of Good Will for helping bring so many tourists to Hong Kong. It was a memorable time, but it got to a point that it was difficult to maintain.

Because of its location, it wasn't easy to find, I asked for help to different official establishments, but things in Hong Kong are very slow and I had to let it go. At that time, Hong Kong was economically down and Shanghai was booming. I decided to close it and move here. Now it's a cheap Chinese restaurant ... is quite sad. All of the museum collection items are stocked in the warehouse of the company that owns the distribution rights of the films of Bruce Lee." When it was first opened, the news about the museum & CafĂŠ appeared in a good deal of publications in the West, not only in those of Martial Arts, but also in "Los Angeles Times", "Newsweek" magazine , "The Financial Times"... "I have six albums of clippings about the

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museum; even Linda, Bruce's wife, and Shannon, his daughter, visited the Bruce Lee Caffè and told me that they greatly appreciated what I had done. I don't know why the government refused to do more. " Many of those tourists asked John if Bruce Lee had taught him some martial arts tricks. "I learned some basic things from him, but I never trained seriously nor followed any discipline, although people must think otherwise, because nobody bothers me."

John was in Hong Kong when Bruce Lee died. He recalls, "When I learned of the death of Bruce Lee, I thought it was a joke. When I could confirm it, I went to the funeral home, there were tens of thousands of people.

Between the people in the hall and those in the surrounding area, there were over 20,000 persons. There was no way to get close, so after trying for a while, I could not get near him, I left with sadness. All his fans were shocked, and with good reason, Bruce Lee was their idol, the person that had won the respect for the Chinese people around the world and they knew it; they had lost their hero."

On the causes of his death, John is very clear: "In his training Bruce reached the end, crossing limits, until finally a vein broke in his brain and killed him."

John was one of those few selected ones who had the fortune to meet and work with the "Little Dragon", a fact that would marked his life changing it forever: "My job in the filming lasted two weeks, Bruce not only lived his life intensely, anyone who shared his company did it too; in some cases, like mine, marking it forever, to the point that it's been forty years and people still remember me for my work on "The Return of the Dragon".

There are people that in a few weeks, live what others in years, Bruce was one of those rare cases, I was very fortunate to meet him and work with him. "

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n June of 1974 I traveled to the U.S. touring different dojo, with Setsu Morimoto (called Setsu in the U.S.), who was practicing at the Butoku-kan in Kobe at the same time as me, and was 6 years older than me.

It was at the time when I was a 2nd dan, and she was a 1st dan. We packed our aikido outfits and hakama, and first went to San Francisco.

However, when we arrived at the airport, our aikido acquaintance, Yohei, hadn’t arrived to pick us up. I don’t know whether it was because I was foolish or brave, but I didn’t feel concerned in the least.

At that time there were several large buses waiting at the airport, revving their engines. “What shall we do?”

Setsu said, and then I saw people one after the other quickly getting on the buses, even though they were struggling with heavy luggage.

“Lets take one of these buses,” I said.

“Which one should we take?” Setsu asked.

“That one,” I replied, pointing at a nearby bus.

“Just a minute, where’s it going?”

“I don’t know. It doesn’t matter, it’ll end up somewhere, we’re not going to die…”

“You can’t just get on one without knowing where it’s going!”

While we were debating this, suddenly a tall, fast-talking, young guy in his twenties came up to us and, blocking our path, started rattling away in English at high speed. I just stood there saying nothing, thinking, “What’s going on?” but beside me Setsu said in broken English, [We are Japanese girl.] Hearing this, he quickly switched to Japanese, saying, “Well, if you’re Japanese, then…,” and started talking to me, saying, “Was there a Japanese girl travelling alone who looked like you? What plane were you on? What flight? From Tokyo?…,” without giving us a chance to answer.

Then he asked, “What are you doing? Where are you going?”

Setsu replied, “The person who was supposed to pick us up hasn’t arrived, and we don’t know what to do.”

So he said, “I know an old hotel run by a Japanese person, so I’ll take you there. But we’ll go to my house first because I want to show you a photo of my girlfriend.”

Maybe he wanted to show us that he wasn’t lying, and thought that we’d believe him if we saw her photo and she did look just like me. I didn’t care, I just wanted to get to a hotel and rest.

We had no idea what kind of person he was, but judging from his appearance he didn’t look so bad, so we got in his

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car and went to his place.

When I think about it now, I realize it was a dangerous and reckless thing to do, but at the time maybe because we felt somewhat desperate about getting to a hotel, and the fact that we were learning aikido too, unconsciously made us bold.

We arrived at his apartment and were shown the photos, but I thought she didn’t look anything like me. “You look just like her!” he declared, but Setsu and I both denied it.

Perhaps he guessed what we were thinking, so he said, “Well, maybe in this one you don’t look so much alike,” and showed us others, but got the same reaction.

He seemed to give up then and took us to the hotel in his car.

From the hotel, we telephoned Yohei, and he said “I got your letter, but I didn’t know when exactly you’d arrive, whether it was today or another day,” so then we arranged for him to pick us up the next day.

We went first to a dojo in San Francisco, and there Yohei introduced us to a school teacher, Marie, who kindly let us stay at her place for the two months. Yohei and Marie eventually got married and now have children. Even now I really appreciate their help.

We spent a week in San Francisco.

We were then invited to an aikido seminar to be held in Los Angeles, and decided to go by car. The fee to participate was $100 for the week. At that time, the exchange rate was 283 yen for one dollar, so the fee was nearly equivalent to the starting monthly salary for a woman in Japan (at about 30,000 yen).

After taking several rest-stops during the long trip to Los Angeles, we finally arrived at the place where I was to meet my destiny. The people who came from far away stayed at a university apartment. After completing the formalities of registering and paying for the seminar and accommodation, it was decided that everyone would go to the airport to welcome Fujihira sensei, a direct disciple of the founder of aikido, so we drove out to Los Angeles airport also. While Setsu and I were

sitting in the airport lobby waiting for the teacher’s arrival, a tall, lanky guy (over 190 cm) who was also at the aikido seminar, approached me. He was wearing an ‘aloha’ Hawaiian shirt, and had long, curly hair. He sat next to Setsu and asked in English, “Is she your friend?” Setsu said “Yes,” and he started to say things like “She’s cute, isn’t she?” Yohei turned to me and said, “I’ve heard that he’s a bit of a ladies’ man, so watch out.”

This other man couldn’t understand Japanese, and maybe he thought we were saying bad things about him, so after talking a little bit more, we thought he was going to leave, but then he came over and sat down next to me and started talking. I was a little bit scared, and not being very good at English, I didn’t understand very much of what he was saying, but I did understand when he said “You’re cute.”

This was my first encounter with Steven Seagal.

When Setsu and I went to the bathroom, he was standing nearby, leaning against the wall, with his arms and legs crossed. I think he must have realized that I was a bit wary of him, and this time he didn’t say anything.

He was an aikido acquaintance though, and I had been a bit rude to him, so to make up for it, I glanced at him and nodded slightly. Then he said to Setsu, “Your friend thinks I’m dangerous, and is being careful, isn’t she?” and I replied “No, no,” shaking my head.

Fujihira-sensei arrived, and we all went to the welcome reception. I felt apologetic for my attitude to Seagal,

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and was relieved when I heard that he was coming to the party. I was still somewhat cautious then too, but we did exchange a few words.

The seminar was held in a large gymnasium. We changed into aikido outfits, and I practiced with Setsu off in a corner. Seagal was also there, but I didn’t practice with him at all. After the practice ended, we all climbed onto the back of a truck, which didn’t even have a cover over the back, and headed to the university apartment where everyone was staying.

Seagal and I were sitting right at the back of the truck. The driver was having fun, speeding over the rough, potholed road at night. Everyone was squealing with excitement; at least I hope it wasn’t just me shrieking!

Seagal tapped me on the shoulder, pointing out a rabbit which had been startled by the lights and horn, and had jumped out of the blackness and was bounding along the road. It was the first time for me to be totally surrounded by the great outdoors, and I got all excited and shouted out “Wow, a rabbit!”

The speeding truck suddenly hit a huge bump, and I was bounced up into the air. In that split second, I could see the road. I was going to fall! But Seagal quickly grabbed me and pulled me back down onto the truck. He saved my life! I was so relieved, I wanted to say something, but I was still shaking from the fright. From then on, he put his arm around me and held me

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close to him so that I wouldn’t be bounced up again. I leaned in to him too, in order not to bounce off.

We arrived at our accommodation, and were split into several groups allocated to different rooms. The living room was in the middle, and there were three bedrooms, each with two double-size beds, and a large closet, desk, dressing-table, and bathroom. I was surprised at how big everything was. Setsu and I didn’t understand much of the conversation, but everyone was excited and we enjoyed being with our new-found friends, talking together in Fujihira-sensei’s room.

While at the seminar we went shopping at the supermarket with Seagal, and when the seminar finished, we went to a town in Orange County, to the dojo where he practiced, run by Harry Ishizaki. Ishizaki-sensei had a moustache and looked very handsome, and even though he looked young, he already had grandchildren.

He was Japanese but had American nationality, and said that he had gone to Kyushu, Japan, with the American occupying forces after the war.

When the seminar finished, instead of going back to San Francisco, we decided to stay for a while and practice at Ishizaki sensei’s dojo in Orange County, and while we were there we decided to catch a lift with someone going back to Arizona. His name was

Mr Takagi, and he had a dojo in Phoenix, and he was originally Korean.

He was a tall and handsome-looking man. His American wife was also beautiful, but she was away visiting her hometown with their children during the summer holidays, and he said that he would follow them later.

I think that the exhaustion of all the travel I’d done since I left Japan all came to me at once then, and after getting to Arizona, I didn’t see anything of the Native American tribal villages, and just slept in the car. People must have thought I was strange.

Later I heard that Seagal had said to Ishizaki-sensei, “I like Miya-chan, so when they come back to Orange County dojo, can you make a chance for the two of us to see each other?”

So the three of us, Setsu, Seagal and I, went to his parents’ house near Long Beach. It was close to the sea, and on a clear day you could see Mexico.

We returned to the Orange County dojo, but when I became closer friends with Seagal, I was given the advice to be careful of him, so I kept my distance a little at the dojo. When I did this, he looked so sad and forlorn leaning against the wall of the dojo.

And, at that time, he had beautiful deep, clear eyes, penetrating warmly into one’s heart. He also talked softly.

Maybe it’s because I’m a little noisy that I like people who talk quietly. From

my childhood I was afraid of my father shouting loudly, and if I hear someone talking even a little bit violently, I quickly become upset. Feeling pity for him, I asked “What’s the matter?” and he pointed to his chest with his big hand, saying “Heartache.”

Even though I guessed it was my fault, I asked “Why?” and he answered “Because you are avoiding me.” I told him “That’s not true” over and over, but it was no use, so I sat down beside him. This happened many times, until finally he cheered up.

One time, his mother took us to a Japan show, and a dolphin show, together with Setsu. As usual, on the way home, I relaxed so much that I slept. The two of us talked together, went shopping for groceries, and went out on dates, and after a while he began to say often, [You and me love. I want to marry you.] in his broken Japanese.

One day, he said that he had some paid work to do. It was to play the guitar at a bar, so Setsu and I went with him. I ordered a brandy, and listened to his guitar playing. His work was soon finished, and he came over to our table, and took a sip of my brandy. After that we went with Setsu to a Japanese restaurant.

He hardly ever ate anything, but Setsu and I ordered eel, I think, and I asked him “Would you like to try a bit of this?” He replied with an old Japanese saying, while chewing on a toothpick, “The samurai glories in honorable poverty,” and waited until we had finished eating. Setsu asked “Why won’t you eat? Are you dieting?” but he shook his head “No.” I thought to myself that he’s a difficult person to understand. It seems though, that he was saving money to go to Japan.

He was always dressed in jeans and a Hawaiian shirt, or in a T-shirt with a black leather jacket, carrying his guitar.

At the Los Angeles dojo there was an aikido grading test, and Seagal was to take the test to become a 1st dan, so Setsu and I went with him to the dojo.

For the test, Fujihira-sensei sat in the front corner of the dojo, with the grading papers. Then we were amazed to see what happened next. During the test, the sensei nodded off, and his whole body was rocking back and forth like someone rowing a boat! Even though you could hardly miss it, everyone was calm and nobody seemed surprised to see him sleeping. At this strange scene, Setsu and I looked around inquisitively at everyone’s faces, not even trying to

suppress our wonder. Finally, someone saw us looking, and smiled as if to say ‘”Yeah, we know,” so we relaxed again.

When we asked afterwards, it seems that the sensei always slept during the test time. We were wondering how a student could get to a higher grade then, but he told us that when one student asked Fujihira-sensei that question, he replied, “I can tell if they pass or not even if I’m sleeping, because my ki is watching.”

While at the seminar, we had made friends with another woman, called Shelly I think. She was kind enough to take us for a drive deep into the mountains and we stayed overnight at her place there.

Finally, we returned to San Francisco. Marie had heard stories about us from people who had already returned from the seminar, and said to me, “Miyako, I hear you’ve got a boyfriend now?”

After a few days, Seagal and others came to San Francisco, and we went out on a few dates. Not so much dates really, just to the dojo and restaurants, or maybe to a friend’s place. We weren’t really alone together much.

The day of our return to Japan was coming closer, and we decided to go home via Seattle. The teacher of the dojo in Seattle let us stay at his place, and even had one of his students give us a ride to the airport. And so, our two month trip had come to an end, and we returned safely to Japan at the end of August.

Seagal had already made plans to come to Japan before meeting me, and at the Orange County dojo he said to me, “I’ll definitely be going to Japan.” Even when I returned home, he often sent me letters with a guitar pick enclosed.

Seagal came to Japan in October of that year. He came to my house a few days before Christmas, and after several times of me going up to Tokyo, or him coming down to Osaka, we had a simple wedding in January of the following year.

My mother accepted my marriage to a foreigner without objection, but I had caused her a lot of problems, what with my request for the loan so that Kshihan could operate the dojo, and on top of that, this wedding was the start of a long life of poverty.

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The power of Kiriotoshi in the Japanese Sword Arts To date, the Kiriotoshi is a movement that belongs to the arts of the sword. It is taught as a technique to open the opponent. Considered a rather heavy technique, it can be also extremely efficient if performed with consistency and technical criteria.

However it is necessary to differentiate some technical aspects between Kiriotoshi, Makkogiri and Kirioroshi.

In the Japanese language, Kirioroshi would translate like cutting while ducking without interruption.

Technically, it means that this cut should start with the Kisaki, unlike Kiriotoshi and Makkogiri, where the Kisasi is the part to be used once the wielded impact reaches first the front part to the sheet's Kisasi.

This cut, the Kirioroshi, starts at the head and finishes at the navel's height, at most to the hips level.

Within the features of this cut, passing this height would be considered an error, taking into account the position of Tori.

Kiriotoshi, which in turn means "let fall, tear down", refers to a technique that ends with Tori on his knees, so that the cut line be complete to the ground. For this, the cut starts at the head and extends throughout the body extension, forcing Tori to kneel down at the end of the movement.

There is a difference between the first and the second form presented.

The consequences of each one differ too. Japanese mystic states that a well trained Samurai was able to split a man in two halves. Surely Kiriotoshi would provide this more readily.

While Kirioroshi, having its source of cutting impact scarcely on Kisaki, is described as a powerful technique, but not very deep, the Kiriotoshi differs by having a greater impact power. That impact, enhanced by a proper hand position, coupled with Tori's hip movement -a downward movement- allows the continuity of the cut impact power in maintaining the firmness of the sword, due to the condition that accompanies the force applied to the body.

Although both types of cutting are fatal, it's inevitable to highlight the differences between them. It is worth remembering that in a battlefield, a Samurai was heavily protected by wearing a Yoroi and a Kabuto, which, surely hindered the implementation of any of these cuts. The Kabuto used on the battlefield had itself a high resistance, a fact which proved

its efficiency in protecting the Samurai.

It is understood that violent forms as the Kiriotoshi, represent a technique of clearing the way off with the sword to find the body, althought with a high degree of difficulty.

If we think like in the Middle Ages, when the constant wars forced the warriors to be unique in the ways they presented, in this movement, the first impact the sword would find would be the skull bones and then the sternum, to go through the ilium.

Hard, don't you think? Imagine how would it be the placement of Ki directed toward the hands to be able, in harmony with the body, to go down to the bottom without interruption.

Let's analyze, therefore, the bony structure that encloses and protects the brains in humans and vertebrates, located in the upper transversal plane.

The bones of the head are 22, eight of which being closely linked to each other; joined together (fixed), they form the skull or cranium which protects the brain. These bones are: the frontal bone, parietal bones (on the upper side part), temporal bones and the occipital bone (in the back of neck), the sphenoid (in the skull base) and the ethmoid (between the latter and the frontal bone). The face bones are: maxilla bones; zygomatic bones; nasal bones; lacrimal bones; the vomer; conchae bones and the mandible (used for chewing and the only mobile bone of the head). And on the inside of the mouth are the palatine bones.

Frontal bone - Brow bone with brain protection function.

Parietal bones - Pair of bones forming the sides and roof of the skull.

Occipital bone - Forms the bottom back of the head; occiput.

Temporal bones - Relating to the temples of the head. Each of the bones of the head, of irregular shape and inferolateral situation, containing the organs of hearing.

Sphenoid bone - Odd bone located between the bones of the skull base.

Zygomatic or Malar bones - Pair of prominences of the cheeks of the face and part of the side wall of the settlement of the orbits.

Maxilla bones - Each one of the bones in which upper teeth are implanted. They articulate with the lower jaw.

Jaw bone - A unique bone, horseshoe-shaped, which is the lower jaw

of man, and where the lower teeth are implanted.

Vomer bone - Flat and odd bone constituting the back and bottom part of the wall between the nostrils.

Ethmoid bone - Cranial bone located between the frontal and the sphenoid bones, and is part of the base of the skull, of the orbits and of the nostrils. Through one of its sheets pass the olfactory nerve terminals.

Palatin bones - Bony portion that forms on the upper part, the two anterior thirds of the palate.

Nasal bones - Bones that form the tip of the nose.

Lacrimal bones - Small bones, two in number, each located within each orbital cavity in the anterior middle wall.

Auditory ossicles: (bones in odd number): Malleus bone or HammerHammer-shaped small lateral bone of the middle ear.

Incus bone or Anvil - Small bone of the ossicles of the middle ear, between the hammer and the stirrup.

Stapes bone or Stirrup - Ossicle ear next to the sagittal plane.

Lower Nasal Conchae - Pair of bones that form the posterior nasal cavity between the maxilla and the pterygoid processes of the sphenoides.

Upper Nasal Conchae - Pair of bones forming the anterior nasal cavity.

To get through this fortress that is the skull, we must first consider whether the opponent is wearing or not the kabuto - helmet. If so, it will be impossible indeed to cut through all of these structures. Therefore, we start from an analysis without the kabuto.

The hara of the Kenshi or swordsman should be flat so that as he lowers his body, he can discharge his attack at once, aiming first toward the hips, to quickly direct his blow to the shoulders. Only after this trajectory, with the chest muscles contracted and giving subjection to the arms, which will serve to pass the ki, we could make such a move.

In the past, teachers liked to imagine all the energy of the sky coming through the sword, so that, in a supposed magic move, it would cut the opponent's armor. They truly believed that the mind could dominate the body to the extent of turn it into something capable to carry out

the most unimaginable facts. But things do not happen exactly like that. Even if the unusual or paranormal does happen, the technique requires of a scientific understanding so that it can be made accurately. Many techniques have been developed, as imagining twisting a towel, tireless repetitions called Uchikomi, or training with a

heavy machete. In this last proposal we find some inconsistencies. If the technique directed to the Tameshigiri involves leaving the arms relaxed and wielding the sword so that it can flow lightly according to what the arms and hands command - which supposedly will fill up with ki for only after a movement of half contraction start the cut (I say half, because the contraction in expansion should be done only at the end of this technique) - how can you possibly train with a heavy machete giving rise to hypertrophy of the muscles that carry out the cut? Hypertrophied muscles will adulterate the desired technical principle.

In the moment the sword strikes the first hurdle, the Hara must make an espiration move, so that it tightens slightly, since if it is too contracted, the desired Ki will not flow, and if it's fully relaxed it will not provide the needed balanced fastening. In other words, it's not easy...

Many teachers of the past have reported that the in tests made on corpses, many cuts executed with the hara relaxed didn't manage to go beyond the teeth. Although we know that

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many of those legends have been passed down without rigorous verification criteria, and bizarre as it might seem, there exist records of sword blade tests made on human bodies.

Continuing our anatomical reasoning, passing the skull we reach the sternum. In the past they used to say that the sternum would retain the sword if the cut was wrongly made, so, in order to simulate this technique, the Kiriotoshi was trained in a species of bamboo called "Moso", which would respond the beginning of the exercise. As soon as the student could traverse the entire bamboo tip, he should get into a more advanced test on the sternum of an ox. But this hasn't been not fully confirmed.

Returning to the sternum, at this time the hara is lightly tensed and it will fully contract after the cut passes through the sternum bone, to relax only at the end of the movement.

The thorax is formed by bones which together constitute the ribcage. The ribcage is formed by the collaboration of the dorsal or thoracic vertebrae on the back; one odd bone, the sternum, in the front; and finally the ribs, that lie between the sternum and the vertebrae .

The sternum is a median flat bone that resembles a Roman dagger, and is composed of three well-defined elements: an upper part called manubrium; an intermediate zone, called the body; and a lower, smaller part called xiphoid process or xiphoid appendix. The manubrium forms with the rest of the bone an angle known as Angle of Luys, which is very sharp and evident when the chest is poorly developed, or in the case of people with delicate constitution. At the edges of the manubrium and the body are inserted the collarbone and the first seven ribs. The upper edge presents a small pit, very evident in thin individuals: the jugular notch.

In order to cut through the sternum, the right hand which is placed before the sword must form an angle for all the weight to be centrated in the part ahead the Tsuka - the handle. Thus, the Ki will flow directly to the Kisaki - the tip of the sword.

In regard to the blade being trapped by the bone, it becomes necessary to further explain the anatomy of the area. Humans have 24 ribs (12 pairs) that bind the sternum to the spine, where the dorsal vertebrae (twelve in number) are inserted; ribs are long curved bones, bow-shaped, and its position is not

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horizontal; starting from the thoracic vertebrae, the ribs become progressively oblique downwards.

Their forelimb (sternal) is lower than the rear part (vertebral). Ribs articulate with the thoracic vertebrae in two ways: there is a joint with the body and another one with the transverse process. The rib forelimbs are grafted to the sternum with the interposition of a cartilaginous segment or costal cartilage. The first seven pairs of ribs are called true ribs; in these, the rib cartilage directly inserts in the sternum. By contrast, the eighth, ninth and tenth ribs do not end in the sternum, but in the lower edge of the rib which is located above. The eleventh and the twelfth ribs are not linked to the sternum, but are free and are therefore called floating ribs.

Along the bottom edge of the ribs lie the intercostal vessels and nerves.

Between one rib and another, that is, in the intercostal spaces, there are muscles.

The first rib presents a particular shape; while other ribs have a outer face and an inner face, the first rib is flattened from top to bottom and therefore has an upper face and a lower face. On the upper face there is a small projection, the Tubercle of Lisfranc, important because close to it lies the subclavian artery. The tubercule is thus an orientation point for finding the subclavian, and is useful when you need to tie or suture this artery.

Thus we have the elements that combine to form the rib cage. Let's observe now the rib cage as a whole.

I has the shape of the trunk of a cone, with the smaller base upwards. The outer surface of the rib cage presents subsequently a projection that runs from top to bottom and is due to the series of vertebral spinous processes. Running alongside there are two vertebral chain of muscles that serve to move the spine.

The rib cage is open in the upper part, towards the neck, to give way to the esophagus, the trachea and the large blood vessels; on the contrary, the lower part is shut by a dome-shaped muscle: the diaphragm. The interior of the rib cage forms the thoracic cavity, laterally occupied by the lungs, and in the center part by the heart and the aorta, the largest artery in the human body, which, after describing an arch descends toward the abdomen through the diaphragm. The thoracic cavity is previously crossed by the trachea, which is divided into two bronchi, which are directed to the

respective lungs. Subsequently, the cavity is traversed by the esophagus, which also penetrates into the abdomen after passing through the diaphragm.

The thoracic cavity contains, in part, the two vena cava and the thoracic duct. The shape of the chest changes with the age and the physiological conditions of the individual and differs depending on the sex. In men chest has a conical form, whilst in women reminds the rounded shape of a barrel. This counts on the different type of breathing: women usually breathe with the thorax, while men's breathing is abdominal. That diversity has also its own purpose and utility: in women, abdominal breathing would be highly affected during pregnancies.

The movements of the rib cage during breathing are: in inspiration, when chest expands, the ribs lift up and lengthen (more in women than in men). In the espiration, when the chest restricts, the ribs descend and come together. Thus, the three diameters of the rib cage increased and decreased alternately so that the lungs, that passively follow the movements of the rib cage, first dilate filling up with air, but thereupon contract, releasing part of the air locked.

To avoid the sword from being locked, the movement of the left hand should be ascending so that, in the case that the sword gets trapped, it might offer the space conditions for the blade to be rotated and removed.

And finally, an anatomical analysis of the cut: cutting the ilium is something surrealistic. It happens that at that time the movement itself of the Kenshi's body provides a "ma-ai", so that when kneeling, he moves slightly away cutting scarcely the gut and bladder. It is believed to be a natural and consequent movement according to the technique form presented.

At this time the hara should be totally relaxed, along with the arms, that prepare for the new contraction required by the next move, in case the Kiriotoshi doesn't succeed. The energy of the body should be deposited in the legs that rest on the ground, supporting on one knee.

Otherwise, the hara will become the balance point extinguishing the remaining energy.

In this way we understand that many of the legends attributed to this movement correspond, in short, to a strategical way of offering the body weight to a long and deep cutting technique.

“To avoid the sword from being locked, the movement of the left hand should be ascending so that, in the case that the sword gets trapped, it might offer the space conditions for the blade to be rotated and removed” “In the past they used to say that the sternum would retain the sword if the cut was wrongly made, so, in order to simulate this technique, the Kiriotoshi was trained in a species of bamboo called ‘Moso’"

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Great Champions

6 impressive DVDs. Boxing for Martial Artists!

The best pack of DVDs on Boxing ever made!

o Olympic Gold Medal Seoul 1988 o Heavyweight World Champion

Ray "Merciless" Mercer “Exclusive interview with one of the biggest names in Boxing, Olympic Gold Medalist who dared to try Mixed Martial Arts (MMA), a champion with an exceptional career, on the occasion of the presentation of his work to learn the art of Boxing in a series of six DVD's. " CN: Tell us a about your life and how you decided to make these DVD's Ray Mercer: Well, I was Olympic champion in Seoul 1988, winning all my fights by KO. I was the first G.I. to win an olympic medal while in the U.S. Army. After that I turned professional and managed to win the heavyweight World Championship of the WBO. Every time I got into the ring I was sure I would win because I had my good luck charm in my left boot. This good luck charm is very important to me, I've carried it with me ever since the Olympics, and then, when I turn pro in the WBO, and it's been always very good for me.

Also, this amulet is important because it helps me all the time not to forget who I am and what I have achieved.

I've been the last heavyweight to get the Olympic Gold Medal, and the seventh American boxer to win the gold.

I believe, therefore, that my potential speaks for itself, and everyone who sees this series of DVD's should know that what is in it is real.

Budo International: Please, tell us more about your life and career Ray Mercer: I was born in Jacksonville, Florida, on April 4, 1961. The truth is that I had a very happy childhood. My father was in the Army, my mother was a housewife and we all lived together, my mother, my father, my grandmother, my four sisters and me. I remember the time when I was 6, what I used to do with my friends, when we were all playing or went to the store to get some candies. I remember Christmas and many happy things related to that time.

When I was about 9, my father returned from Vietnam and was assigned to a headquarters in Georgia, and we moved there. I loved that place of which I keep many good memories, I remember go riding a bike and swiming with my friends. It was a very happy childhood. I also keep in mind some fights with my sisters, especially with my two older sisters, what helped me later to develop my skills in boxing.

When I was about 15 my father was assigned to

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Great Champions Germany. Of those years I recall he afro hair, the disco music, and the high school where I played football, my favorite sport at the time. I played football, I didn't box, I remember my team remained undefeated for two years. Later we returned to the United States, where a couple of years later, and after making a few small minor jobs, I enrolled in the Richmond Academy, before joining the Army. I loved being in the military. Life was hard, you had to exert yourself, get up early, marching, cleaning, work out, it was hard but I liked it. I owe much to my time in the Army. At that stage I was assigned to Germany, and it was there that I joined the boxing team, in

which I was the only heavyweight. I started training with the team, I was taught the fundamentals of the blows, positions, feints, everything, and I soon began to fight. In that year in Germany participated in 13 fights, and got a record of 13 wins and 0 losses, it was a great time, I loved to box and many people liked to come to see me fight, I learned a lot, and I had some great coaches, some of them were to me as a father figure. I paid attention to whatever they said to me, I even followed his advice outside the ring, that's one of the things that made me champion.

B.I.: What has been your toughest fight?

RM: My toughest fight was against Bert Cooper, it was a 12 round fight which left me a lot of sequels: I suffered a cut lip, multiple face injuries, I broke some jaw veins which made me bleed profusely... I have a picture in my mind after the fight in which Bert Cooper and I were at the infirmary healing the wounds of the bout. I remember two days after the match I had to go to hospital because I felt very weak and I had a fever, I was also very dehydrated not only because of the fight but also the hard preparation I had undertaken, a strategy which consisted in trying to return 3 blows per each one received, and I had to work hard in order to carry it out. It

Great Champions was a fight so hard that it was recognized as the "fight of the year". We are talking about 1990.

B.I.: Tell us please about your opponent that night, tell us about Bert Cooper.

RM: Bert Cooper was a great fighter, a tough boxer, fast and enduring. He could throw a lot of hooks in a row without problems; he was also a good enchaser, I threw him a lot of punches that night and he resisted well. I think his fighting style was like that of Joe Frazier. I had a good fight against him.

For me it was like fighting Mohamed Ali. B.I.: What has been the highlight of your career?

RM: The title of Heavyweight World Champion was very important to me, indeed, but I definitely prefer the Gold Medal at the Seoul Olympics. Olympic Games are an event in which everyone wants to participate. I was a member of the Army, I was representing my country, at first I didn't think I could win, but I trained very hard, I listened to all my coaches, and I gained enough confidence to make it. When you win an Olympic medal everyone looks you, all eyes are on the Olympics. When I turned pro and got to win the world championship, was very nice and very exciting, of course, and I thought I had it all with that, but what I felt winning the gold medal in the Olympics is unmatched. It's really wonderful to go to the Olympics with all the athletes representing your country, and come back home with a gold medal. When I was a kid I didn't box, nor was I thinking of boxing, but I did watch boxing in the Olympics and thought of how great it would be for boxers who won the gold. And, like all kids, I dreamed of winning a gold medal in any sport, and that dream finally came true. That's why I say the gold medal is the greatest achievement of my career. And everyone remembers that.

B.I.: What is your best memory of that event?

RM: My best memory is of when I was on the podium with the gold medal around my neck and hearing the anthem of my country, I was crying with excitement, my mother, who attended the games, was also crying, my father who was at home watching the T.V. was crying too. Everyone was excited, I took the medal with my hand and bit it. In short, everything you do when you win a medal. That's my best memory. In addition, the fact that

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Koreans had tried to intimidate us athletically speaking, gave it even more value to this victory. Being on the Olympic podium receiving the gold medal is something unforgettable.

B.I.: What boxers do you consider to have been the most important in the history of the sport?

RM: The Jab, I like to use the jab to keep going forward and put pressure on my opponent. If I keep pressing him is much easier that he makes a mistake that will let me knock him out or take advantage in the bout.

B.I.: Tell us some funny anecdote that happened during your career...

RM: Well, I think Muhammad Ali, George Foreman, and Joe Frazier have been been the best of them all, the greatest boxers of all times. There have been other important boxers who were very good, but I think these three are really the very best, and those who have most excelled in this sport. Besides, these are the boxers who particularly attracted my attention, and also those who exerted a greater influence on me at the beginning of my career. They were really tough, they could calmly endure 15 rounds and more if it had been necessary, they had smaller gloves, were fitter and hitted stronger. When I talk about boxing, always come to mind these three boxers: George Foreman, Joe Frazier and Muhammad Ali. I'd even dare to stand out the latter.

Mohamed Ali would come first and then George Foreman and Joe Frazier.

If I was to emphasize a feature of each, I'd point up the hook of Joe Frazier, the speed of Ali and the power of George Foreman. They were tireless fighters, they fought to the end, and never surrendered. In fact, I think today's boxers would loose if they had to face them because they were the strongest fighters, who were used to fight in tougher conditions.

RM: It was in a fight against Tommy Morrison, he started very strong, he attacked like a lion, he started to throw blows to my body and in the second punch that reached my stomach, I let go a "fart". To tell the truth, I didn't realize and the fight continued, and when the bell rang and I went back to my place, people in my corner were all laughing, they did have heard it and told me. I know it's not the first time it happens on the ring, but the fact is that at that time it didn't find it funny at all, but hey, time's gone and I can say that is the funniest story that has ever happened to me in a fight.

B.I.: What do you think it would happen if you had to face these boxers?

B.I.: Against whom would you have liked to fight?

RM: If I had to fight with them, I'd make a harder training than what I do now to face the current fighters. If I was to face Muhammad Ali, I would do it in the same way that Joe Frazier did, pressing hard not to let him use his explosive jab and his speed. If I had to fight against Joe Frazier, I think it would be a real war, he was pushing all the time, throwing punches continuously, it would be a bout of power to power, I would have to try to knock him out at any cost, otherwise I couldn't beat that man. If it was George Foreman, I would especially train the power. But not to knock him directly but to wear him away with powerful blows while working my footwork to break free from his attacks.

B.I.: What is your favorite technique?

B.I.: What's the best and worst of being a professional boxer?

RM: The best thing about being a professional boxer, is that you get paid for doing something you love. The worst thing is that you get hit. Now seriously, the best is the recognition of the public and fans. And the worst is when you train hard, you prepare thoroughly a fight, you strain to your maximum on the ring, and at the end of the fight the judges decide to give the victory to the opponent, that's what I like least.

RM: I would have loved to face Mike Tyson, I think he's been an excellent boxer. In fact, I was about to fight him, and it was all set, but at the end they decided that I should fight against Lenox Lewis.

B.I.: Why did you decide to participate in MMA and K1 bouts?

RM: Well, I realized that my boxing career was coming to an end, yet I still had strength and energy to keep doing things, so I considered this type of sports as an opportunity to continue being active, and why not say, earning money.

B.I.: Thank you very much for sharing your experiences with us and for collaborating with our magazine.

RM: It's been a pleasure.

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Text & Photo: GM Maurice Elmalem his event by far is the most prestigious championship of the east coast where young and old competitors demonstrate their respective disciplines to celebrate the diversity of the martial arts.

This competition made available for all age groups and experience levels of martial arts was held at the Crown Plaza, Warwick Rhode Island.

Organizers and hosts Don & Christine Rodrigues did a terrific job in rendering great quality and professional service. The event commenced on Friday April 12, 2013 with the WakoUSA National Trials and the winners will be moving on to represent the United States at the World Championships later in 2013.

OSGN is well known as a top international competition with martial artists representing over 25 countries such as France, Italy, Germany, Canada, Russia, Egypt, Poland, Peru, etc. The OSGN Championship is being rated by the top rating organizations in the US, “AAAAA” KRANE and NASKA. All competitors are listed according to their scores and will proceed to be in the top spot for being best of the best among all the different martial arts styles such as taekwondo, kung fu, karate, aikido, judo, shotokan, extreme kata and many more.

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Among this year's winners: • Youth Black Belt Forms Grand 13 and under - Dallas Liu won with 49.95 points, • Youth B/B Forms Grand 14-17 Tyler Weaver took the Championship • Men's B/B Forms Grand winner, Jarrett Leiker • Women's B/B Forms Grand - winner, Becca Ross • Women's Weapons Grand -Stephenie Figueroa was declared the winner • Men's Weapon Grand won by Kyle Montagna • Women's B/B Fighting Grand - Chelsey Nash of Team Paul Mitchell • Youth B/B Weapons Grand 13 and under - won by Aiden Considine • Youth B/B Grand 14-17 Reid Presley was declared the winner • Women's B/B Grand Team Challenge Paul Mitchell team won by 8-5 score This year's OSGN Hall of Famers were -Dave Lindsay, Emily Cooper, Dewey Earwood, Mario Mastro, Karen Jedson, Damon Gilbert

We wish all the OSGN winners the best. May they continue to excel in their martial arts endeavors.

Congratulations to Don and Christine Rodrigues and all the Grand Masters, Instructors and staff for their tremendous support in making the event a success.

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reat Grand Master Aaron Banks, World's No. 1 Martial Arts Promoter and a prolific speaker like none other masterfully transformed martial arts into a form of entertainment. A Bronx native who grew up in the Great Depression era with an unrelenting determination to be someone to make a difference. Hailed by those who loved and respected him as an icon, a luminary, an extraordinaire and a martial arts legend.

Creator of the “Oriental World of Self Defense” show that paved the way and opened doors for many martial artists around the world. He personally selected the best martial artists to perform in his unique show OWOSD. They came from around the world, big, small, tall and short, practitioners of various styles zealous to demonstrate on one stage, disciplines such as Taekwondo, Kung Fu, JuJitsu, Judo, Karate, Boxing, Hapkido, Aikido, Kickboxing and much more.

Mr. Banks' martial arts journey began in 1958 and his endless talents laid the ground rules for everyone to perform at their best in weapons, self defense, breaking, wrestling, incredible feats of internal power fighting and death-defying situations. This incorporated all sorts of systems in excellent demonstrations of Martial Arts. His show toured the world and over a billion people have seen it on TV in motion pictures, Youtube, or on videos. It became the milestone for others throughout the world since it was the first time such an event of its kind debuted in 1966, in a town hall in New York City. The greatest Martial Artists throughout the world performed in his event. People such as Ronald Duncan, Gogen Yamaguchi,

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Yamada, Moses Powell, Felix Vasquez, Yamashita, Richard Chun, Chuck Norris, Joe Lewis, George Cofield, Louis Neglia, Jonas Nunez, Rick Lenchus, Gary Alexander, Ron Jeter, Maurice Elmalem, Bill Louie, Ernest Hyman, Eric Lee, Elton Trower, John Drames, Jim Powers, Rico Guy, Robert Crosson, John Davier and hundreds of true Martial Artists, too many to mention but they know who they are. He wanted to show the different systems so that whosoever saw them, either in person or on television, would be helped or encouraged to start training in all martial arts systems and that they felt comfortable with. He believed one should “never retire from what they do best but use Martial Arts as a journey for health purposes or self defense, live martial arts, eat martial arts, sleep martial arts.” GGM Banks was indeed a man of valor, enthusiasm, influence, honor, respect and intellect who gave unselfishly and wholeheartedly to preserve the true essence and legacy of martial arts.

He traveled Europe, Central America, South America, and throughout the United States as a martial arts trailblazer. He operated his school the New York Karate Academy, teaching over 250,000 people, creating world champion fighters, and turning Karate into a professional sport, in 1968 at the Waldorf Astoria in NYC. He went above and beyond as martial arts ambassador. From television talk shows to gracing the cover of Sports Illustrated and 48 other magazines, Mr. Banks has done them all. Stories of his accomplishments as a great martial artist and the Oriental World of Self Defense events have been published in major N.Y. newspapers such as Newsday, Daily News, the New York Times, New York Post, Herald & Queens Tribune, Bronx News as well as in Chinese,

News Japanese, Arabic, Greek, French, English, Hebrew, Spanish and Russian magazines.

He gave up a family life and a brilliant acting career for the martial arts which he brought to the forefront of American culture. Even before his passing he still wanted the public to know about the greatness of Martial Arts. For over 25 years the OWOSD has been at Madison Square Gardens filling the stadium to its capacity over 20,000 spectators, Apollo Theatre, Nassau Coliseum, Radio City Music Hall, Waldorf Astoria, Beacon Theatre, Queens College, Lehman College, Hunter College, movie/opera theatres, and etc. Mr. Banks was the first great grand master to host a Martial Arts Hall of Fame. To date he held 44 hall of fame events to his credit as well as hosted over 350 tournaments and World Martial Arts

Championships. We celebrate and emulate this great patriarch for the indelible impact he had on us and we endeavor to carry on his vision. It is an honor to have been associated with the greatest Martial Arts promoter of all time. There is no one like him, such a charismatic, talented individual, full of resilience and agility, simply an exceptional mentor.

God bless him for his endless dedication, wisdom, knowledge and influence that he gracefully extended to all of us.

He came, He saw, He conquered. “Stay strong, be positive, help others to achieve their dreams�

Great Grand Master Aaron Banks.

GM Maurice Elmalem

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Text & Photos: GM Maurice Elmalem he Arnold Sports Festival has become the world's largest multi-sports weekend held Feb 28 - March 3, 2013. This year's event was a major highlight for the organization as it celebrates the 25th Anniversary of the Arnold Classic with more than 18000 athletes from more than 80 nations, and over 175,000 spectators in attendance. Schwarzenegger and his co-producer Jim Lorimer have been partners since 1976 affirming to their motto “To do better than the previous best.”

2013 by far was the best event I ever attended.

There were more athletes and events also the hospitality was absolutely world class. New this year was the opening IFBB meet & greet the public, VIP ticket holders, bikini event, International 2013 Sports Hall of Fame with Masters of Ceremony, Arnold and Dr Goldman presented HOF awards to Blaine Wilson World Champion gymnast, basketball great Earl “The Pearl” Monroe, Mr. Olympia Dr. Fraco Columbu (Arnold's best and closest friend) World Wrestling Champion “The Extraordinary” Brudo Sammartino and Archie Griffin. The Lifetime Achievement Award was presented to Rick Gaspari first winner of the Arnold Body Building in 1989.

Among the guest stars that attended were World Wrestling Champions Triple H & Mark Henry, Mr. Olympia Phil Heath & Ron Coleman, Super Bowl Champ XXXV Jamal Lewis, UFC Champ Matt Hughes, NPC Champion Rich Piana, UFC Heavy Weigh Champion Randy Couture and many more.

Exhibitors with over 700 booths, athletes and

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entertainment filled the Arnold Expo in the main hall of the Greater Columbus Convention Center, the most popular attraction showcase, leading business exhibits from IFBB Pro league, UFC, INFL, WWE, GNC and many more.

The expo stage hosts the Arnold Strongman Classic and prejudging for the Ms International and Figure International Competitions, amateur strongman, arm wrestling, bodybuilding finals, world strongest man

weightlifting including former champions Brian Shaw, Derek Pounstone, Mike Jenkins, Zydrunas Savickas.

The Arnold Sports Festival Organization has been very generous over the years awarding over $128,000 worth of college scholarships to youth athletes from around the world. This include events such as: Pro bodybuilding, martial arts, jump rope, survival race, weight lifting, art, boxing, cheerleading, gymnastic, fencing, Ms. Bikini and much more.

The martial arts events held and directed by World Karate Champion Tokey Hill who every year desire a fantastic job. They were Hill who desires a trick job every year. The Martial Arts events including all styles, taekwondo, karate, kung fu, tai chi, wrestling, boxing, jujitsu, with over 4000 competitors. The winners all received the special Arnold medals. On Saturday Mr. Schwarznegger showed up at the M/A sports events. In his speech he welcomed and thanked Tokey Hill the organizer and all the athletes, including the spectators for their support of the Arnold Sports Festival. He was then presented with numerous awards for his endless achievements world wide through his varied careers in fitness, film, business, politics and philanthropy. Saturday evening at the Veterans Memorial where all the main events finals were held following with great entertainment among the year winners are the 2013 Arnold Festival Ms. Bikini $7000 1st Place, India Palino. World Strongest Man 1st Place lifting the most consecutive times 260 pounds steel barbell with one arm above his head was Vitalis Lalas, who won $60,000, doing just that.

2nd place was Brian Shaw.

Dexter Jackson won his 4th Arnold classic bodybuilding contest received a check of $130,000 and 1st place trophy. 2nd place bodybuilding winner Ben Polkosi was presented with a $75,000 check. After wards every one at attendance were invited to the Arnold party at the beautiful Hollywood Casino.

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merica’s martial arts grandmasters organization, the World Head of Family Sokeship Council under the direction of Grandmaster Frank E. Sanchez of Florida held its 21st Annual gathering at the Doubletree Hilton Hotel in Orlando on May 31st – June 1st. The gathering was host to martial artists from around the world who came to share in the camaraderie with seminars, exhibits and an awards banquet. June 1st was also declared World Head of Family Sokeship Council Day by the Honorable Mayor Buddy Dyer of Orlando, Florida

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Picture of WHFSC grandmasters/ masters after Annual Meeting; Veterans standing at attention for flag ceremony; proclamation from the Honorable Mayor of Orlando, Buddy Dyer. For confirmation or further info contact: Frank E. Sanchez San_Jitsu@yahoo.com GMFrankSanchez@comcast.net

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REF.: • SKOGOREV1 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international. net

Vital Points "Damaging is much easier than healing". This saying would perfectly sum up the essence of the transformation to which the Great Master Pantazi wants to take us.

After long years dedicated to explain "how to damage", Evan Pantazi finally offers us a whole DVD focused in "how to take care".

This first aid DVD is an indispensable tool for all Martial Arts practitioners that sooner or later will encounter situations where "help" is required. This DVD is the first in a series in which Pantazi has taken great interest in developing from now on, a chain of works centered on the "other face" of the Kyusho, that side that pays attention to the science of the "energy" of health and well-being, so often linked to the most secret and deep Martial schools. We welcome and joyfully escort this mutation, because we believe in it and we bet heavily for this new path, encouraging our r eaders to go "beyond" the slaps and punches.. It's nothing new, but finding that healthy value in this type of change is always refreshing.

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Kyusho First Aid The newly produced production on Kyusho First Aid is the final and crucial key in the Kyusho Martial Art Series. It is however not the end, it is merely an encyclopedia of the basic components of Kyusho and its relation to all Martial Arts and their practitioners. I say it is crucial as it not only brings us full circle in skills, but illustrates what true Martial Arts Knowledge is, the full understanding of Yin and Yang. This is not meant as Traditional Chinese Medical or any esoteric discussion on Chi or Energy, for healing purposes, this is direct cause and effect information and demonstration. It is not new as Ancient warriors for sure took note of the damage they caused on opponents in combat or battlefields. They recorded and chronicled what was a vital point and the effects of attacking it appropriately… they had to, it was their innovation of their skills and capabilities that kept them alive. It is also the correction or reversal of dysfunction induced by the application of Kyusho on the human body… take that information onto the battlefield as well when the populations were much smaller and injured men could no longer assist in protection of a village or the battles they were engaged in.

They needed to bring as many soldiers

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“What if you could calm someone's nerves so that they respond and react quicker and more efficiently?” as possible back into action (those not mortally wounded) as possible.

Recently we explored different aspects of one ancient military or combat manual called the “Bubishi”. I did not pick this book as it had the most profound in knowledge or techniques; it was selected as it is currently the most popular or even available texts. There as many others that most people have not seen or heard of as they are rare (or guarded) and mostly lost to time and antiquity. The Bubishi was selected so that anyone could read and understand all the correlations we have discussed on Kyusho, the Vital Points and their basis in ALL Martial Arts, (not Martial Sports). Also of interesting note was in this book were also remedies, healing methods and even herbal concoctions for the health and or remedy of the soldiers,

field officers as well as militia (or town Martial Artists).

I would dare say that the Commander of the army would need this information and fully understand the positive and negative ramifications of each. They needed not only the most efficient warriors; they also needed the most efficient medics and methods to retain as many strong soldiers as possible.

As a full time professional Martial Artist for over thirty two years, I cannot fathom how all Martial Arts instructors do not search or have all these First Aid skills, even if they do not practice Kyusho. Every School that has sparring, fighting or just rough physical contact has had students or instructors struck to dizziness or more.

Maybe they had the wind knocked out of them, were numbed or had a limb go limp, had muscle knots or cramps, developed nausea from over exertion, or a host of other issues that typically occur in physically demanding training. The “accidents” are every bit as real as the induced effects presented in this Kyusho series, no one doubts these in class, so it should not be so far-fetched that they could be duplicated on purpose rather than simply accidental. Shuldn'tit be for the safety and welfare of the students that this information oreducationshouldbe mandatory of each “Instructor”?

I will go one step further as well; I adamantly believe that every Corner Man or Ringside Medic at any fighting event, be it Sport Tournament, MMA bout, Boxing Match, Judo or Jujitsu competitions, should be not only educated in this, but also certified. All of us have witnessed many “accidental” Kyusho attacks where those attending could not do anything for the victim.

One of the problems is that it is not accepted or therefore legal YET… This is a huge problem as there is a serious lack of responsible or workable emergency assistance methods (that work).

This is so important as we know the longer a person is left unconscious or not properly restored from such a blow, choke or manipulation, the worse it is on the recipient.

In fact think back to all the fights you have watched where a person gets dropped (or KO'ed) and they do not know where they are (such as a technical KO in Boxing), given a standing 8 count to see if they can continue), or a full KO down and out. The typical response is look it their eyes and ears, or administer smelling salts (inhaled chemicals, that damage brain cells) and many times not really effective. So in affect they have few real or safe answers! Well Kyusho does, the neurological technique we employ is not chemical, it is effective and it stops the repercussions these athletes someti-

“What if you could make them more alert with one single slap on nerves, or teach them to do this to themselves anywhere anytime?” mes feel for several days or weeks. It is also duplicable by anyone as we have proven all over the world on thousands of people. Can you imagine if a dazed fighter could instantly restore their vision, balance and senses to continue by themselves in the middle of the action or standing 8 count? It's not only possible, it is all so simple, unless they do not know it… how many legendary fights may have turned out differently? Or think of yourself caught off guard and getting seriously dazed or incapacitated, would you want to know a simple and quick way to possibly regain some physical control…or would you rather give up and remain weakened for the

opponent?

Now going even further many professional sport teams from football to hockey who incur far more injuries than the typical Martial Artist could use this skill. What if they had this knowledge, what if they had this capability to reduce injury, enhance focus and relieve pain? Think of what hat would mean to their teams safety, moral and greatly enhance performance or stamina. Many professionals instead are now resorting to sideline smelling salts or ammonia capsules for a boost of clarity and adrenaline… at the risk of brain and possibly organ damage. They cannot keep doing that for long, their careers end prematurely.

What if they or you knew a point on the back of the arm that would relax all the muscles, for a nervous competitor or to assist in ridding someone of a cramped muscle before, during or after a competitive event? What if you could calm someone's nerves so that they respond and react quicker and more efficiently? What if you could make them more alert with one single slap on nerves, or teach them to do this to themselves anywhere anytime?

The importance of this information should be underestimated nor should it be ignored.

In closing it has been a great journey with all of you that have read and watch (hopefully even learned) Kyusho

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Vital Points with the aid of these publications. There have been many texts and profits of Kyusho and or Dim Mak that state you cannot apply these points as they are deadly or cause lasting damage to the body, that is simply untrue. You have witnessed over the years (since the first public article and film began in September 2002, with Budo International), that although the effects are dramatic, fully controllable and incapacitating, that no one died. In fact no one was injured or suffered lasting effects after the application of these first aid techniques.

We have been brought to task on so many occasions with many people saying we are crazy or are recklessly endangering our training partners‌ this is simply a statement of someone ignorant of what Kyusho really is or lacking in experience with it. In fact in almost 30 years of its resurgence into mainstream or public knowledge, there has not been one Kyusho related injury or health issue‌ what other Martial Art can say that?

It is my hope that these articles, books and especially the DVD's have shown you that Kyusho is real, it is not magic or

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Report even mystical, but rather based on human anatomy and physiology. It was my goal to break down the shroud of mystery so people could understand the simplicity as well as actual methods over the plethora of misinformation on the web, in books and other videos.

We hope to bring even more clarity and dispel more myths in the next series‌ but in the meantime keep

sending us questions or concerns to support@kyusho.com so we can answer them in our ongoing monthly column.

Disclaimer: It is not everyone in Kyusho (or that says they do Kyusho) that has this understanding, capability, knowledge or skill. It was fostered and advanced in the Kyusho International group above

and beyond other groups or organizations. This is only stated here so that the reader will be aware of where they can seek and learn this multi-faceted approach to their Kyusho Education.

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This First Aid DVD is critical information for Kyusho as well as all Martial Arts practitioners, that eventually will encounter a situation that requires during training.

In every school where sparring and hard contact fighting takes place there are students and instructors who have suffered injuries. They may have been knocked out, have difficulty breathing, muscle cramps, dizziness, nausea, or other ailments caused by a harmful practice. "Accidents" happen and we have an obligation to correct them as soon as possible for our training partners. This information should be mandatory for all "instructors" in order to preserve the safety and welfare of their students,as well as coaches at Martial Art competitions. This DVD is the first in a series of works by Evan Pantazi, focusing on the "other side" of Kyusho, with attention to the science of the "energy" of each student as well as their health and welfare. This is where the deep secrets of the Martial Arts are really hidden.

REF.: • KYUSHO19

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

ORDERS: Budo international. net

REF.: • CONDE1

Alle DVDs, die von Budo International produziert werden, sind mit einem speziellen Hologramm-Aufkleber versehen und werden allein in den Formaten DVD-5 oder MPEG-2, jedoch niemals in VCD, DivX o. ä. angeboten. Zudem zeichnen sich unsere DVD Hüllen durch die hohe Qualität in Druck und Material aus. Falls diese DVD und/oder die DVD Hülle nicht den oben genannten Ansprüchen entspricht, handelt es sich um ein illegale Raubkopie.

ORDERS: Budo international. net

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Canada The Quebec Open 2013 held April 26-27, 2013 in Quebec City, the oldest and most beautiful town of Canada with a history dated back to the 1800s. The City represents quality shops, elegant restaurants with variety of French and Italian food. On the way to this part of town one can view magnificent architecture of the streets, buildings and historic landmark parks of the battlefield with large walls leading to the hill where there is the river view from the top of the hill and on the other end one can see the a architectural background of Quebec City buildings.

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he 33rd Quebec Open started on Friday at the Peps Arena of Laval University where more than 3000 competitors were in attendance ready to compete in forms, weapons, extreme Kata, musical kata and adults black belt fighting. By the evening on stage were demonstrations of self defense, team demo was outstanding with young and

old demonstrating to background music. Competitors resumed with fighting elimination for individual men & women as well as black belts 13 and under, junior 17 and under, senior 18 and over. Prize money was awarded to all Grand Champion, winners and 1st place runner-up including at large silver cup trophy. On Saturday it was a full house with competitors from several countries and spectators surrounding over 30 rings. It was awesome to watch how well organized this event was as competitors were

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Report monitored carefully at each ring while they proceeded at the request of ring coordinators, judges and referees. This is how the Quebec Open built itself a strong reputation to become the best in the circuit. Thanks to its quality and proficient team spirit and especially the organizer Grand Master Clermont Poulin who steered every one in charge to the right direction. He is a honorable, sincere, respectable and friendly gentleman, a family man and a humble martial artist practicing Nick Cerio's Kempo Style of martial arts since 1970. He idolizes Bruce Lee and greatly admires his father. GM Poulin operates his school in Quebec, Canada with affiliated M/A schools that totals 8000 martial arts students, indeed that is a great accomplishment.

Early Saturday morning the competition continued with weapon forms, traditional kata and fighting ranging from boys & girls 5 years and over, junior to black belt. Combat fighting, adult black belt for men and women were held in eight different weight divisions with all 1st place winners qualify to compete for the grand championship finals in the night. The

performance of all competitors on stage Saturday night finals by all the winners, was outstanding. The winners and grand champions, are as follows - Weapons: 13 years and under men's grand champion, Dallas Liu. 14-17 yr girls weapons won by Sammy Smith.

18years and up men's form won by Jared Laker, women formsG.C 18 years and up won Cathlyn Dechell. Grand Championship overall 13 years won by Eden Cansidant. 14-17 G.C men's forms won by Taylor Weaver. Defi Challenge won by Anadel , Combat Team 13 and under won by Team Canada vs USA. After the intermission I had the opportunity to present GM Clermont Poulin with an induction plaque from Budo Magazine Hall of Fame April 26, 2013 on behalf of Alfredo Tucci and the Budo Organization as Legend Grandmaster and Goodwill Ambassador to Martial Arts. The finals then continued with Charles Olivie winning in forms Grand Championship 17 and under, men's G.C. 18 & up weapons won by Shawn Johanvash. Women's G.C. weapons division 18 and up won by Cathlyn Dechell, Grand Championship team demo won by sport action. Overall the Quebec Open was a magnificent event to watch. I was pleased to have the opportunity to be involve and explore this memorable sports championship. Congratulations to all the athletes and especially GM Clermont Poulin for a job well done.

GM Maurice Elmalem

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Self Defense Facing Cold Steel - What would you do if you were confronted at knife point?

At close quarters the knife is the most deadly weapon. FBI statistics show that 35% of all violent crimes committed are with knives. Violent crime constitutes aggravated assault, robbery, forcible rape and murder. In the USA violent crime has been on the upswing 2/5% each year since 2004 and doesn't seem to be slowing down. In NYC alone there were approximately 55,000 violent crimes committed in 2005 and that's the ones that were reported. Remember crimes like forcible rape are never reported because of the embarrassment associated with it and having to deal with being put on the stand if and when it goes to trial. Violent crime has become such a part of our culture that when a heinous crime is reported and strewn across our TV sets we are no longer fazed by it anymore.

Those who commit robbery, rape and assault their fellowman often favor the use of the knife to impose their will on a helpless victim. The knife has several distinct advantages for this. It's silent, it's deadly and it leaves no telltale barrel marks or bullet slug by which it can be traced. In self-defense, many Americans have taken to wearing fold up knives as a means of protecting themselves. Be on the lookout for a small leather pouch with a snap top attached to the belt, or a metal clip that attaches to the inside of pants pockets, and if you haven't caught on to what's happening in the street, you'll be surprised to see how many men are wearing this unobtrusive weapon.

While knives are indeed weapons, they pose a problem in terms of weapon control laws. In our society, the knife is still considered a tool, and there are many justifiable reasons for carrying one, especially among blue-collar workers. Much has been made of the rapid increase in handgun sales especially since post 9-11, but little mention is made of the fact that knife makers have never enjoyed a better business.

What should you do if you come face to face with a knife-wielding assailant? For the average citizen, the answer is simple: Run as fast as you can if the circumstances permit a hasty exit. Even if your attacker has never used a knife before in a life-threatening situation, the untrained have no business going up against cold steel. They'll just end up on the short end of things. The only time I'd advise you to make a stand is when you are armed with a gun. Of course if that fact is apparent, your would-be attacker probably won't even make a move to challenge you with his blade. As the saying goes “never bring a knife to a gun fight�.

Now we've covered the niceties of the situation and expressed my opinion. We also recognize that many people do carry knives for self-protection, and that others may feel that a knife merits their consideration. We also accept the fact that the occasion may arise when only a knife is available for selfdefense, and that it may be necessary to fight ruthlessly to save your own life. In such situations, it's only fair that you have some idea of what you're up against. If you're squeamish, you might want to skip the rest of this chapter, as it's likely to seem repulsive and vicious to those with faint hearts.

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Reportage The double-edged straight blade design is best for a self-defense knife.

The straight blade permits thrusting motions between the ribs or into the eye, ear or throat of an assailant. The double edge permits you to move the knife in a slashing motion to either direction with equal effect. Blade lengths vary and should be chosen according to intended use and ease of concealment. That's right: to be effective, you must keep a wouldbe attacker from realizing that you are armed. A three inch blade is useful for slashing the wrist, throat, leg or face, but for thrusting motions to the groin, lung or kidney areas, the longer blades are necessary to reach the vital organs.

There are three major types of knives available: the boot knife, the belt buckle variety and the folding knife which is the most widely carried. The one downfall about folding knives is that they are slower to get into action, a factor that can make the difference in who survives the encounter. So like anything getting one into play requires both practice and sufficient warning of your attacker's intent.

Time is of the essence when you're facing a life-threatening situation involving a knife. This means that the knife you choose must be quick and easy to bring into play, and that your potential attacker must be unaware that you are armed. If he realizes thatyou are his equal in terms of the weapon you possess, he'll bypass the intimidation phase of a knife attack (such assailants seem to enjoy this phase) and go for broke immediately. You have to take such assailants seriously - only a fool threatens another with a knife if he has no intention of using it.

As you do with any other self-defense weapon, you should check with your local police to determine what (if any) local or state laws are involved and then balance that information against your need to carry a knife for self-defense. In most states the possession of a double edged knife is against the law and will get you arrested. It is considered a tactical weapon that has only one purpose. In the TriState of Connecticut, New York and New Jersey a folding knife is allowed to be carried on your person as along as the blade length is four inches or less. But that does not mean you can carry a fixed blade of the same length. For example in the United Kingdom it is illegal to carry any knife on your person no matter what the circumstances. So it is extremely important you check your local statutes.

While I'm not advocating you break any law or laws, I realize that if you are killed in an encounter, you're dead forever.

On the other hand if you survive an attack, you can hire a lawyer to handle the legal aspects - as long as you didn't cut your opponent into 1-inch squares. Justice can be just as perverse when you defend yourself with a knife as when you do it with a gun. Suppose you are jumped late at night by someone intent on bashing in your head to get your wallet. If you can pull your knife and defend yourself successfully, don't call the authorities. If you do, you may find yourself on the wrong end of a lawsuit (there are also lawyers who'll take his case) and wind up serving time as well as paying his hospital bills all as result of defending yourself.

If you keep a knife at home for self-defense against a housebreaker, cement onestrip of Velcro material to the handle and the other above the front doorjamb. You might also want one above the back doorjamb. Make sure it's out of the reach of small children in the house. Another knife should be kept in the bedroom, within easy reach. In your car, the best place for a knife is under the front seat. Depending upon your situation, you might find other locations where the availability of a knife should be considered.

The fact that you have a knife handy and within easy reach is of little value unless you know how to use it after you've brought it into play. How you hold a knife is important in its use, as well as the psychological impact it makes on your attacker. If you use the proper grip and give the appearance of being an expert in its use, you may actually avoid a nasty situation. He's not as likely to engage someone who

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Self Defense might best him in a fight to the finish. For this reason, an air of confidence (no matter how hard it is to muster) can go a long way toward ending the confrontation without further ado. Again, I'm not advocating that you try to bluff your way out of a bad situation - if you draw a knife, you'd better be prepared to use it in anyway necessary to protect yourself. There's no such thing as putting it way with a weak grin and mumbling that you were kidding.

Two common grips allow you considerable leeway in using a knife. One is the foil grip in which the thumb is positioned along the side of the handle. The other is the saber grip. In this instance, your thumb should be behind the guard to protect it from any slashing motions your opponent might make. A third is the hatchet or ice pick grip, with which most women instinctively hold a knife. It's great for up or down thrusts, but leaves you wide open for an attack.

How you stand will determine how effective you are, as well as telling your attacker a good deal about your skill, or lack of it. If you face him with a full frontal stance, you're limited in the number and type of offensive/defensive movements you can make. You also present him with a nice big target for slashing, and an opportunity to throw you off-balance easily.

The skilled knife fighter will place one foot forward with the other one behind, allowing his opponent access to only one side of the body. The forward foot can then be used as a pivot point, allowing you to swivel or move forward/backward as necessary. If you are right handed as most people are you will have the right foot back. This is called the Apache stance which has been adopted by the US Marine Corps, the Israel Defense Force and most Elite fighting units throughout the world.

At this point, let's stop and assess the situation. For whatever reason, you are now in a life-threatening encounter.

You're there because there was no way to avoid it. Your opponent is armed with a knife and so are you. I've given you tips on holding your weapon and facing your attacker.

When it comes to knife fighting there is no such thing as a fair fight. Use every dirty trick that comes to mind. Do your best to unbalance, unsettle and otherwise distract your opponent. Let out a vicious scream. Drop into a crouching position; pick up dirt, sand or stones; and throw them into his face, following up immediately with a quick body slash. Reach into your pocket with your free hand and throw coins at him. Grab a heavy stick if one is available and use it to deflect his thrust or to strike his wrist. The quicker you can disable him, the better. In short, turn into a vicious snarling animal before he does. The psychological effect on you will bring on the needed surge of adrenalin; in this case, it's likely to throw him momentarily off guard.

Here's how most experts would assess your situation. Your assailant undoubtedly picked you as a helpless victim. Suddenly you've reversed his picture of you. The majority of knife-wielding attackers will break off the encounter at this point. The ones who do not are sadistic, stupid or on drugs. This type will probably press the attack for the fun of it because he doesn't know any better. If he does, it's important that you draw

first blood - and quickly.

Whenever a person is cut, it produces a peculiar form of psychological shock, especially if the cut starts to bleed profusely.

This is why you should use a slashing motion and move quickly to make the attacker bleed. The person who is cut and starts to bleed may faint, draw back, or even lose his confidence and break off the encounter. If your attacker is not sufficiently upset to take off and reconsider his actions, you can be sure that you're in for real fight. At this point, you will probably have to either maim him or kill him to end the encounter.

As you can see from the situation I've put you into, using a knife for self-defense purposes can bring you to the point where you will have to shuck all vestiges of what I call civilized behavior and fight for your life. This is something that not every individual can do that easily. And it's another good reason why I suggest you bypass the knife as a defensive weapon - unless you are certain that you can cope with a savage encounter without hesitation. He who hesitates in a knife fight is almost certain to

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Reportage end up the loser - and I don't think anyone should take foolhardy chances if he or she is not capable of dealing with them.

In spite of this, if you do decide to carry a knife with you for self-defense, I have one last word fro you. Hindsight is clearer than foresight, but you should think ahead and stay away from areas where a knife attack is likely to occur. If you see a situation building to the point where such an encounter is likely remember that discretion is often the better part of valor and get out of the area as fast as you can. Even though you are armed, you should do everything in your power to avoid getting entangled in a nasty situation. The one comforting thought, however is that if everything fails, you should have a fighting chance.

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Self Defense

Head Bouncing The Head Bouncing Drill When I was a corrections officer working in the Costa Mesa Police Men's Jail in 1990 a prisoner attacked me and ran me into a metal bunk bed trying to crack my skull open. After the fight was over and CSI took photos of my injuries, and my pain and anger diminished, I thought to myself, “This prisoner was a true

fighter. He used the environment in his own cell to his own advantage. He knew exactly what he was doing when he shoved me. He used the bunk bed behind me as a weapon. Had I fallen back, landing just six inches lower, my head would have been split open by the metal bar of the bunk bed mattress frame. Bravo for him.”

Then the thought hit me as hard as that prisoner's shove, “If criminals can use the environment as a weapon, then so can I.” That moment of reflection, which is my learning process that always follows mortal combat, gave birth to the idea of an original self-defense training drill that I would eventually refine over time and train thousands of people in for years to come. To create a bit of trepidation I named the drill the Head Bouncing Drill and finally placed it into my Jim Wagner Reality-Based Personal Protection Level 1 Ground Survival course.

Just the name alone, when I mention it to my students as we come upon it in the outline, conjures up images of bloody lips and lumps on heads, and it very well could lead to that if it were not for my strict safety measures I have in place.

To run this drill I select two students.

The minimum safety equipment each participant must wear is a hard shell Protec helmet, the type the U.S. Navy SEALs wear during maritime operations, wrap around eye protection, elbow and kneepads. Then I place the students in a corner; preferably with cement walls on both sides. If the facility that I am teaching at does not have a good corner to use inside the building, then I try to find a suitable corner outside.

I have one student go down on his hands and knees sideways to one wall, practically touching it with the side of his body, with his head pointed into the corner. This is a very awkward position, and it is meant to be. Nobody in a real fight would get in that position on their own, and so I must select the position for them. This is what I call a Position of Disadvantage. Real fights are fluid, and things happen instantly, like finding yourself in a bad situation because you slipped, made a mistake, or the opponent slammed you there. When I start a student off in a Position of Disadvantage then that is the beginning of a micro-scenario. A micro-scenario starts at a specific point in time and is stopped by the instructor for safety reasons or the objective of the drill has been achieved.

The second student participating in the Head Bouncing Drill is down on one knee next to the student who is on all fours. Once they are in place I explain the rules to them, as well as to the rest of the class who are all in a semi-circle around me and the first participants.

“When I yell out, “Go!” you, the one on top, will try to smash your opponent's head into the wall or into the ground. However, you on the bottom, in the Position of Disadvantage, you don't have to take it. Oh no, in fact, I want you to try to get out of his grasp and do the same thing to him. Smash his head into the wall or the ground. Once, twice, or however many times it takes. Use the walls and the ground as a weapon.”

Both the participants and the observers look at me in horror. I don't say anything for a few seconds to let their imaginations contemplate the worse. Once I see the affect has worked I head their fears off, “Of course we are going to do this safely.

You are not going to run someone's head through the wall or bounce someone's head off the ground with fullforce, but rather you are going to tap the helmet into the environmental weapon like this,” and I demonstrated with the student in the Position of Disadvantage by grasping his helmet with both of my hands and lightly pushing his head into the wall with two taps.

Everyone relaxes when they see and hear that the strikes to the wall are nothing to be concerned about. I justify the drill, “If you can tap lightly like this, then I know that in a real fight you are going to drive his head into the object.

Adding the force later on is easy.

Thinking about using the environment as a weapon is the hard part.”

After the first round, which usually lasts less than five or six seconds before someone's helmet is tapping the wall like a woodpecker, I have them stay in the same roles, but then I'll put the bottom student into a different Position of Disadvantage; usually sitting on their butt with their back in the corner. In a real fight this can easily happen when someone drives you into a corner and you are knocked down.

Then, like the first round, I bark out, “Go!” and they try to get the upper hand on one another and hope they can produce the tapping sound I am listening for.

After two fights I have them switch rolls, and once again two different positions to fight out of. Occasionally someone goes a little too hard, or a helmet strap starts sliding off and chokes a student, and that is exactly why I am there to monitor the drill and stop it before anyone gets hurt. For the two decades plus that I have been doing this drill I have yet to have any injuries.

After everyone in the class has had the opportunity to go the Position of Disadvantage and the Position of Advantage, twice each, they are all in agreement that it is a drill that reprograms them to think about using the environment as a weapon in deadly force situations. They also agree that the drill is very unnerving when they head their own helmet hit the wall or ground, for they know that had it been done with full force they probably would have sustained a massive head injury.

For about two minutes I tell the story of the prisoner who attacked me in the jail and how his push gave me the idea to develop the Head Bouncing Drill.

Be A Hard Target.

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REF.: • CHTPP1

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

ORDERS: Budo international. net

Karate has become a competition sport, and has spread worldwide, though its roots are still alive, and this DVD is an excellent example of this.

Shihan Toshihiro Oshiro, native of Okinawa, is a recognized authority on the history and techniques of traditional Okinawan martial arts. He is president of the Ryukyu Bujutsu Kenkyu Doyukai (RBKD), which dedicates its work to the research and development of Okinawan Karate and Kobujutsu technique, and in particular the teaching of Shima-Ha Shorin-Ryu Karate and Yamanni-Ryu Kobujutsu. The style bases its work on understanding body biomechanics and internal dynamic physical system through the old kata, defending the traditional way of practicing Karate as a unitary system, as opposed to actual sport Karate. With the help of Sergio Hernandez Beltran and Cristobal Gea Gea, President and Technical Director and Secretary of the RBKDSpain respectively, Oshiro Shihan presents the Shima Ha Shorin-Ryu basic kata: Sonoba Kihon (basic techniques in the same place), Ido Kihon (Basic techniques in motion), Kihon Kata 1-3, Pinan Kata or Basic Forms 1-5, Naihanchi Shodan, and the first two basic Sai forms (Shimabukuro No Sai).

REF.: • OSHIRO1

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

ORDERS: Budo international. net

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he leg obstruction is one of the least known of the JKD techniques, but at the same time the Wednesday Night Group considers it one of the most valuable techniques in our self-defense arsenal.

I think that the reason we consider it so valuable is that it was one the main techniques that Bob Bremer stressed so much every Wed in my garage.

Bob worked with us so much on it that most of us could do it without thinking. It has become an automation reaction to any hand attack. It is now so automatic that most of us can do it against a surprise attack and without thought. “We don't hit. It hits”, but to learn to really make it work in a real life situation you need to do two things: 1. You need to understand the value of the leg obstruction for both attacking and defending against an attack. Unless

T

he understands the value of it, the student will not spend the massive amount of time working on it to really make it work in a real time situation.

2. Once the student understands how useful the leg obstruction really is, he will need to spend countless hours working on it. I think a lot of JKDers never really “got” it because they

found it so awkward to do at first.

Believe me it takes a lot of work to do it correctly. Besides having your shoulders square, you also should have your foot as horizontal as possible.

While a lot of my students can do this, as hard as I try, I can never get my foot completely horizontal. My hip doesn't seem to work that way.

Photo 1: Two people - showing author with leg obstruction on partner's shin. You can see that it is more diagonal than horizontal. While this will work, it is better to have the foot horizontal so as to have a much of the foot as possible on your opponent's shin so that you do not have to quite as accurate with the placement of the foot.

Photo 2: Close up of horizontal foot on shin.

Luckily even though I never got it exactly correct, I never gave up on it, and I can make it work well enough to have become one of my main tools.

The Wednesday Night Group tries to spend most of our time on what we will do most of our time in combat. We feel that it is best to be able to do a few things well than a lot of things not

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so well. That is what Bruce Lee really meant by “daily decrease”. It is for that reason that we try to spend about 80% of our time on what we will do 80% of the time. When the crap hits the fan and someone attacks you without warning, you do not have the luxury of enough time to sift through 30 different responses to this particular type of attack. The advantage of the leg obstruction is that it will work against almost any type of empty hand attack as soon as the attacker has penetrated the fighting measure. The fighting measure can be defined as that distance that is far enough away from you that to touch you, your opponent must take a step toward you.

Thus giving you the time to respond.

But even if you are late to respond and

the attack has not landed, the speed and basic structure of the leg obstruction can still keep you safe from the attack landing. To explain this, we need to show you the leg obstruction in action. Please give the author some slack on the foot not being completely horizontal. While I could have gotten most of our instructors to show it correctly, I felt that it might give some hope to others that even an old klutz can make it work. Even if you are a young klutz, don't give up on working on it for the many hours it will take to get it well enough to use it. Bremer always told us to “ Do it until you own it”. Someday it may save your life.

Photo 3 - 2 at fighting measure Photo 4 - A: Steps forward and jabs.

B: Leg obstruction

The Style of Bruce Lee

Notice on the leg obstruction that the shoulders are square. Like the support on a bridge the shoulders must be square to make the technique solid.

Photo 5 - 2 people side view - shoulders on leg obstruction not square.

To test this, have your partner push on your leg obstruction with the shoulders not square and then square and see the difference in the strength of the stance.

Notice that the person doing the leg obstruction has his rear hand placed at his chin. This done as you move forward to counter attack and as the leg comes forward.

Photo 6 - The leg obstruction _ way to target.

Notice that the front leg has a natural bend to it and the front hand is being retracted as the front arm is reaching out to cover the centerline and help to defend against any hand attack. When

contact is made the power of the leg obstruction will come from the rotation of the body as well and the snap of the kick about 2 to 3 inches into the opponent's knee or shin.

Be very careful when working on this, as it is very easy to really hurt the shin or knee of your training partner.

Shin guards should be required for any leg obstruction practice. At the same time we have not found any shin guards that we can practice the leg obstruction at more than about 40% power. While it doesn't look like much you can develop considerable power with the leg obstruction, so be careful when practicing it.

One of the things that the leg obstruction is good for is to prevent the defender from either stop hitting or stop kicking either a hand or leg attack.

Photo 6 - The stop hit - Fighting measure

Photo 7 - A: attempts to land a side kick B: Stop hits Photo 8 - The stop kick - Fighting measure Photo 9 - A: attempts to land a jab B: Shin/knee side kick This time instead of attacking with a hand or leg attack, the attackers attacks with a leg obstruction, which negates the stop hit or kick.

Photo 10 - Fighting measure RTR Photo 11 - A: leg obstruction From this point the attack can followup his attack. I know that a lot of people have said that trapping does not work. This is not necessarily the case.

After applying the leg obstruction it is quite simple to trap and hit.

If you are in a matching stance (that is if both have their same leg forward) it is quite easy to drop your weight and trap while hitting.

Photo 12 - A: drops his weight and while trapping both of his opponent's

arms with his rear hand and arm while hitting with his front.

(We may want 2 photos to show this) You can also trap and hit after the leg obstruction in an unmatched stance by loping (grabbing) with the rear hand and hitting with the front.

Photo 12 - Fighting measure RT to LT

Photo 13 - Leg obstruction Photo 14 - Lop and hit The leg obstruction is also easy to apply from a natural stance/ Photo 15 - 2 at distance and in natural stance Photo 16 - A: attempts a hand attack B: Leg obstruction

As you see from just some of the uses of the leg obstruction just how valuable a tool it is. It is not all that valuable unless you can use it from wherever you are or what stance you might happen to be in at a moment's notice. But to be able to do that may take more effort than a lot of students are willing to put into it.

To mark the 100 anniversary of the birth of Imi Lichtenfeld, Yaron Lichtenstein, world´s maximum degree in Krav Maga and certified as 9th dan

by Imi Lichtenfeld, decided to undertake an extensive project in memory of the creator: explaining the official original Blue Belt program, such as it appears in the manual published by Imi 1971, in a series of 6 DVDs. The whole essence of the system, both in its physical and mental, appears in the Blue Belt level at the highest level a student can achieve. In this series, and with the help of his son Rotem, Grand Master Yaron explains in detail all the defenses against frontl attacks with empty hands, against kicks, special exercises, multiple attackers, choke or grip situations, all defenses against attacks with stick, knife and gun, knife against knife, and finally the more advanced exercises: defenses against rifle with a bayonet. A work that will enable you to understand the magnitude of the creation of Imi, the greatness of Krav Maga as self defense martial art.

This 4th DVD is dedicated mainly to Imi’s defenses against knife attack. For many people their deepest fear is to be threaten with a knife, here we show and teach Imi’s way to handle such a situation with the outmost success.

REF.: • YARON5

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:

THE ULTIMATE FIGHTER® BRASIL 2 FINALE SET TO BE FIRST-EVER CARBON NEUTRAL UFC® EVENT UFC® participates in Ceara State Government’s ‘Ceara Carbono Zero’ initiative to reduce emissions and support renewable energy Fortaleza, Brazil - The Ultimate Fighting Championship® and the Government of the State of Ceara today participated in a ceremonial tree planting as part of an initiative that will make THE ULTIMATE FIGHTER® BRASIL 2 FINALE: NOGUEIRA vs. WERDUM 100% carbon neutral. The UFC® marked its participation in the Government’s carbon offset action initiative, known as Ceara Carbono Zero, on the heels of World Environment Day, June 5, 2013, at Cocó Park in Fortaleza.

In 2011 the Ceara State Government began a carbon emissions policy under the guidelines of the Ceara Carbono Zero strategy. The strategy emphasizes support to renewable energy investments (specifically solar and wind power), the protection of the biodiversity of the Caatinga (a semiarid scrub forest situated in the northeast of Brazil), the implementation of the solid waste policy, as well as a set of overall efforts to mitigate and compensate emissions.

The State Government laid out a set of actions aimed to offset carbon dioxide (CO2) emissions at important events set to take place in Ceara throughout the next several years, such as the FIFA World Cup, the FIFA Confederation Cup and Saturday’s UFC event. The Government will work with the Federal University of Ceará to calculate the carbon emissions stemming from the UFC event.

The State Government’s carbon offset action develops an inventory of all carbon emission from transportation and operation of an event, including travel by the public to the event venue, the calculation of total greenhouse gas emissions - using the United Nations approved Greenhouse Gas Protocol, adjusted to local environmental conditions - and the compensation of emissions through the planting of trees, using native species to protect and preserve the local ecosystem.

"As a global leader in sports, the UFC is thrilled that its event can serve as a platform for bringing awareness and further helping the State Government's environmentally conscious initiative," said UFC Chairman and CEO Lorenzo Fertitta.

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"With athletes and fans from all over the world, we are proud to do our part in reducing the carbon footprint of UFC's live event this week in Fortaleza."

UFC Brazil Head of Operations, Grace Tourinho, UFC No.4 light heavyweight Glover Teixeira, UFC No.5 welterweight Demian Maia and UFC Octagon Girl™ Camila Oliveira participated in the ceremonial planting of native tree species alongside Mr. Paulo Lustosa, President of the environmental council of the Ceara State Government and Mr. Gony Arruda, Secretary of State of the Ceara State Government, at Cocó Park. They planted the following selection of trees: Tecoma stans - Ipê-Amarelo-dejardim, Pithecellobium diversifolium Jurema-Branca and Piptadenia moniliformis – Catanduva. The remaining tress will be planted in an environmentally sensitive area defined by the State of Ceara.

“It means a lot to me to be a part of this historic initiative in my home country,” said Teixeira.

“I’m a country guy, I love nature. I’ve worked in the farms and fields of Brazil and I know how important the environment, and everything that it produces, is to families and communities. I wish the whole country could create projects like Ceara Carbono Zero and involve all the other major sports events.”

Camila Oliveira, Demian Maia, Gony Arruda, Paulo Lustosa, Glover Teixeira, Grace Tourinho and Sergio Mello - IMX Vice President of Operations and Special Events Sergio Mello, Glover Teixeira, Paulo Lustosa, Gony Arruda, Demian Maia, Camila Oliveira and Grace Tourinho Glover Teixeira and local students at Cocó Park in Fortaleza.

About the Ultimate Fighting Championship® Universally recognized for its actionpacked, can’t-miss events that have sold out some of the biggest arenas and stadiums across the globe, the UFC® is the world’s premier mixed martial arts (MMA) organization. Owned and operated by Zuffa, LLC, headquartered in Las Vegas and with offices in London, Toronto and Beijing, UFC produces more than 30 live events annually. The UFC is the largest pay-per-view event provider in the world with events distributed residentially through North

American cable and satellite providers including iN DEMAND, DirecTV, DISH Network, Avail-TVN, and in Canada on BellTV, S h a w Communications, Sasktel, and Viewer’s Choice. In 2012, the UFC burst into the mainstream with a landmark seven-year broadcast agreement with FOX Sports Media Group. The agreement includes four live events broadcast on the FOX network annually, with additional fight cards and thousands of hours of programming broadcast on FOX properties FX and FUEL TV. This also includes the longest-running sports reality show on television, The Ultimate Fighter®, moving to FOX Sports 1 in September 2013.

In addition to its reach on FOX, UFC programming is broadcast in over 145 countries, to nearly 800 million TV households worldwide, in 28 different languages. UFC content is also distributed commercially in the United States to bars and restaurants through Joe Hand Promotions, in English throughout Canada via Premium Sports Broadcasting Inc. and Australia via Main Event and in French throughout Quebec via Interbox.

The UFC also connects with tens of millions of fans through its website, UFC.com, as well as social media sites Facebook and Twitter.

UFC President Dana White is considered one of the most accessible and followed executives in sports, with nearly 2.4 million followers on Twitter. Ancillary UFC businesses include best-selling DVDs and video games, UFC FIT®, an in-home fitness and nutrition program, an internationally distributed magazine, UFC.TV offering live event broadcasts and video on demand around the world, a new franchise in development with EA, UFC GYM®, UFC Fight Club affinity program, UFC Fan Expo® festivals, branded apparel and trading cards.

Contacts: Isabelle Hodge Mauro Rodrigues UFC Textual PR (21) 9307 7319 / (702) 540 0905 (21) 9764 6816 ihodge@ufc.com mauro@textual.com.br

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He has long made himself known all over Europe - Peter Weckauf is an outstanding master of modern-day self defence.

He developed the SDS-Concept, a system which meets all the demands of an up-to-date system of self defense. It is easy to learn and can be applied by everyone, regardless of their physical condition.

Young as it may be, the SDS-Concept is practiced all over Europe - in Sweden, Finland, Switzerland, Germany, Austria, Italy, the Czech republic, Belgium, Poland, Spain, France, Slovakia and even in Japan!

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Self Defense

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Article SDS-Concept - Self Defence with objects It all started with the question "How can I teach people to defend themselves effectively against strong attackers without too much complicated training?" As weapons may not be always available or useful, there has been the need to use whatever objects are there.

The SDS-Concept should be easy to teach, appropriate in use, should contain de-escalative techniques, be effective, should not harm the person using it and should cover many fields (attack techniques, easy adaptability, tactics, teamwork and special ways of training and teaching) and be available for many people (civilians, Security personnel, women, professional groups under high risk) Based on experience from security work, pedagogics, psychology, legal work and police work, the SDSConcept today offers a special education for the use of everyday items for self defense.

All kinds of everyday items are used with their various features, like shape, size, stability, risk of injury, appropriateness and handling taken into account.

The SDS-Concept is all about self defense and self protection and has nothing to do with traditional martial arts or combat sports.

Is a system like the SDS-CONCEPT really necessary?

An unexpected attack, a physically stronger attacker, a large number of attackers or perhaps even worse: an attacker armed with a knife. Unarmed defense in any one of these

situations may seem hopeless for most people, as very few people have had the possibility to learn any form of strategic self defense.

Therefore, self defense with the aid of everyday items can strongly improve our chances of survival.

With the S.D.S Concept Peter Weckauf has created a modern and individualistic system of self defense.

His love and passion for martial arts have inspired him to make this concept available to as wide an audience as possible.

He is currently teaching various courses and seminars to professional groups, members of the government, and private individuals.

He has been educating instructors as well as leading seminars and workshops about various defence systems and styles for years.

Self Defense

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SDS-CONCEPT a comprehensive system The SDS-Concept is a discrete system and is not part of an already existing concept which allows it to be integrated in any system of close combat or self defense. Practitioners and instructors from all different styles of the martial arts and self defense learn the SDS-Concept, as it provides them with a simple system of armed fighting to integrate in their styles.

SDS-Concept is the first system worldwide which has been devised for self defense with everyday items.

The S.D.S Concept involves all possible circumstances and techniques for self-defense against various weapons as well as survival and defense strategies, conflict management, the understanding of the psychology behind self defense, the understanding of different points of importance on the body, the development of movement and reflexes, legwork and flexibility, various striking techniques, weapon handling, improvised weapons, pain-control, holds and joint control, knife tactics, defense against stick attacks, the protection of third persons, fixation and control techniques, attack strategies, direct individual attacks, combination attacks, attacks through the trapping of the opponent, immobilisation techniques and many more.

The goal of the S.D.S Concept is to provide the user with an assortment of self defense techniques in a short period of time that can be used in the everyday.

However, the S.D.S Concept is not simply a mixture of various techniques, as it follows very distinct concepts and principles.

The main challenge in the development of this system was ensuring everyone and anyone the possibility of improving their survival and self

defense possibilities using simple tools and any level of experience. The various techniques need to work in any position (sitting, standing etc), they need to be both effective and useful in one's everyday life, and always be available when needed (some other weapons cannot be used in this sense, be it for legal reasons or because they are too dangerous, too expensive or too complicated to use).

Self Defense Sticks Small sticks have been used in all sorts of self defense systems such as the Takayuki Kubota's kubotan, the dulo and palm stick in eskrima/kali/arnis as well as the yawara stick in judo. The use of various objects in self defense is not a new phenomenon and has been explored for centuries in different martial arts.

U n f o r t u n a t e l y, none of these systems have been able to establish themselves as separate from the various martial arts and are often seen as secondary or unfinished by-products.

The SDS-Concept does not only use the stick. Any object can take its place - spoons, books, shoes, torches, mobile phones, magazines‌ Using everyday items is an useful alternative, especially in countries where strict laws forbid carrying a Kubotan. Almost every item can become part of a defense action.

Things may be used to amplify a punch, to add to range, to protect your hand, to focus your power and so on and so forth.

During both our training session and our seminars we recommend changing the object that you are practicing with regularly to better become

accustomed to the different objects' properties.

SDS-Concept - a system for police units and security personnel As the SDS-Concept can be easily adapted, either to meet local

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Article laws and appropriateness, or to be expanded from pure self defense to the needs of various professional groups, it has widened its range considerably. Not only the SDS is used, handcuffs, torches or small tonfas also have their place.

What's so special about the sytem?

The SDS-Concept does not only contain aggressive techniques for the radical defense against all kinds of attacks, it also offers a wide range for various attacking techniques, such as de-escalative techniques, pressure-point techniques against passive resistance, third party protection, grasping, and many more.

Education Our way of educating follows two paths - one for students and one for 6 instructors' levels. One of the greatest assets of the SDS-Concept is its compatibility to almost all other systems. Many instructors incorporate the SDS-Concept into their own systems or offer it as additional self defense classes.

Our instructors are not only trained in all the relevant techniques and tactical finesses of the SDS-Concept, but also in didactics and methods of teaching. Teaching and adapting are crucial to the SDS-Concept.

Instructors' courses include training of techniques, fluent motion, and adaptation to various situations as well as psychologically appropriate contact with the practitioners in SDS-Concept classes.

Who are the target groups?

Thanks to its simple rules, the use of the S.D.S. is open to everyone and anyone who would like to feel safer through the use of a weapon. It is especially beneficial to those who may feel inferior to their attacker in any sort of dangerous situation.

Carrying of an S.D.S. helps achieve a greater feeling of personal safety and when used correctly, can be extremely effective in one's self defense. As

Self Defense a very subtle object of self defense it is rarely noticeable and allows the wearer to feel safer whilst walking from one's house to the car, from the parking lot to work, in public parks, out shopping, at cash points and any other such public areas.

The S.D.S. system is one of the most reliable, as well as one of the most successful, forms of self defense for females. The simple yet effective handling of various everyday objects that the S.D.S. system teaches makes its use highly recommendable to females.

Principles and Concept The SDS-Concept is based upon a few principles and concepts. The system is therefore quite comprehensible and can be applied and adapted for any situation and demand.

Due to the wide interest which the SDS-Concept has raised, we are quite interested in spreading the SDSConcept worldwide and to introduce it to as many interested people as possible.

Special courses In the SDS-Concept we offer various courses and trainings, such as a Fast Defence Course, classes for women, Security training, torch classes, car Defence, Instructors' courses and many more.

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Text and photos: Salvador Herraiz, 7th Dan Karate New York, 2010

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Yes... you're reading Black Belt magazine, not a travel guide, and yes ... this is the skyline of New York, of the "Big Apple", the city where Master Oyama, a key figure in the history of Matsutatsu Oyama's Karate, lives.

Our guest is perhaps the most prestigious master in Kyokushinkai Karate world-wide.

Shiger u Oyama (to whose family owes the Kancho his name, since, as almost everyone knows, Masutatsu Oyama was Korean), settled in America in 1967, which very probably put him aside from the possibility of becoming the official successor of the legendary creator of Kyokushinkai. Our partner Salvador Herraiz recently traveled to New York to meet Master Shigeru Oyama and brings us here today his histor y, thoughts and wor ds in another of Salvador's epic stories that, step by step, month by month from these pages, go on unveiling the secrets of the karate history. Don't miss it!

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Reportage Centrally located in Manhattan, but almost hidden in an apparently office building is Shigeru Oyama's dojo.

During my stay in New York I go to the dojo a couple of days. The atmosphere is friendly and sincere. I feel comfortable there. Shigeru Oyama receives me very affectionate and sympathetic, even chatty when confidence increases (which is quite soon).

Shigeru Oyama was born in Tokyo in 1936, namely on July 7, San Fermin! (sorry for the joke). Shigeru was the second of four children of a Korean family settled in Japan with great success in business. He soon started practicing Karate through a relative named Nauru, Professor of Biology at the University of Kyoto, who at times practiced Karate in the garden of the big familiar house and under the approval of Shigeru's father, who was also fond of this Martial Art. "My uncle was a master of Goju Ryu who had reached Gogen's same level." "Really?" "Yes, although he did not come from the line of Chojun Miyagi."

There used to gather several Koreans and one of them began working for the family carrying out such disparate jobs ... (or maybe not) such as babysitter and bodyguard. His name was Choi I Yong, later known as Masutatsu Oyama in honor of the family of our hero today, that had given him shelter and support.

Shigeru remembers well those times.

"Masutatsu Oyama was the pupil of another Korean teacher from his same province, Mr. So Nei Chu, who gave Karate lessons in my house, and had practiced with other masters like Funakoshi... But Masutatsu had no money to open a dojo, and so he taught an important group of students also in the garden of my house". "Interesting garden, that of your house!". "My uncle was the one who actually granted the name Oyama to Masutatsu after he came from Korea." In reality, it seems that the new name for Masutatsu would come later and by means of the first Korean Ambassador in Japan after World War II, Mr. Lee. World War II did away with the family business that turned into a terrorist target for communist guerrillas, since Shigeru's father had been the founder of the South Korean Democratic Party, based in Tokyo. Masutatsu helped as far as possible Shigeru's family and especially him, who by that epoch entered the University of Japan, asking him to learn Karate with him. "From the beginning I loved Karate. I was so focused on karate that I forgot everything else. After practice I felt ... great!. Masutatsu Oyama was like a second father to me.

There were many years together. He used to do Sanchin with Ibuki breathing but ... what he really liked was fighting.

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To him the important thing was Kihon and Kumite. Our trainings lasted four hours and only half an hour was dedicated to Kata. The rest was Kumite and a lot of physical training."

In the mid 60's Masutatsu Oyama asked Shigeru to go to the United States and devote himself to develop Karate there. Richard Bernard had written Masutatsu asking him to send a Japanese instructor. Shigeru refused to go several times, so Mass provoked him repeatedly making him look like ... "a chicken", and running the canard that "Shigeru doesn't want to go to America because Americans are too big and strong for him." Shigeru Masutatsu tried to explain that it wasn't true and the founder of Kyokushinkai responded ...

"O.K. Prove it!". But Masutatsu had yet another surprise for Shigeru before going to the U.S.A.: "You must do the100 match test", he said. Shigeru prepared himself thoroughly during his classes at the Oyama's Hombu Dojo, where he already was the Chief Instructor. "I went through the test with no problems as I was very well prepared and so I felt and I knew it. When I finished I was taken x-rays and doctors saw several broken ribs. It's the hardest thing I've done in my life. I this type of test you fight not only with your body but also with your spirit. There are 50 people and you have to fight twice with each one. From the middle of the test on, things become hard because you have no more physical strength, but you already know your opponents well and they know just as well that you are are fighting for something important that you're determined to achieve."

Finally, in 1967, Shigeru, who was already married, moved to the United States convinced by Masutatsu Sensei, settling down in New York from the start ... barely speaking English and with just a few dollars in his pocket. After seven years in White Plaines, Oyama had already made himself a name.

But it was hard for him to adapt there.

Everything was so different! He was often tempted with the ide of going back to Japan, but Masutatsu took great care of removing

from him any intention of returning. "I received a letter from Masutatsu Oyama in which he told me: Do not come to Japan. Stay in America and die in the U.S. I was worried but finally everything went all right." He moved to Fairfield in Connecticut and his fame continued to grow. His brother Yasuhiko also came to America and opened a dojo in Alabama.

But over time, uprooting and differences, ... may make an appearance.

Indeed, in November 1975, Shigeru's relationship with Kyokushinkai organization has diminished and in 1981, after over 30 years in it, becomes independent forming what he calls the World Oyama Karate. Shortly after, in 1983 Oyama settles in Manhattan where his dojo becomes a Karate benchmark in America.

In January 20, 1984, Masutatsu presents Shigeru Oyama a beautiful engraved plaque in which he expresses his gratitud for his long and important work with the following words: "To Shigeru Oyama. This award is proof of our

Reportage appreciation for his long devotion and dedication in the promotion of Karate in his country, and his endeavours to overcome all obstacles to help develop the ideology of Kyokushin Karate. International Karate Organization Kyokushin Kaikan.

Kancho Mass Oyama".

Masutatsu Oyama always had a reputation of being a tough, rough, almost unfriendly. I still remember, I don't think I'll ever forget, when in 1988 in one of my trips to Japan, I asked him for an appointment. At that time, I didn't remember that his organization in Spain was was in bad terms with the Spanish Federation of Karate, so I presented myself on behalf of the official journal of the Federation, as it was the case. When Oyama Masutatsu learnt who was I got very angry and told me that if he gave me his explanations of Karate and I ever changed or misrepresented any of his words I would have serious problems with him. Problems? Of course I didn't want problems and in that moment the Oyama myth collapsed before my eyes. He then, trying to reach an agreement, he suggested that I should indicated the topics in which I was interested and then he would say. But everything had changed and I no longer had any interest in him. Finally things remained like that. Then it came to my mind that, not long before this ... incident, Masutatsu had visited Spain to attend a tournament in Barcelona. I was there, out of curiosity, and I remember the founder being presented as if he was a movie star, surrounded by bodyguards, preceded by portable lights, and ... well, a whole paraphernalia that in that moment disappointed me somehow. Instead, just recently I met up in Tokyo with Kikuko (Kuristina), Masutatsu's daughter, and she was very nice with me. Of course I didn't make any comment with her about the incident I'd had with his father more than 22 years ago. But, what do ... now we are with Shigeru, who justifies the lifestyle of Masutatsu by "the way ohe had trained trhoughout his life.

A very intense physical training for hardening."

But Shigeru Oyama is really sympathetic, friendly in class as well as outside class. It's made me change my mind about what I expected (I thought of him being harder in his relationship with the world ). I've already been surprised in this regard with other teachers throughout my life. With Masatoshi Nakayama it was a very positive surprise; instead Tsutomu Oshima, of Los Angeles (California), despite his kindness ... he didn't transmitted me what I expected, as well as Hidetaka Nishiyama. About the rest of the dozens of teachers I've met ... very well with everyone.

Shigeru Oyama gives his class to a group of people (a small group, to tell the truth) , with sympathy and kindness. He scarcely can do much. Perhaps the training excesses and hardness of a lifetime are now charging him a toll. He still moves with ease on the mat, but seems unable to do much physical activity.

We've been for a while with Oyama in his dojo. He is in no hurry ... neither are we. Is this the legendary master dojo that has been a center of pilgrimage for the world Kyokushinkai?

"We've been here for ten years. Before we were in another place near here, on 6th Avenue. There I spent a long part of my life. But ten years ago they wanted the site to build a new house, they paid me good money .... so we moved. " Because of the retirement situation of Oyama sensei, the dojo is currently run by Master Daisuke Matsumoto, to whom I want to thank for his help in achieving me an appointment with Shigeru Oyama.

"Matsumoto is in charge of the dojo, and now I only come from time to time." Shigeru Oyama of course has a high regard for Matsumoto.

In a preferential siege in the entrance hall, we can see a couple of photos of Master Oyama, one breaking a bunch of roof tiles (a well known picture in the world of Karate) and another one in which he appears alongside Ronald Reagan in the Oval

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Office of the White House. He proudly explains to me ...

"Ronald Reagan was a student of mine. He is a 5th Dan." "But he was your student in Washington or here in New York?"

"Here".

When Shigeru Oyama moved his dojo to this other place in the "Big Apple", much of his memories and trophies were taken into the garage of one of his major students. It was there when watching the plate that Masutatsu had given him in 1984 he couldn't avoid yielding to melancholy for a moment and said ... "I never wanted to leave Kyokushin. I was the oldest student and ... I miss my sensei."

Important divisions have occurred in Japan within the Kyokushin, as in every style of Karate, all of them claiming their originality and fair succession. In fact, after the death of the founder it was embarrassing to see all those groups, friction, disloyalty, etc., happening everywhere. "How do you get along with different groups stemming from the Kyokushinkai ?"

"It's a pity. All schools are divided after the death of the founder. Problems arise continuosly, with wives, children, alumni, involved ..." says Shigeru sensei with his eyes now slightly lost on the floor. "There are eight Kyoku groups in Japan. I get along with everyone. In the past there were problems but ... not any more." Shigeru always talks to me with a slight and continuous smile. In very specific moments, he face changes to more serious expression. This is one of those moments.

"Sokei Matsui was appointed leader of the Kyokushin by Masutatsu himself. Then there were some problems with the family. I have a good relationship with him. Matsui came to train with me before his World Championship in 1987. I helped him improve his spirit. Then he won the tournement" It won't be me the one to contradict Shigeru sensei, but it seems that the way Matsui received his legacy of a badly damaged Oyama, in hospital, very sick and tired, ... was not the ideal way. In fact, later, the court invalidated the famous legacy because of the way it had been obtained. But, who am I to oppose such illustrious characters?

Besides ... that's another story that perhaps another day..

During my stay in New York to see the Master Shigeru Oyama, as I can't sty still, I also popped in Tadashi Nakamura's dojo, one of the living legends of the Kyokushin Karate, now leader the so-called Seido Karate. A tremendous dojo located in the center of Manhattan! A two story gym, the lower floor with a modern tatami, hall, reception, shop, locker rooms, ... and above, my favorite, with a huge wooden mat. Impressive! As Tadashi is now retired from teaching, is his son Nidaime who imparts lessons now. I pay attention to the smallest detail of his teaching session. He is a friendly young man, apparently very respectful and hospitable. I ask Oyama about Nakamura: "We have always gotten along very well. He's been like my brother. He's six years younger. I think that if he had stay within the core of Masutatsu' organization, he'd become undoubtedly his successor".

Shigeru Oyama is now 75. He's had a very active life and has taught Karate in Japan and then in many places in the U.S., Canada, etc.

"I've always practiced karate, all my life, and I never got bored with it. The main thing is the base and then adapt the technique to each one. Then it's practice and practice, as if you were climbing a mountain from

Karate top of which you will see a large and beautiful horizon. My Karate helps to improve the spirit and lead the students to believe in themselves on a basis of Patience, Tradition and Discipline ".

In my visit I am accompanied by my wife Olga and my son Brandon, who doesn't miss a detail of my talk with Shigeru Oyama, so the Master explains

.... "Salvador, I learned with Masutatsu Oyama since I was a child of the age of your son Brandon". Now I ask him: "You have two kids, right?" "Yes. They are both actors." The truth is that both his son Ted and his daughter Nahye have also practiced Karate to a great level, especially the boy. Now is Oyama who asks me: "Do you know who is Soni Chiba? ... Do you know him?"

"Yes, of course, a Japanese Kyokushin karateka who made action movies, right?" "Exactly. Well, he made a film about my life." "Oh, yeah?" "Sure!"

"What do you know about Spain?"

"I know the bulls, like those that Masutatsu faced..." Well, let me doubt that they were the same size and courage but is no matter discussing.

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Martial Cinema

A LEGEND VILLAIN Within the range of Martial Cinema, perhaps few actors have been able to play the role of villain with such aplomb and rawness as Hwang Jang Lee. Anyone who has ever seen him is aware of his dreadful deployment of leg techniques, as well as the undeniable charisma on camera of this "malicious of the shadows", as he calls himself.

Therefore we have prepared the following monograph.

etter known for the speed of his kicks than for his name, Hwang Jang Lee (also Hwang Jung Lee, Hwang Jeong Ri, Huang Zheng Li, Wong Cheng Li, and other romanizations of Korean, Mandarin or Cantonese) is a highly respected Grand Master of Korean Martial Arts - currently 9th Dan Tang Soo Do under the World Moo Duk Kwan General Federation - and a martial movie actor with over 350 films to his credit, primarily productions from Hong Kong, but also from South Korea and Taiwan, in which he has shared screen with all the big names in Martial Arts films, from diverse clones of Bruce Lee to Jackie Chan and Sammo Hung.

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BEGINNINGS AND FIRST WORK Born in 1944 in Japan, from Korean parents, Hwang and his family returned to Korea when he

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Text: Emilio Alpanseque Photos: FL CITY PRODUCTIONS

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was still a baby. In 1958, young Hwang began his career in Taekwondo against his parent's will, and after seven years of hard training would be recruited by the Korean army where he came to get the 7th Dan, becoming a martial arts instructor, both of Korean and Vietnamese army. It was precisely during this time that one of his most unfortunate stories happen. A U.S. soldier stationed in the Vietnamese army insisted that he could easily defeat Hwang with his knife fighting style, and after trying a couple of surprise attacks with the knife, Hwang instinctively launched him a roundhouse kick to the temple, killing him instantly.

The fact of being a 7th Dan in Taekwondo also opened for him the doors of the martial movie world and after participating in some Korean productions, Hwang would be hired by the Hong Kong producer Ng See-Yuen, who was in search of new talents after the death of the legendary Bruce Lee. The film that would mark his debut in the martial movie industry of the former British colony was "Secret Rivals" (1976) with John Liu, also trying luck in small films like "Bruce Lee's Secret" (1976), "Secret Rivals 2" (1977 ), "Snuff Bottle Connection" (1977) and several others. However, his true emergence as a premier villain was yet to occur.

CONSOLIDATION OF HIS CAREER In 1978, following in his search for a new formula that would transform the world of Martial Cinema, Ng SeeYuen would undertake the production of two major films: "Snake in the Eagle's Shadow" (1978) and "Drunken Master" (1978), both directed by the world-wide acclaimed Yuen Woo-ping and starring the international superstar Jackie Chan, the commendable Simon Yuen SiuTien, and the incombustible Hwang Jang Lee playing the main villain. The result could not be more deific, breaking all money raising records so far, even above Bruce Lee films, inevitably becoming martial film classics and giving rise to a new style within the genre: the Kung Fu Comedy.

Hwang on his part, displaying his unique style of "bad guy" and his amazing leg and kicking techniques in flight,

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also managed to revolutionize in his way martial films. In fact, he was hardly the first to practically not use his fists to fight, the only one with the ability of performing different combinations of three kicks in the air with a single pulse and wireless, and capable to bring to the screen villains who truly gave the impression of being unbeatable. Thanks to all this, and with these two major successes under his arm, Hwang received a great reception from the specialized critics, earning nicknames like "Thunderleg", "Thunderkick", "Superkick" and many more.

STARDOM AND CAREER Ironically, the two films that meant his greatest success almost cost his film career. While it is true that the intricate Yuen Woo-Ping choreographies allowed Hwang to show off his best techniques like never before, it is well known that during filming there were many problems between him and the star Jackie Chan. It is said that after being beaten again and again by Hwang, including a kick in the final scene of "Snake in the Eagle's Shadow" (1978) that made him lose a couple of teeth, Chan declared that he'd never work again alongside Hwang, reproaching him for his lack of accuracy in the moment of controlling his techniques in front of the camera. And it was so. Not only they would never worked together again, but also when Chan began directing his own films, like "The Young Master" (1980) and "Dragon Lord" (1982), he would rather hire another great Korean expert, Hwang in-Shik, instead of the reputed "Thunderleg". However, this fact in no way affected the popularity of Hwang, who retained his luxury secondary status during the following years with titles like "Dance of the Drunk Mantis"

(1979), "Game of Death II" (1981) and "Hitman in the Hand of Buddha" (1981), memorable film that marked his debut behind the camera and in which we could see him playing with solvency the central character of the story and not the villain, although very few people went to see the film. In 1982, Hwang would join his student and fellow actor Roy Horan to produce the powerful documentary "Art of High Impact Kicking" (1982), one of the best and most complete instructional videos of leg techniques ever shot.

OPEN HANDS OPEN DOORS, LEGS PULL THEM DOWN Forever marked by his serious countenance and overwhelming look, Hwang would remain the preferred antagonist for years, sharing show bills with some of the best actors of martial cinema, like Sammo Hung and Yuen Biao in "Millionaire's Express" (1986), Michelle Yeoh in "Magnificent Warriors "(1987), Loren Avedon and Cynthia Rothrock in “No Retreat, No Surrender 2" (1987), and many more.

Demonstrating his skills not only with his legs, but also with his hands, besides an ample gunplay, another element that differentiates him from other famous actors who only use their legs, like Casanova Wong, Dorian Tang, Hwang In-Shik, John Liu, etc., Hwang was always been able to shoot endless sequences with swords, clubs, knives, etc., or representing Kung Fu styles invented for his films, without any problem.

In the early 90's, Hwang went back to Seoul to take care of several businesses, including a bodyguard agency, a hotel and a golf products factory. His recent work includes the U.S. film "Street Soldiers" (1991) and the Korean productions "Emperor of the Underworld" (1994) and "Boss" (1996), a film that would mark his reti-

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Martial Cinema rement from the big screen to devote himself to his business initiatives and his work as martial arts master.

Hwang is Technical Advisor to the World Moo Duk Kwan General Federation, imparting quite often classes and technical workshops nationally and internationally. In 2003 he got the 9th Dan.

LAST NEWS After almost thirteen years retired from the movies, Hwang would be back before the cameras to embody nothing less than the legendary

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Samurai Miyamoto Musashi in the Korean TV series "Return of Iljimae" (2009). Following that, Fl City Productions took charge of editing the documentary "Hwang Jung Lee, the Good Bad Boy" (2012), a fascinating journey through the life and work of the "eternal villain", full of interviews, anecdotes, secrets and even advises. Highly recommended not only for those die-hard cinephiles that have followed his career but for fans of martial films in general.

These days there is talk of a possible involvement of Hwang in a SinoFrench production entitled "Eagle's

King" in which, in his 68, would embodies the bodyguard and mercenary of a corrupt unscrupulous businessman. The film revolves around the life of the Chinese master Liu Lihong, a renowned Wushu master who specializes of the Yanyingquan style or Stone Eagle Boxing. From these lines we hope the project comes true so that we can see once again the " malicious of the shadows " doing what he best does!

For further information about "Hwang Jung Lee, the Good Bad Boy" please visit www.flcity.org

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Masters Combat Hapkido Self Defense in Realistic Environments Training Program For many years, almost since I introduced Combat Hapkido in Spain, I have been developing the program Combat Hapkido Self Defense in Realistic Environments Training (R.E.T.) that I created inspired by my training as a military man and with a very clear aim: Optimize our defensive capacity, to be the 'Green Berets' of Self Defense, prepared to enter into action anywhere and in any circumstances; rapidly, conclusively and by surprise, using the most advanced technology in tactics and defensive techniques and special training. All this with the great virtue of being within the reach of, not just athletes, but all good people whether they are man or woman, whatever their age and physical condition.

In constant research, development and innovation (R+D+I), for the R.E.T. program I base on: How are really aggressions on the different scenarios? What difficulties do they have? How to give most appropriate

responses? To do this, I made an intelligent selection of techniques of great Combat Hapkido system created by Grandmaster John Pellegrini and of the excellent specific programs Ground Survival (Master David Rivas) and Tactical Pressure Points (Master Mark Gridley), I do technical adaptations to the specific scenario and I develop a series of specific physical and psychological exercises that help to face these special circumstances.

As Silio Italico said almost 2000 years ago, 'explorant adversa viros' (adversity tests the man). True enough, as in a real aggressive situation we are going to encounter a lot of adversity, from the aggressor to the surroundings, as well as our own physiological and psychological adverse reactions (the Combat Stress Reaction C.S.R.). What better way to train with these difficulties to be able to face them as efficiently as possible?

In a real situation we face at least three types of adversity. The first is the aggressor (or aggressors), who

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has the intention to injure or even kill us. For that reason, we must be realistic about how real attacks are and adapt our defensive technique to that reality, and not vice versa. So we have to be strictly realistic approach aggressive situations and also realistic responses to these situations, taking into consideration the pressure the defender is under with the corresponding adverse physiological and psychological reactions. If it fails the realism in approach and / or response, we will have little chance in a real situation.

The second adversity is our surroundings. Let us go to a few examples of real scenarios where I develop the R.E.T. program: - Self Defense inside the car is developed in a very small space with little mobility in the legs, espe-

cially having to resort to the use of our arms and hands at high speed and precision, using the architectural elements of the car on our advantage; - Self Defense in a place such as a Disco or Night Club with the only light in a disconcerting moving lights (type "flash") and a powerful loud music that are affecting the human senses and difficult to concentrate on what is happening, where is the threat or attack and how to respond appropriately; - Self Defense in the narrow aisle of a house or on public transport (possibly in movement) will restrict lateral movements, meaning we will have to employ more lineal movements and reactions.

- Self Defense in a dark in places with an uneven terrain (mountain, camp, path etc.) no

light pollution or moonlight (new moon) will lead us to develop our reflexes and our senses of sight, hearing and touch for greater technical accuracy ; - Self Defense in and out of water (amphibious instructions) in the sea, river, lake etc. lead us to have a psychological struggle for fear of drowning, to do techniques against the clock without breathing, doing exactly what we have to do to free ourselves from danger before we run

out of air or we are rendered unconscious by a blow to the head.

- Self Defense conditioned acording to whether we are on a sidewalk or on the street (raining or not), on an unstable surface snow (cold weather), on a heavy sand surface (hot weather), on a surface very hilly mountain whose mobility and technical versatility will be tested

according to the defender is up, down or fighting and rolling on the ground.

The third adversity are our own physiological and psychological reactions when we feel that our lives are in danger, with an avalanche of sensory stimuli, loss of fine motor skills and visual angle, sweating, high heart rate, pulmonary hyperventilation etc.. So in addition to the rigorous

approaches explained above and their responses, and specific environmental adversity, in these Special Instructions of the R.E.T. program I develop a series of exercises that reproduce approximately these physiological and psychological reactions for the defender to be forged along with other exercises specific physical and psychological reinforcement. And so even with so many adversities, the defender is able to "do what needs to be done" with greater courage and technical perfection, with self control and self confidence.

Lastly, I would like to mention that I give these Elite Instructions to students and instructors of Combat Hapkido (it is specially conceived for them), but I also offer these training to military and police units (please see my contact details) along with our Military Combatives (MCA) and Police Defensive Tactics (IPDTI) courses.

And of course I cannot end without giving thanks to my mentor and the founder of Combat Hapkido, Grandmaster John Pellegrini, to whom I offer my highest admiration, loyalty, gratitude and respect.

Master Juan Romero Pons National Director of the International Combat Hapkido Federation in Spain www.combathapkido.info info@combathapkido.info Tel. +34 637156775

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The Column of Raul Gutierrez

Sports & Martial Arts

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he sports aspect of any Martial Art, completely adulterates the purpose for what these fighting systems were really created in times of war. As we all know, for a Martial Art to be sportingly applied in tournaments or championships, all techniques and application ways or striking zones which are "effective in actual encounters" must be banned. There will be written rules of what you can do and what you cannot do. Whatever is admonished, sanctioned or make us lose in a sports event, is what really works in real terms.

That's why great Champions of Spain, Europe or the World, have been destroyed in street fights by simple thugs who are not used to score points to win, but rather to destroy, break and if necessary injure seriously or even kill an adversary in an ordinary neighborhood nightclub. This is something that back in the 80's I treated in other articles, which created a certain misunderstanding among some practitioners of other styles who didn't understand what now and over time I have been able to prove.

Besides, a real Martial Artist will always be honest in a fight, and has qualms about causing excessive damage to his opponent, respects the law and avoids lawsuits or ending up in court, whilst the habitual offender or outlaw tries to cause the most possible damage and he doesn't care about ethics, citizenship, laws or courts. If he's got a knife in his hands he'll try to stab you as deep as he can, if he's got a baseball bat he'll attempt to rip your head off, and if he's got a fire gun will empty you whole magazine in you. He does not think about your family or his, he doesn't respect you, nor worries about going to jail, because obviously he thinks he can escape justice also.

These are factors that always will play against us. We will always be helpless in front of such individuals. The best thing is praying to never be in the zone of conflicts, avoiding them as much as possible when they arise, acting over everything with logic, intelligence, tactics and psychology. And at the end, when there is no choice, act with a high dose of forcefulness, using our

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"The sports aspect of any Martial Art, completely adulterates the purpose for what these fighting systems were really created in times of war " knowledge and training of so many years to apply a certain degree of pain to our opponents, so as to achieve their reduction without actually causing irreparable damage. Of course, in real terms and depending on the type of opponent we have in front, this is generally not easy. It's like a police agent in full uniform and weaponry, but with the legal constraint that he must stop outlaws "in a gentle way, trying not to cause him any harm, injury or pain".

Otherwise he risks being reported for abuse and turns into the one being finally admonished. Something absolutely ridiculous, but accepted by our society. We do care for others, for ourselves, we do not want to get in trouble, we do respect others and their loved ones, we love ours, we want to share and enjoy life, live in peace and harmony. But this is sometimes very complicated and difficult. Still, we'll try ... forever.

I'm often told that my police techniques are much too aggressive, violent and dangerous. But I've never caused irreparable damage to anybody. Never, in order to reduce an "opponent who really opposes you", have I caused bleeding or injuries which could be reported to a judge.

And this has been only possible by applying the proper technique, in the right place and with the necessary hardness or pain degree of pain. And this responds to a knowledge, a constant training, the effective preparation of our natural physical arsenal, tactics, method and knowledge of the weak points and type of blow or action they required.

My Fu-Shih Kenpo is then the compilation of real experiences throughout my life, training in various styles of Martial Arts and with worldrenowned teachers or specialists, a background of 45 years through tour naments and world championships, police contact since childhood, security and police training at a professional level since 1981 and other fields of action as cinema itself.

Long years of repetition of techniques, various methods and movements through styles continuously trained, to discover that within each one of them, there are many rich and valuable knowledges, along with others that are not only useless, but also make us waste our time and undermine its ultimate purpose. I understand, and so I do, that there is a big part of our training, in which we spend years and years repeating the same sequence or individual movement, even if we know that it doesn't grant the final utility which is the effective defense. Many times we feel uncomfortable with certain techniques that don't draw us, don't fill us, don't persuade us. This is a warning, just like pain. When some part of your body hurts, and hurts again, is clearly telling you that something is wrong and you need to see a doctor. In the same way, we should eliminate all the junk that exists in every style or system of Martial Arts or sports, erase it entirely or investigate where is the failure to repair it. So is Fu-Shih Kenpo, a system in constant revision, updating and improvement. The best system is not the one that counts on more movements, techniques or katas, but the one that really works and proves effective in its different areas, training, application and outcome.

Next month I will present he current structure of our Martial Art. That I chose to call "The Heart of Our Style Fu-Shih Kenpo".

Until then, my friends. I hope you may know understand my way of expressing what I martially feel. My purpo s e is by no means t hat o f belittling other styles, teachers or persons. It all depends on what each one is seeking to find through his or her training. There are various ways, I hope you may find yours.

Thank you ...

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The effective weapon methods of the Weng Chun Kung Fu The long staff Today I'd like to give you the opportunity of learning the useful methods of fighting with weapons, with which Shaolin monks in China reached great success on the battlefield for centuries. When we talk nowadays about effectiveness in weapon fighting, martial artists usually think first of Filipino systems, like Escrima.

Unfortunately, at present most of the the traditional Kung Fu weapon styles have degenerated into a sort of dance show. But we are lucky that the Weng Chun has left us the most efficient and realistic Chinese method of fighting with weapons.

Follow me step to step in the learning of the long staff method of Weng Chun, with the help of the "six and a half steps" of its aprenticeship.

To start with, it is essential to know the proper way of grabbing the long staff, with both hands by the rear end of the weapon, which is a little thicker, keeping them separate approximately at the shoulder distance. The important thing here is not to close the front hand thumb, but keep it on the long staff. Should you fail to do that, a clever adversary could break the metacarpophalangeal joint of your closed thumb during the fight with weapons, putting you immediately hors de combat. The long staff rear end is called tha “dragon's head”.

The tip is the “dragon's tail”; the long staff gets sharper toward tip, which usually appears coated with iron or is specially hardened. This is the part with which most of blows and stabs are carried out.

The aim is to generate power at the tip of the long staff. The basic stance is the Cat Position, in which the long staff touches the front leg, making it possible to coordinate the strength of arms and legs.

Basic Concept 1: Tsin (turning), also known as Huen / Wun First the student learns to execute small, medium and large circles with the staff.

This teaches him the three main aspects of the weapon fighting:

1. Control of the distance to the aggressor with the help of the space diagonal.

2. Let the aggressor's blocking attempts fall into the void and then attack from the other side.

3. Having contact with the opponent's weapon you can twist and return the aggressor's strength with the principle of the circle. So you can unbalance him and disarm him, or create a space to attack.

Basic Concept 2: If (tearing) Thanks to the concept of turning you can achieve the control of the space; being in contact with the weapon of the opponent, with the Si concept you can destroy his structure or even disarm him by executing a short move in semicircle and a shock stroke.

There exist a basic exercise for this purpose. Both training partners stand with the tips of their staffs touching one another, then one of the fighters presses laterally, to which the opponent responds begining to turn to let the strength pass, and executes a quick blow to the hands of the aggressor.

Basic Concept 3: Cheun (pricking), also known as Biu Lung Cheung The long staff is held laterally. The long range of this weapon should let us keep our attacker at a distance and teach us to maintain control. After having struck the opponent's hand like in the previous exercise, you can now add the Cheung exercise, using the gap thus created to carry out a stab. Here is a basic exercise.

Your training partner grabs the stick by its middle section and strikes alternating both ends. The Weng Chun long staff fighter must keep his partner at distance through the footwork in angles and at the same time make his opponent's blows harmless with direct pricks.

Basic Concept 4: Tun Tun is an impulsive maneuver, quick and surprising, that usually leads to the disarm of the opponent or causes him to receive a quick and short strike destroying his structure, which leaves him open to consecutive attacks and the possibility of being controlled.

After the first Tsin (turn) exercise, we can hit directly the aggressor's hand once

we've dodged him; this attack is followed by a powerful prick (Cheung).

As a consequence of our pricking attack the opponent will lean slightly forward or backward, which in turn, gives us the possibility of executing a short blow (Tun), upward or downward.

Another exercise for an effective fight is: The partner carries out a pricking attack with his long staff; the Weng Chun fighter takes a step in angle and strikes with the help of the Tun concept on the opponent's hand, what makes him withdraw his weapon to prick by the other side - then the exercise starts again on this other side.

Advanced students should be able to perform this exercise also at different heights.

Basic Concept 5: Dik (short prick, surprising) When using weapons, pricking is so important that you not only practice the Cheung strong prick moving forward with the long staff, but also the Dik surprising short prick.

Dik is comparable to a direct punch of a boxer, fast, amazing, feeling the distance, keeping your adversary spaced out; it makes it possible to build up a concept of attack.

The first basic exercise is provoking your partner with a prick, until he performs a blocking action or tries to hit your hand.

This action is used to place your next Dik short pricking attack, from the other side or turning in a semicircle.

Basic Concept 6: Tsau (pulling backward or upward) By pulling, the strength of your opponent's long staff comes inverted and his structure's broken. Here is a corresponding basic exercise: You start out with Dik, a short prick aiming at the opponent's leg who tries to block, which we receive with a smooth "stuck" action, followed by an upward Tsau pull and a step forward. Thus, we unbalance the adversary and we can go on with Cheung, Tun, etc.

Basic Concept 7: Got (downward cut) or Saat (destroy) With a powerful cut in bow and in a semicircle, the entire structure of the opponent's long staff is destroyed.

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He is one of the greatest in the Russian Martial Arts circle; behind his wolf eyes lies a Master of Slavic Arts, someone who, traveling around the world, has come further than anyone in disclosing the revolutionary ways of conceiving the fight that were developed in the former Soviet Union.

Today he presents his first DVD with Budointernational. You better don't miss it! Dimitri has a lot to say, so much to teach ... ! Amazing! he offered martial arts system has its origin in special services of the former USSR such as KGB, (FSB), GRU, Ministry of Internal Affairs, Ministry of Defense (air assault team, SWAT), and also in the cultural tradition of the ancient Slavs Many aspects of this style are state secrets. Under the conditions of modern combat operations the Russian martial art system is not less actual than modern military planes and equipment. This is a mighty weapon which is hard to master but, unlike the usual weapon, is hard to lose.

In 1923, after the Army cut down in the USSR the partisan war was suggested. The partisans, the raiders had to immobilize the aggressor's rear areas. The raiders needed a military fighting system which could meet the challenges offered by the enemy. The servicemen (NKVD (KGB) ) also needed such a system to struggle against underground, banditism and terrorism.

Then under DINAMO society the first self-defense club headed by Victor Spiridonov was organized. Spiridonov had the skills received in the Tsarist Army - the Plastuns techniques (Cossacks) who could make no noise while moving along any surface and could capture identification prisoners under the most complicated conditions. Vladimir Ascshepkov and Anatoly Kharlampiev also came to setting up a domestic self - protection military system. The synthesis of Spiridonov's and Aschepkov's schools was the basis for sambo struggle (weaponless self-defence system).

Sambo became a mighty weapon for servicemen.

World War II -1941:, a separate motorized special mission brigade was formed, which consisted of former sportsmen, masters of sport in struggle, boxing, shooting, skiing who

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were specially trained. In 1942 SMERSH (Death to the spies) was formed to struggle against the German raiders. Within it special groups to capture the identification prisoners were organized. In 1950 a special detachment was formed in GRU (main intelligence directorate of the Russian General Staff). In 1979 special detachments “GROM” and “ZENIT”, predecessors of the well-known “ALFA” appear.

1986 was a year of domestic military system revival. A Research center of Russian Martial Art under Higher AD _ommand School headed by Alexey Kadochnikov.was formed Scientific and research work in the area of biomechanics, cinematics, bioenergetics was carried out. The system is based upon the maximum efforts-saving principle. The situation analysis algorithm is formed on subconscious mind level, as well as the one of forecasting and finding the task optimal solution.

Skills to interact with aggressive system and make it obey you, studying the fighting psychology opened improbable opportunities for a person.

The one who mastered the martial art system can feel an invisible threat and strike upon the opponent not making a physical contact and just using an energetic. In 1994 special-purpose detachments of GRU and FSB started to use this renovated system.

Dmitri Skogorev, el autor.

Dmitri Skogorev - an officer of special power department (Physical Protection Service) under the Board of Federal Service of Tax and Revenue Police in Novosibirsk Region from 1995 to 2001.

Currently he is one of the leading specialists in teaching Russsian martial arts both in Russia and abroad. He is the head of the Russian martial arts

Photos: Giuseppe D "Angelo (portrait), Mira Grande Axelsson (photo by nature).

school “Sibirski Vjun” (SYSTEMA “SV”) and the president of the International center of Russian martial arts. He is the author of several books and a number of workshop programs related to hand-to-hand combat. He makes workshops in this subject in Russia and in Europe. He is an honorable member of the organization of air assault forces veterans and of special operation forces “GVARDIA”.

He started to learn martial arts since 1980 in the sambo section under DINAMO. In 1981 - 1984. he was trained karate by Sergey Danilov (who was the internationally certified judge taekwondo, 5 th dan).

In 1985 - 1987 service in the soviet army. Hand to hand military struggle practice.

Since 1991 the meetings with different representatives of Russian martial arts system.

In 1998, 1999, 2002 the meetings and training under the leadershipof Alexey Kadochnikov . ( the city of Krasnodar, Russia).

Since 1991 of a meeting with such bright representatives of Russian fighting art as G.N.Bazlov (Tver), 1992 A.I.Retjunsky (the President of the International federation of Russian fighting art, S-peterburg), 1992,1995,1996,1997 prince B.V.Golitsyn, (S-Peterburg, patrimonial style), 1998,1999,2002 A.A.Kadochnikov (Krasnodar).

E.Bogaev-1994,1995,2000 __.

A.L.lavrov - 2008 (Zelenograd).

M.V.Ryabko - 2009 (Moscow).

Since 1988 Dmitri Skogorev has been systematizing and making structural analysis of Russian martial arts system; making research in applied psychology, bioenergetics, which in their turn resulted in theoretical and practical development represented in “Sibirski Vjun” school programs.

2000 - training passage, improve-

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Russian Arts ment of professional skill in The state Educational institution "National institute of health" (Novosibirsk branch) on "Traditional systems of improvement.

Russian single combats" (Registratsionyj _ 0300072).

D.V.Skogorev has the status of the international instructor (Grandmaster RMA Systema "SV" (“Sibirski Vjun”)).

2007 Master Teacher Founders, Coordinator World Organization of Self Defense (RMA Systema "SV" (“Sibirski Vjun”)).

School School of Russian Martial arts “Sibirski Vjun” was founded Dmitri Skogorev in 1988 in Novosibirsk ( Siberia - Russia).

The current methods of Russian martial arts training developed by Dmitri Skogorev was approved by the Board of Federal Service of Tax and Revenue Police in Moscow ( No. 3/114 dated 20.06.97.), and also by Board of Federal Service of Tax and Revenue Police in Novosibirsk region (No.

134/18 dated 12.05.97.) and by Novosibirsk special secondary militia school under the Ministry of Internal Affairs, Minutes No. 19 dated 7.05.97.).

Russian martial system has different aspects : military system ( army, police) and common life self protection ( for common population).

The methods of “Sibirskyi Viun” school allows the instructors to teach their students the basics of Russian hand-to-hand fight and psychological stability to survive in extreme conditions. The interest to Russian martial arts is conditioned by the simplicity of its perception and philosophy.

Teaching is based on the structure (system) which allows both thebasics of hand-to hand-fight to be learned and the work with weapon and different objects to be mastered, as well as the ability to fight in the limited space, with several armed opponents, using psycho-energetic aspects and so on.

The students of “Sibirskyi Viun” school learning the hand-to-handfight from Dmitry Skogorev, according to his personal methodology, taking

part in military actions of the Ministry of Defense of Russia and fulfilling the operational tasks given by the Ministry of Internal Affairs of Russia acted confidently, coordinating their efforts. In the extreme situations they were able to save both their comrades' lives and their own ones. This is a high mark given to Russian military system and the instructor's work in particular.

While using the system of Russian hand-to-hand-fight system the opportunity to act and to remain safe increases when the fighting is carried out in extreme situation, as its key moments are as follows: o there are no specific methods against specific actions ( only basic actions based on natural laws exist); o there is no work meaning “force against force” ( ability to feel the force and manage it); o the work according to situation ( the situation is constantly changing in time and space).

All that is achieved by learning and knowledge in the process of training the key principles, physical laws and biomechanics o_ the human body, as

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Russian Arts well as the laws of people's interaction when they enter a dialogue ( interaction).

The absence of specific methods against specific actions means that there are key principal defense applications combined with the hit and throw techniques, the awareness of the lever systems and the ways to disturb both physical and psychological balance of the attacker followed by ruling the attacker.

When there is no “force - against force” work, in physical sense that means the denial of hard forms (the slowdown, or stoppage of the attacking hand or leg is excluded), but means the usage of the opponent's force and inertia, and accelerating it.

This is avoidance of the brutal force and then its control. The defense movements are short enough and rational which, in its turn, gives the advantage in force and time. This manner of a brute force, and then its control. Protective actions short enough and rational, that, in turn, gives advantage in force and time.

Nonresistance, compliance at all levels, but with the control - both on the psychical and physical levels.

The work according to the situation

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- if one and the same action is repeated, for example one and the same blow is struck several times, the defense actions may be different, as the situation will change each time, the blow features (such as force, speed, and length etc.) will be different, which allows the training process to get as close to the real situation as possible.

On that basis training is designed in a “bushy” method - on one principal basic movement a bush of actions is based. If several principal basic movements are chosen, there is an opportunity to train a fighter not in application of well-trained unchangeable movements but to act in different situation in compliance with time and speed, which can be done in a relatively short period of time.

System The training program in Russian hand-to-hand fighting includes such subjects as: Special acrobatics: Ability to fall safely on the surface which is not covered with something soft. Use the falling as defense from attack for the further work in the fighting.

Biomechanics Mechanics deals with the space analysis of movements of different elements in space. The laws of mechanics can be applied to a living organism which is defined by biomechanics.

Biomechanics is a science studying the laws under which the living organism acts which allow it to fulfill

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Artes Rusas mechanical ( static and dynamical) tasks with the minimum muscular action.

A human being is considered as a biomechanical structure consisting of the system of bone levers which are joined together with the help of joints and retinaculum -muscular system having more than 250 degrees of freedom.

Psychophysics, Bioenergetics Psychophysics is a science studying the psychic and physiological phenomena which are in compliance with each other. As for the hand-to-hand fighting, such categories as Force (both internal and external), Consciousness, Perception. Memory,

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Attention etc. are considered, as well as response of the opponent to these or those actions of the attacker and ruling the opponent on the psychic.

Getting free from grips Key grips and getting free from them. The methods of convoying .

Methods of striking blows with hands and legs Studying and striking linear, wavelike and vibration blows.

Striking techniques: studying and training the blows under the contact conditions (shoulders, forearms, biceps, elbow, knee etc.

Defense against blows with hands (legs) Studying key schemes and princi-

ples.

The ways to unbalance the opponent and ground control or convoying Defense against the stick Defense against the gun threat (in contact and at the distance) Defense against the knife in contact and at the distance Work against several attackers with or without weapon Work in group (unit), mutual help The ways of mastering the weapon Work in different combinations under difficult conditions Work in the low level ( on the floor) .

Using a gun, a stick, etc, against any other weapon ( a knife, a stick, a gun etc.).

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Russian Arts Work with improvised means and using them as arms.

Work in the limited space, near the wall, in a sitting position etc.

Also the training system includes: General physical training, joint gymnastics, breathing methods, psychophysics, psychology, neurophysiology.

Carrying out training combats - sparring, single ones. Carrying out competitions (tournaments) in competitive kinds of fighting: struggle, fisticuffs, knife combat.

To carry out a combat successfully it is important to master three types of distances which are trained in the following practices: 1. Fisticuffs - mastering the combat practices at the middle distance.

Defense methods. Striking techniques

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with hands and legs. The ways of movements.

2. Fencing - mastering the combat practices at the long distance, a knife combat, The ways defense against a stick [stick combat].

3. Struggle - mastering the combat practices at the close distance, the ways to get free from arm's spans [grips]. Studying and training of dashes, taking the partner from the floor surface. Ability to conduct a contact combat.

Qualification Attestation Making an attestation ny the school of Russian combat “Sibirskyi Viun” determines the level of mastering the basic technical actions by the stu-

dents and bringing them to instructor's activity.

Attestation is carried out in compliance with the program of 4-6-year training and the program of graduation examinations with assignment of qualification categories, which are of 6 types.

Those who passed their graduation exams successfully get a certificate and the certificate of instructor in hand-to-hand-fighting of the School of Russian combat “Sibirskyi Viun”, verified with the seal and signatures of attestation board.

For the years of work the school carried out more than 60 workshops by immersion method, as well as oneday, 24 hour-training sessions.

From 1993 to 2012 more than three thousand people attended the workshops. The permanent work allows the

New DVD school to propose well developed methodologies of training the efficient methods of communication, skills of Russian hand-to hand combat, goal setting and achievement.

The school “Sibirskyi Viun” (Systema SV) has its representative offices in the town of Gorno-Altaisk, Angarsk, Seversk, Kiselevsk, the city of Kazan, Ufa (Russia), Almaty

(Kazakhstan) etc... Also it has its representative offices in Germany (manager, Fuhrmann), where from 1997 to 2012 8 international trainingpractical workshops were held. There are also representative offices in Belgium (Aleksandr Balandin), In 2007, 2010, 2012 in Israel (Haifa, Tel-Aviv, manager - Mr. Michelson). In 2010, (August and November) 2012, Bulgaria

(Sofia, Albena). In 2011, in Slovakia (Stará Turá (Bratislava), in the USA, Tuxtla Gutierrez, Chiapas. Mexico Fidel Alfonso Leon Castillejos Calzada. Canada (Mr. Krivoshein), Sweden - 2009, 2011 (Mr. Igor Sadonskiy). Italy (Three seminars were held in 2006 and 2007, 2008, 2009, 2010, 2011/. 2012 - luigi Soprano), USA - 2012 - Andrey Patenko, Mexico - 2012 - Fidel Alfonso Leon Castillejos. France (Stephan Surdi).

There are business connections with the clubs of hand-to hand fighting in Great Britain.

GM Bierman adds gold medal in weapons May 4, 2013 Over the last 40 years George Bierman of Loyalsock has dedicated his life to practicing the martial arts. As a freshman at Bloomsburg University in 1973 he began training in Tae Qwon Do and Judo, but in the time since then he has truly mastered his craft, becoming one of the most decorated karate masters in the world.

Bierman is now an 8th degree black belt who teaches karate and self-defense classes locally. His assortment of skills covers everything from Akai Ju Jutsu to weapons disarming. He has been inducted to 10 martial arts halls of fame, and has won over 2000 karate awards, including two from the Pennsylvania House of Representatives acknowledging his outstanding accomplishments.

However, Bierman's most impressive victory in the martial arts world of competition came earlier this month when he competed in The Martial Arts Olympics "East-West" Open from April 11-14.

This event, which has become known by many as the greatest martial arts competition in the world, is run by the International Martial Arts Confederation. The competition takes place in St. Petersburg, Russia, and is a forum for martial arts competitors to not only showcase their skills, but to also exchange their knowledge with those from different cultural backgrounds. In the absence of any real karate competition in the Summer Olympic Games, this competition is recognized by those within the sport to be the most prestigious.

In April of 2000 George Bierman competed in this competition for the very first time and won two gold medals. A year later at the East-West Open he won three more gold medals in Traditional Forms, Long Weapons and Short Weapons, while also nabbing a bronze medal in Kumite.

After these impressive victories in 2000 and 2001, Bierman became a poster boy for the competition for the next seven years, and since then has made regular trips to event as an Ambassador for the United States.

At this year's East-West Open in St. Petersburg, Bierman once again made the long flight to Russia to take part in the event's opening ceremonies with UFC hall of famer Dan Severn.

However, after completing their skit for the opening ceremonies on Friday, Bierman was surprised to learn that the event's coordinator had signed him up for a weapons competition on that Sunday. Now at age 57, Bierman reluctantly agreed, despite not having any of his weapons or fighting gear with him.

"I ended up buying a Bo staff at one of the vendors and practiced with that a little the night before to clear out some of the cobwebs," said Bierman.

"I work out every day, but when I was competing before I trained for a year and a half."

Like the champion that he is, Bierman emerged with a gold medal in the event, topping 15 other opponents who have spent at least a year preparing for the competition.

"They're younger and maybe a little faster, but I probably know a little more, so I think they underestimated the old guy," Bierman said of his victory.

Despite winning his sixth world title at this year's East-West Open, Bierman feels that he probably won't compete in the event again.

"Once you get to this level you're talking about the best athletes in the world. And to be successful at this level you have to eat, sleep and breathe martial arts," he said "And for me, I'm starting to learn that once you reach the top you can really only lose or get hurt."

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REF.: • WENG3

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ORDERS: Budo international. net

He is an absolutely outstanding Master! Heir to one of the most prestigious Korean traditional systems in the world, Taejoon Lee is the spitting image of the Oriental martial quality.

With a high technical level, yet vibrant at the same time, he masterfully explains in detail the particulars of his style in this new DVD we present today, in which he takes us into the complex world of joint manipulations.

Basic matter to any fighting system, manipulating the limbs is one of the safest ways to end up a confrontation with a restrained damage and complete control on the opponent. The Hwarang Do Korean tradition provides very interesting contributions to the subject, often giving an unexpected turn in the resolution of these techniques, so that students of any other style who are interested in progressing in this field, will find in this DVD spectacular resources to enhance their their offensive-defensive technique.

All by the hand of one of the best martial teachers of our time, a master of the finest character and a magnificent personality. A work not to be missed!

Alfredo Tucci

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Arts of Korea

The Hwa Rang Do速 - joint locks & throwings In the first two instructional videos we addressed the concepts, the tactics and strategies of knife fighting, joint manipulation and takedowns. We saw how you can defend yourself from an armed attack, in particular another knife attack, using a knife as a defensive weapon. Moreover we studied how to approach from the stage one (1 - distance standing up) position to get to the stage two (2 - in close standing up) position and then how to effectively take them down to the ground so that you can maintain control and submit and finish the opponent.

In this third DVD we'll instruct you on how to utilize the joint manipulation as a takedown technique. Joint manipulation is not often seen as a technique for takedown, but we'll show you how you can go ahead and use proper pressure, maintaining the right angle, and leverage to be able to effectively take your opponent to the ground gaining your advantage position and submit your opponent on the ground if you choose to do so. In the first technique we're going go ahead and defend from an overhead strike. Usually an over-head strike occurs when there is a weapon or something in the hand that you're striking with, and the opponent swings downward at the person. But for right now, we're just going to have the attack performed with an empty hand. The first thing you must do is always move out of the line of fire. The important thing to understand is that, whenever there's a strike, the main area that an opponent will aim for is

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always the centerline and this is called “the line of fire.” Therefore, one must first protect the centerline and move laterally to the line of fire.

Joint-manipulation is considered soft/circular movement, as one must maintain fluidity of motion in order to maintain the proper momentum and leverage to successfully execute the technique. In Korean, soft techniques are called Yusul (in Japanese it's Jiujitsu) and hard/linear techniques are called Kangsul. Therefore, when applying the joint-manipulation techniques, one must always utilize an open hand block in order to properly catch and capture the arm in order to maintain proper control.

This is why hard blocks are not used, as it cannot facilitate the trapping and catching of the limbs. The hard blocks are designed to intercept or deflect the attack but cannot be used to grab. Also, this is why you do not see too joint-manipulation techniques in hard/linear styles like Karate or Taekwondo.

Joint-manipulation must be applied in one fluid continuous movement and never in stop-and-go j e r k y movement.

Y o u must

make sure the grip is firm to by utilizing the gripping of the your hand. In order to most effectively utilize the human body to maximize your effectiveness in properly executing and defending yourself from an altercation, you must fully understand the purpose and the function of the human body design. The hand is designed in specific a way for specific purposes. The thumb and the index finger is designed for dexterity to perform intricate, detailed tasks and this is one of the distinctions us humans possess, which separates us form other primates. The last three fingers of the hand are what is designed for gripping. The index finger is extended and pointed, commonly referred to as “the KI extension.” This is why naturally we use the index finger to point or to illustrate “one.” It directs energy. Therefore the proper use of this knowledge can enhance the effectiveness of the application of joint-manipulation techniques.

In order to make the techniques more effective, one must reduce number of steps, which w i l l

“The Hwa Rang Do techniques can be very dangerous, depending on your desired end result”

“Joint-manipulation is considered soft/circular movement, as one must maintain fluidity of motion in order to maintain the proper momentum and leverage to successfully execute the technique”

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Arts of Korea amplify the speed of execution of the techniques. However, before one is able to do that, you must first break it down into small step-by-step movements and practice with great repetition. Just like when asked can you eat a whole, the answer is yes, one but at a time. All knowledge can be learned, one broken down into small digestible steps. Once you become more familiar, then you can start to reduce the number of steps, hence, becoming much more effective.

The Hwa Rang Do techniques can be very dangerous, depending on your desired end result. For self-defense, we use the joint-manipulation techniques to dislocate the joints; for competition, we apply steady constant pressure to force a submission. Therefore, in order to dislocate we must learn how to apply vibrational force. This idea is much like when you try to break a candy cane into many pieces to share, you take the two ends in each hand, relax and snap the candy in a forceful jolt and the candy will fracture into many pieces.

If you place one steady pressure at the

“Jointmanipulation must be applied in one fluid continuous movement and never in stop-and-go jerky movemen�

center, then it only breaks into two pieces. So, for self-defense, one must not place force from the very beginning of the technique, as the opponent will prematurely increase their resistance and sabotage the technique.

One must enter into the technique smoothly, without real force or pain to the opponent until the proper angles have been acquired, then and only then place a vibrating, jerking motion.

This is the key for an effective joint manipulation technique to take down and submit your opponent.

One of the techniques included in the DVD are the circle under techniques both to the outside and inside of the opponent. When performing the outside circle under technique, all one has to do is secure a firm thumbs crossed grip of the opponent's hand (not the wrist), then spin under the opponents arm to the outside of his body. This rotation will place the wrist into a reverse C-lock, which can easily be used to bring

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down the opponent or dislocate their wrist. One of the most important aspects is not to give too much space to the opponent.

Stay close to him and maintain the grip, apply the pressure, without creating space. Generally speaking when you create space in a lock you create an opportunity to escape it.

A classic application of both inside and outside circle under c-lock is the defense against a straight punch, but anytime you are able to secure his hands, the circle under techniques can be applied. The DVD shows some application of different attacks and several variations thereof.

These techniques are very effective and smart because you can also apply many different combinations and variations from the same entry and the rotational force created against the opponents arm with the entire body weight is tremendous. This principle can be applied also to the close grabs, weapon attack, grabbing the clothes, grabbing the body parts etc. That's the reason why Hwa Rang Do has so many martial techniques and applications. Learning these principles properly allows the practitioner to be able to create techniques for every kind of situation.

Last but not least, your footwork is primary. In executing these techniques, you must make sure to take small steps rather than large steps and large movements as well as keeping your feet on the ground, not raising them too high, which will increase the possibility of tripping and falling. All these things will better assist in maintaining greater balance during the execution of the techniques. Avoiding big steps and crossing legs are very important matters in any kind of self-defense application.

To finish we have to remember that takedowns by joint locks cannot be executed effectively unless you first develop a strong stance, balance, and deep understanding of dislocation techniques. The best techniques you know are worthless without balance and proper use of angles and leverages.

Welcome to the world of Hwa Rang Do exhaustive collection of over 4,000 self-defense combinations. Hope you enjoy and there/s much more to come!

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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.

Knife According to the division of ranks and belts as Imi decided on August 16th 1971, in the end of the first kravmaga instructors course, the Blue Belt in the krav-maga contains most of the defenses an armed opponent of the Israeli Budo art. The Brown and Black Belt already include only attacking techniques, meaning, the self-defense part in the krav-maga ends in the Blue Belt. In fact, it was the self-defense exercises of the Blue Belt that had turn the krav-maga so popular world wide.

This series of DVDs, brought to you

by BudoInternational, shows for the first time in the history of the kravmaga, the complete and original way that Imi created. Learning Imi's original way is not an easy task, and it requires both physical and mental efforts. It demands from us to dedicate all our time to it. But, this is after all the meaning of being a martial artist, a krav-maga artist. When we stand in front of a man holding a knife in his hand and threatening our life, any mistake we make, as tiny as it will be, can kill us. This is why Imi decided that the defenses against knife will be taught in the Blue Belt, so we will be ready to apply the movements which compose these techniques without any fear, since by now we had already gained confidence in Imi, in his krav-maga and above everything - confidence in ourselves.

Imi's path during the process of creating the krav-maga was not easy, and before every technique he created and included in the krav-maga, he always looked for the best and most effective way to do the attack against which we are suppose to do the defense. Imi searched for a series of defenses against knife that will enable him to try all the possible knife attacks, beginning from the hardest

one, meaning, the attack technique which demanded maximal concentration of force in order to do the stabbing movement with the arm and until the softest and easiest one for the attacker to finish his opponent. One example of this stab is the Dekirat Shisuf (slashing). Only afterwards, when we already had total control over the techniques of using the knife, he began teaching the defenses, following a conception that one who will succeed to know and to defend on the tatame against the perfect knife attacks he had developed, will be able to defend himself always. Imi always explained to us, his ten and only Black Belt students, that this conception accompanied the entire krav-maga creation process. The subject of Imi's ten disciples is widely talked about in J. Tuchman & G. Mayers' official kravmaga history book “Genesis - The History of The krav-Maga”, in the chapter “The Ten Greatest”.

Imi based his defenses upon four possible attack positions. Of course, he said, that from this 4 positions we can develop many other situations.

But, one who will know how to defend against these four basic options, will be able to defend almost against any knife attack. However, before we even begin to learn the principle of these defenses, we must first understand that those defenses are not like the ones we do against a punch or a kick.

The knife is a very dangerous weapon and there is always the possibility we will get injured during the defense in the street or anywhere else. However, a cut or a light wound is not lethal.

When doing one of Imi's defenses it is possible to see that in any case, it is our opponent who will pay the higher price.

Two great American writers, Jeffrey Tuchman and George Mayers,

explained in their exceptional book “Genesis - The History of the KravMaga”, how and why Imi based his entire art on 14 ground rules and what is the meaning, aim and purpose of each of those rules. How each one of the rules can help us to improve our physical abilities as well as the mental ones, and why these two aspects, the physical and the mental one, cannot be separated.

The first and most important rule of alls is “Minimum way maximum speed”. This means, among other things, that as shorter our body movements will be, the fastest they will become. And this, dear readers, is the key to victory.

Now let's try and understand the technique of knife attack in the kravmaga.

The first stab is Dekira Regila (regular stab). This stabbing form is based on force. It is easy to learn and many prefer to use it because of the strength applied by the attacker in the movement which goes from above downwards. This is also why this stabbing is favorite among those who rather use brutal physical strength as the immediate solution. There is a theory that this form of stabbing as we know it today was actually developed and improved by instructors of the American Marines Corps.

The way we hold the knife here and the amount of strength we use give the illusion that the attacker is invincible. The stab itself is done by taking a step forwards with the left leg while the right hand goes up and then descents strongly on the opponent's shoulder. The combination of the step forwards movement and the descending hand movement gives the attacker a great strength which in theory seemed very hard to defend against. Despite that, and maybe

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Krav Maga

because of that, it is relatively very easy to learn and to succeed doing the defense against this kind of stabbing.

Here we need to know and to understand another rule which Imi had included in the krav-maga. Imi's rule number 14 says that we must always, in any situation, maintain a one step safe distance from our opponent, whether he is armed or not. Only in defenses against pistols we do not apply this iron rule of the krav-maga.

The second stabbing form is Dekirat Beten (stomach stab). This stab received from Imi several names since during the years there was a need to change the original name given by him to the stab.

Originally Imi called it “Oriental Stab”. The reason was that when Imi served in the British Army, at the beginning in the Sahara Desert and later on in Egypt, he encountered the Bedouin knife called “Shabria”, considered a traditional weapon in that part of the world. The attacking and stabbing technique with this knife is typical and was designed specifically to this aim and because of that Imi called it in the beginning “Oriental Stab”. Later on, to be more “politically correct”, he changed its name to Stomach Stab. The stab is done by holding the knife in the right hand (for example), doing a step forwards with the left leg and stabbing with the right hand. The stabbing movement is towards the opponent's stomach, from below upwards. The unique shape of the Bedouin Shabria, which exists since the days of Muhammad and the beginning of Islam, allows the attacker to “open” the entire opponent's stomach in one smooth and fast movement. We can easily notice how this attack style is much more dangerous than the previous one, Dekira Regila. The defense technique against knife in the kravmaga shows, teaches and explains to us how necessary it is to use and control the wide variety of kicks which Imi included in the kravmaga. His initial thought when developing the krav-maga kicks was that the leg is always longer than the hand and especially when the latter is armed with a knife. Only with the correct kick we will be able to reach the opponent without him touching us first. Without this we will never be able to defend ourselves effectively against knifes.

The third attacking technique is Dekira Yeshara (straight stab). This form, as we will see, is the most popular one and this is why Imi created against it the largest number of defenses than against any other stab in the kravmaga. Many today claim that the kravmaga is not a martial art in the classic sense of the word. And this is the reason why only a few actually acquire to themselves the self-confidence needed to confront an aggressor armed with a

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Great Masters

knife, knowing that they are able to properly apply the defense against knife attacks. Only a correct and accurate learning of all the defenses, as well as both physical and mental understandings of each movement created by Imi, will lead to a comprehension of the krav-maga as a martial art and of ourselves as martial artists; to perceive the krav-maga as the Israeli “Budo” and Imi's rules of honor in the Israeli “Budo”.

A martial art, from any kind, demands from us the ability to do certain things. In some point across each martial art we are also asked to prove our capability and defenses against knife in the krav-maga show it more than anything else. The learning of these defenses in the krav-maga is a long process. It is impossible in just a few lessons to learn how to do knife defenses effectively. Everybody who had experienced this know it.

Knife held by a training friend is never the same like one held by a bandit in the street. This is the reason why many believe, wrongly, that it is so difficult to defend against knife attack. But the truth is that inside the original and complete krav-maga created by Imi, we have all the answers. We just need to know and to learn and to keep all the small details. Of course, we cannot avoid the fact that we are required to have some additional basic physical features, like flexibility, speed and an accurate reaction capability.

Against Dekira Yeshara Imi created seven different defenses, so we will be able to defend ourselves from any direction and in any situation. This includes also some unique attacking styles which the general public is not familiar with and that are shown in this DVD for the first time outside of Imi's closest disciples circle.

The 4th and last stab is Dekirat Shisuf (slashing stab).

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This is maybe one of the hardest defenses against any weapon in the krav-maga. This attacking technique is very difficult and dangerous to defend against and we have to understand that it is impossible to defend against a knife attack and to get out completely unharmed, especially against this stabbing form. But, if we will not to the defense, even with the risk of “gaining” a few stitches, we will die. Before the age of the modern Gillette style disposable razors, almost everyone shaved with the straight razor. This kind of razor had blades so fine and sharp that you only needed a slight movement in order to cut someone's throat. During Imi's service in WWII, almost every soldier had in his pocket a straight razor, weather with the intention of shaving or for self defense, and those razors where as lethal as knifes. The way you held the razor and the cutting movements you could do with it made it so dangerous.

And again we can see that Imi was the first man in the world to find the way (the only one that exists actually) to do a defense against such a dangerous technique such as Dekirat Shisuf.

Today few people walk around with sharp razors in their pockets, and even

less than that would actually use it in a fight. Imi himself said that the age of using a razor has gone. But, not the knife that attack us that is important, but our physical ability and mental preparation to face an attacker and to be able to do all the defenses. Only in this way we will acquire the physical and mental capacities we need. This is the only way to find inside ourselves the courage and the willingness to defend ourselves in time of danger. A blurred sense of danger, that maybe some day something will happen, is not enough. The greatest warriors in the world had already written about it.

We must feel and see ourselves as dealing with the reality every day and every moment. This is also one of the reasons why BUKAN organizes special trainings at Wingate Institute in Israel. Wingate is located near the IDF 8th instruction base, the place where Imi began his way in developing what we know today as the krav-maga.

During the ten days stay in Israel the students are exposed to the Israeli way of life, to the daily sense of stress and danger. Only this way we will be able to comprehend the spirit behind Imi's creation of the krav-maga as the

unique Israeli martial art. The Wingate Institute decided to contribute to the idea of preserving Imi's original kravmaga by making available to us the school's installations, giving various lectures and certifying the participants. These trainings are open to everyone, from all federations and associations.

Imi created the krav-maga combining its techniques one with the other, meaning, each technique is built inside another one and completing it, like layers of onion, one above the other, until reaching the core. In our case, the core is our ability to defend ourselves, which is the essence of our self confidence.

Before we finish, there is one more important thing I would like to explain.

The defense is never against the knife, it is always done against the opponent which holds the knife.

Study and maintain Imi's 14 rules of the krav-maga. Only through them we will be able to really protect ourselves in time of need and danger. Imi wrote once on the board at BUKAN School: “Physical capacity = Mental capacity, and both of them together mean self confidence. This is the secret formula of the krav-maga”. So said Imi.

PHOTO IN THE PREVIOUS PAGE: The photo was taken in 1984, in Bukan School of Krav-Maga, in the city of Rehovot, Israel. this training with Imi in Bukan was actually the last time that Imi tried to gether all his ten black belt students to a special training. the purpose of the training was to present Bukan School to everyone. some of the senior students already came with their own students. officially, with this group of pioneers, this was the last training ever. in the picture, with their belt at the time: standing, from the right to the left: Eli Ben Ami, Blue Belt

Oskar Klein, Brown Belt Yaron Lichtenstein, Black belt 4th Dan Imi nest to Imi: his secretary, Gila Behind Gila - Shmulik Kurtzveil, Black Belt Haim Zut, 2nd Dan Beni, Green Belt Haim Hakani, Black Belt Tani Maimom, Bukan's student Sitting: from the right to the left: Boaz Hagai, Brown Belt Reuven, Student of Eli Avikzar Uri Refaeli, Student of Eli Avigzar Eyal Yanilov, Black Belt, student of Eli Avigzar Guy, student of Haim Zut Eitan Savir, Brown Belt student of Bukan.

Haim Gideon, Black Belt student of Eli Avigzar Eyal Savir, Brown Belt student of Bukan.

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How can we teach people how to defend themselves against stronger and armed opponents without difficults techniques? It may not be legal or even possible to have a weapon in a self defense situation therefor it is necesary to know how to use everyday objects at hand. Under this premise, Peter Weckauf has developed an effective, modern and individualized system of self defense, with progressive techniques and focussed on civilians, security agents, women and high qualified security officers and bodyguards. The SDS CONCEPT no only contains aggresive techniques for radical defense against any type of attacks, but also offers a great range of attacks, accupressure techniques for passive resistence situations and for the people we may have to defend, and a lot, lot more.

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

ORDERS: Budo international. net

The Siamese fighting foolproof strategies to eliminate the opponent Forgotten in their own country for decades, the 15 traditional technique forms of the MaeMaiMuay Thai [namely, fundamental (Mae), techniques (Mai) of the Thai fight (Muay)], actually represent a technical and cultural treasure that must be preserved at all costs.

Far from being merely defensive and offensive movements apparently quite simple, the MaeMai or MaiKhru are the "distillate" of a complete system of Thai fight extremely rich and sophisticated.

Each technique has been developed over the centuries by warriors and fight masters, and is based on combat principles tested "in the field" in times of war and peace, through countless clashes (on a true scientific process concluding with an accurate assessment of cause and effect before being accepted).

The question that arises here is: why some techniques are classified as MaeMai (that is, mother- technique) and others not? Certainly we can say that all those defined as basic techniques were, after a long series of attempts, the most effective ones to secure the victory in a real fight; in other words, such techniques are the actions that offer more possibilities to succeed to those who know how use them properly.

Despite the existence of more or less subtle differences in the application of the forms within the different regional styles of Muay, all versions of the traditional style recognize the same fifteen basic principles of combat.

Going deeper into the concept, we can say that each MaeMai in itself represents an overview of the combat, a comprehensive strategy for the fight. The true value, the beauty inherent in this type of action, lies in the fact that each MaeMai is a universal movement that, having its reading key, can be developed through the many existing variants, which give rise to multiple martial applications, all of them equally effective. The masters of the past who coded these sequences, possessed such technical mastery in close-in combat, experienced in their own flesh, that managed to condense a lot of combative principles into 15 single actions, all of them easy to reproduce .

The resulting technical background, now available to all Muay practitioners, consists in a coherent and consistent program capable to meet the current challenges as it did so many times in the past.

If it is to find a distinctive approach to MuayBoran traditional techniques, we can

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Muay Thai say that they characterize by the great emphasis put on the refined and precise execution of each defensive and offensive action in order to be effective even in clashes with stronger and heavier adversaries . The best proven method to achieve such mastery and technical correction is the study and practice of the MaeMai forms.

The man who, in recent times, has been committed to a greater extent with the development of a proper understanding of the MaiKhru techniques, through a careful coding of each movement and its many variations, is, undoubtedly, the University Professor Phosawath Saengsawan, a true eminence in the field of historical issues related to the different periods of development of Muay and its stylistic regional currents. Khru Pho (as he likes to call himself) codified the fundamental techniques of the discipline and organized them in order of increasing difficulty, in such a complete way that even today his encoding holds the authority in Thailand.

Also, Master Khru Pho has definitively illustrated the concept of the "variants" of each basic technique, creating a complete and thorough background of concepts (strategies, principles, map of the vital points, use of natural weapons), which is currently the backbone of the technical program of the International Academy of MuayBoran IMBA. Among the more advanced applications of the principles of MaeMaiMuay Thai transmitted by Pho Khru, we should keep in mind the so-called "devastating combinations," techniques combined to the main action that seek to finish an adversary with an additional percussion, an armbar, a strangulation, a takedown, etc..

In the technical sequence, we can observe the strategy MaeMai No. 2, of intrusion into the opponent's guard in order to reach his "nest" (ie, vital points located on the centerline of the body, in the Thai language PaksaWaegRang). Once we've gone through the barrier of blows or the oponent's arm guard, with special measures, trunk movements or proper deviation techniques, we are in the right place to discharge blows at close range difficult to block. The weapons we'll use, obviously, are those which are most suitable for close-in banging: the head, elbows or knees.

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"Walking is shown by the steps" The old adage of popular wisdom is true once again this month, in which Sifu Salvador Sanchez presents his first DVD with Budo International, in which he honors the great texts he's been publishing in the last months in this magazine, as well as his recent book, the bestseller "WingTsun, High level". But a video is always something else because you can't conceal behind theories. You must demonstrate what you explain and teach, and this is precisely what you will find in this DVD: a great deal, well explained and very good. Today Sifu Sanchez reflects on the nature of WingTsun, and does so in his usual, always sensible and conciliatory proposal, calling things by their name but always with respect for others ahead.

WingTsun "They say that he who forgets his past, buries his future. Let's look at the history of this style and many of the problems we face today will disappear in a better comprehension that the only way for the martial artist is the daily practice"

" The great richness of this art allows us to observe personal styles as different as those of my Sigung K. Kernspecht, my Sifu Victor, Sifu Saly Avcy, Sifu Emin, Sifu Tasos, and so many others that despite being very different in appearance, they are nothing less than superb at martial level"

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WingTsun Styles within a style

"If it meets the principles is Wing Tsun..."

Yip Man

A few days ago, thanks to the curious world of the Internet, I read on the blog of a well-known Wing Chun Sifu, an interesting article about verbal incontinence of many Wing Chun practitioners that, on observing the practice style of someone who is different from theirs shamelessly affirm: "That is not Wing Chun".

Definitely, at some stage of our lives, we all have been tempted to comment or "judge" the work of others by comparing the outer aspect of what they do without looking any further. It is a very serious mistake that, in my opinion, entails a constant source of tension and arguments in Martial Arts in general and in WingTsun in particular .

In a system like ours, in which the learning method has undergone major changes in recent years, coupled with its very nature that strongly emphasizes the personal feelings, it is not uncommon to find different forms of "DOING". Different STYLES within the STYLE. This is certainly one of the most important features of WingTsun. On the one hand, less advanced practitioners with a lower criteria at technical level, dare to say, "that's not WingTsun". I imagine that you, reader of this publication of Martial Arts, regardless of the style you practice, will find this familiar ... Evidently, we pose this question to try to clarify the issue and, at the same time, to "unite" instead of "separate".

Being able to say whether something is or is not WingTsun, requires that we look back and review the history of the style. On this subject I'd like to refer to the Master of Masters: Yip Man. He was one of those who had to cope with similar situations in the time in which he had to live. Finally, you come to understand that history swings from side to side, like a pendulum... and that facts related to humans beings are repeated in a cyclical fashion.

Yip Man was an peculiar case in the tradition of WingTsun. He had TWO Teachers: Chan Wah-Sum and Leung Bik. This fact, which at first seems of no relevance, absolutely changed GM Yip Man's way of practicing and understanding WingTsun and the evolution of the system.

They say that when Yip Man first met GM Leung Bik, in an almost fortuituous way, he hardly recognized him as a practitioner of his own system. Yes, it is surprising!! Asked by his style, GM Leung Bik responded it was Wing Tsun, and Yip Man, who claimed he practiced WingTsun, couldn't believe it, astonished by the "aesthetics" of Master Leung Bik's workout. They were absolutely DIFFERENT things! The question that I dare to launch today is: How could a style be so different between two students of the same teacher?

Let's study some history of the style The famous teacher of Wing Chun, Dr Leung Jan, from Foshan, wrote three books on the style. These manuscripts and books were never published (story not proven). The truth is that in the history of this system it is said that, without any doubt, there is a before and an after on the fame Wing Tsun had until the appearance of Dr. Leung Jan. He is therefore an undeniable reference and entails a very important point in trying to explain in a clear way the topic today ...

Among the students of Dr. Leung Jan were nothing more and nothing less than Chan Wah Shun ("the Money Changer") and Leung Bik (his own son).

Yip Man learned his WingTsun from Master Chan Wah Shun (Foshan) but, by a coincidence of fate, he had a chance encounter of which emerged as a "consequence" that shortly after, Leung Bik accepted him as his pupil.

In fact, Yip Man had the honor of being the only student of Leung Bik during his early years in Hong Kong.

Yip Man arrived in Hong Kong when he was 15, in 1908. That same year he met Leung Bik to whom he would follow for a long time learning from him all the refinements and secrets of the Wing Chun Kuen. Despite that, Yip Man always referred to Leung Bik as Si Pak (surprising in these days in which anyone who's had an spat with his sifu rejects him and looks for a new SIFU ...)

Leung Bik scarcely had economic resources and lived on the edge of poverty in Hong Kong. In fact, he was staying at a relative's and could barely eat. Interested in him and his situation, Yip Man invited the master to live with him, a fact that evidently brought about a large narrowing of both the martial and personal ties.

Leung Bik taught Yip Man his Wing Chun until 1912. During these years Yip Man learned the entire system under the guidance of Leung Bik and, above all, he practiced daily and diligently for years on the most subtle and advanced issues of the system.

After the death of Leung Bik, Yip Man returned to Fatshan to help his Kung Fu brothers with

the knowledge he had acquired in Hong Kong. It is precisely at this point where the problems began ...

Two TEACHERS who had the same Master on the SAME STYLE, both had ABSOLUTELY DIFFERENT STYLES. The dissimilar perspectives and life situations they had, made obvious their differences within the

WingTsun: Chan Wa Shun was a man of a small cultural development, coarse in his manners and whose knowledge and ways of expression were those of a common man. On the other hand, Leung Bik, was an educated man and his ideals and way of practicing and showing the style were heavily influenced by Philosophy. His knowledge

"I would like to invite Wing Tsun practitioners to look with deeper eyes at what they do and to avoid judging personal style of others"

WingTsun and comprehension of the principles of Wing Chun were much deeper and highly refined. Far beyond of those his younger Kung Fu brother, Chan Wa Shun, had.

Although Yip Man learned as much from Chan Wa Shun as from Leung Bik, and although he stated that Leung Bik's lineage was much broader, deeper and impressive, Yip Man never said his Sifu was Leung Bik. Yip Man understood the respect that a pupil should have for his teacher! More than one of us should look in depth this lesson of RESPECT and Kung Fu ...

But today's topic takes us there, at that historical moment: when Yip Man returns to Fatshan and when he shows the knowledge he had learned from Leung Bik (Leung Jan's direct lineage) his fellow practitioners, elder school brothers and the rest of the WingTsun community of Fatshan are alarmed and say without blush: THAT'S NOT WING TSUN! I want to imagine the profound disappointment that the great master must have felt when, trying to improve their system and display the finest flavors of this exciting style, was repressed by his peers for having a different "aesthetics" in his practice than the one he had years before. Today things are exactly the same.

Let's see: despite he surpassed all and every one of his fellow practitioners at both technical and combative level, the vast majority of them kept regarding GM Yip Man as a "traitor" to the style. Because he trained and did things in a different way from what they had been taught by their sifu. What is more, because he had practiced with a master of THEIR OWN SCHOOL, THEIR OWN STYLE. Incredible! Does it sound to you? Well ... today is exactly the same. Those things of the pendulum...

Years later, when asked about what was or was not WingTsun, Yip Man used some wise words that in my opinion summarize the system and we solve any doubt we might have. He said: "If it meets the principles, is WingTsun..." The principles of WingTsun are often recited aloud by the practitioners of this style, but rarely are they studied in depth for them to be put into practice: 1. - If the way is clear, advance.

2. - If you crash with something, stick to it 3. - If the strength is greater than yours, yield ...

4. - If he withdraws ... pursue him.

Today I would like to invite Wing Tsun practitioners to look with deeper eyes at what they do and to avoid judging personal style of others. I firmly believe that this system has created (and keeps creating) exceptional martial artists and the simple fact that the aesthetics of what others do is different from ours does not give us the "patent" . Furthermore, if you look and reflect, you will realize that, in many cases, there are people who perform movements with a real WingTsun aesthetics, but behind that there is no principle whatever. Only choreography.

They say that he who forgets his past, buries his future. Let's look at the history of this style and many of the problems we face today will disappear when we come to understand that the only way for the martial artist is the daily practice. What others do, or others' personal style, shouldn't matter much in an art that is INDIVIDUALISTIC by definition.

The great richness of this art allows us to observe personal styles as different as those of my Sigung K. Kernspecht, my Sifu Victor, Sifu Saly Avcy, Sifu Emin, Sifu Tasos, and so many others that despite being very different in appearance, they are nothing less than superb at martial level. So we shouldn't judge anyone by the aesthetics of what he does, instead we should try to see the good in every one of them so that we can improve our individual practice.

I hope this serves to better understand this system.

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Great Masters

M

aster Sueyoshi Akeshi was born in Osaka, Japan, on April 15, 1958.

He began practicing Batto Jutsu when he was twenty, with Master Kono Yoshinori.

He also studied Acupuncture and Shiatsu. World leader of the Kai Mugen based in Portugal and one of the most respected Shugendo monks, Master Sueyoshi is a deep devotee of Buddhism and ancient arts of Japan, and one of the most renowned and distinguished teachers today inside and outside the "Land of the Rising Sun".

His great talent and passion for martial arts began to unveil rapidly ever since he began practicing. His fame spread to Europe when, in the late 90's, he came to live in Portugal, where he'd stayed for about five years, and also in Spain.

In the years he spent in the Iberian Peninsula he took the opportunity to promote his art and as a result, at present he still retains his former student group in Portugal, which he keeps visiting three or four times a year. For over a decade, his Portuguese students have kept alive all his teachings.

His innate ability concerning Martial Arts is remarkable. For instance, his mastery in the art of the katana, with movements so fast that appear almost photographical. With a special ability to make look easy what is difficult, Sueyoshi Sensei can also

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Text: Carlos Martins Photos: Š www.budointernational.com

make us travel through time for his deep knowledge of ancient Japanese arts. His dexterity and softness applied to his outstanding technique are of such an indescribable beauty and efficiency that it is almost impossible to put into words.

His 10 DVD's already edited and a fourth book forthcoming attest beyond any doubt that Sueyoshi Sensei he has no intention of keeping any secret to himself, on the contrary, his main goal is that his knowledge might reach whoever might be interested in and his teachings not casted into oblivion.

Being a Shugendo monk, he has participated in a good deal of rites and ceremonies, some of them of extreme physical and mental harshness, as the “fire ceremony�, in which monks stand in front of a huge bonfire at a very close distance reciting mantras to finally walk barefoot through it.

Or the "okugake", a pilgrimage to the mountains of Ominesan of high significance within the monastical Shugendo tradition, that is held annually in the month of August and consists of trekking for a week in mountainous areas, with several stages in temples for meditation ceremonies; here, pilgrims do not have any access to material goods, being only in contact with nature in a relentless pursuit of inner peace. At the end of each day, novice monks take part in initiation rituals, some of which are rather hazardous, like turning around a steep rock on a cliff without any support or ropes they can cling to, or getting hung by the feet in a rock so that their sins will be forgiven, in addition to a daily hike of twenty-five miles on average and barely three rice balls a day as the only food, that one of the days they have to share with a partner.

One of the most demanding rituals he's gone through (has done it twice) is that of fasting for twenty days, ten of which were spent locked in a hole of only one meter by one meter, where he could only stay in two positions: sitting or standing.

This leads you to physical exhaustion, and all you count on to success in sustaining yourself is your mental strength.

According to reports of his own experience, the best way to strengthen your spirit is disciplining your body, which not only reinforces your mind and your spirit, but also teaches your body to cope with extreme conditions.

Every Martial Art practitioner should train his body, mind and spirit in the same way, for if you forget

Who's who in the Budo? about one the other two get unbalanced.

The ceremony of the "ten thousand goma" is held in front of a log fire by reciting a mantra every time a firewood is thrown into the flames. This ritual can last over four weeks until completing the "ten thousand goma".

Another challenging tests was definitely the "one hundred days in the mountain", similar to Okugake although much longer; one hundred days of isolation in which he was only in direct contact with nature and with Buddhism. For him, the hardest part of this experience was that he could only sleep three or four hours a day (even some days no sleep at all), in order to fulfill all his duties in the rigorous hundred-day retreat.

My conclusion is that this magnificent man is a masterpiece of the human nature, someone who upholds his passion for the religion, culture and traditional Martial Arts of ancient Japan. The good news is that his teachings are available to all those who, like him, are likewise trapped in the incorrigible vice of the Martial Arts.

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He is no doubt one of the most respected Kung Fu experts worldwide. For years, he has shared with us through these pages countless demonstrations of his knowledge and martial skills in different styles of Kung Fu: Pa Kua, Tai Chi, Wing Chung, Hung Gar, Tao Yin, etc .... For Cangelosi, there's but one Kung Fu, the different styles being just branches of the same tree, and, in one way or another, a real Kung Fu martial artist should study them all, though, of course, his preference for a particular art will end up imposing itself. In our talks we always knew that there was a pending job that he should do on Chi'Na, and we finally managed to succeed in the project.

Today he presents to us his DVD about

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OR NAH KHAM

this style, art or technical device, that he masters to perfection. But for Sifu Cangelosi, every project must be carried out in-depth, so he is currently working on a book on the subject, which will be released in coming months and in the same editorial.

For me it's always an honor to present the works of this unimpeachable teacher and great person.

Alfredo Tucci

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"Chin'Na: through the analysis of its ideograms, you reach the technical sense of an art focused on the contact and control of the adversary. As an eagle claw catches its prey and won't let it escape".

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Reportage

I

t is not easy to trace a historical line of what today is called the Chin'Na art of catching and stopping.

Analyzing its ideograms, you reach the technical sense of an art which focuses in the contact and control of the adversary. As the claw of an eagle catches its prey and won't let it escape.

That was the initial concept of this art, which eventually experienced a technical evolution, an extension toward the development of joint lever techniques, pressuring on nervous centers, blockages on tendons and muscles, respiratory and blood strangulations, takedowns, including also some blows and percussion.

For many people, the Chin'Na found its way as a technical section of Kung Fu and therefore it was interpreted as a different style.

But it must be pointed out that unlike many other traditional systems of Kung Fu, there's not only one genealogic line that has accompanied this method for centuries.

However, we can see that many teachers and martial artists of the past included in their styles the actions and feats that characterize the Chin'Na.

Some of these characters were devoted exclusively to the Chin'Na and consequently there were formed some currents and family lineages that we find today in some parts of the history of Kung Fu. The Shaolin monks themselves, at advanced levels, included these techniques in their training programs.

During the Yuan period (1271-1368 AD), in the Shaolin Temple of Heenan begins with Master Ma Shi Loong a specific Chin'Na training. Master Ma Shi Loong himself leaves a technical legacy of his art to the monk Jue Yuan, who will continue transmitting it for future generations.

In following periods, other teachers contributed to the development and refinement of these techniques, which became increasingly numerous, effective and sophisticated.

Tracing back the evolution of this method in Shaolin, we find other masters, as Feng Yi Yuan, Li Jing Yuan, My Hao Shi, until reaching the character that was considered the best expert of all times in the Shaolin Chin'Na: master Jing Luo Han. It must be pointed out that although everything regarding this matter was transmitted in the training programs, it always occurred on a limited basis and passed on from monk to monk, because the Chin'Na was considered as the most refined martial expression.

Beyond the history of Shaolin, the Chin'Na system has been recognized and attributed to other great warriors, like General Yue Fei of the Song Era, who codified techniques based on grips, joint levers and combinations of “melee� actions .

In its development, the Chin'na also approached the "Shuai Chiao", or ancient Chinese fighting system, to enrich itself and complete itself technically, although this just happened in some clans, since many teachers preferred to keep both methods separate.

Over time, and by the teaching of personalities such as army generals, fighting heroes and monks, it would be inevitable the influence that the Chin'na exerted in the origins of other martial arts which developped successively in different geographical areas of Asia, showing the techniques and principles of this Chinese method as their main trait.

So we can deduce that this technical device can be found in various styles of Kung Fu, analyzing the related applications in accordance with the rules and actions of the "mele", therefore in the short distance. Thus, in the Tai Chi, Pa Kwa, Tang Lang, Hung Gar, etc., you can find a part of Chin'Na. But if you want to get a deeper understanding of this system, you must consider the Chin'Na as a true art, going deeply into its world and following the teachings of the various specia-

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lists who created programs to teach the students a path of growth, independent of classic traditional styles.

Chin'Na or Nah Kham Technical Features In the sense of "capturing", "locking" (CHIN) and "blocking", "stopping" (NA), is contained all the technical importance of this Kung Fu section.

From the strokes of its Chinese characters, you can translate “a hand that grasps and blocks like the claw of a bird that won't leave its prey�. When you talk about Chin'Na you don't refer to a traditional fighting method, but a technical background present in all Chinese martial art styles. There are styles such as Tang Lang, Pa Kua or Tai Chi Chuan where Chin'Na is particularly studied in depth; but in any

case, Chin'Na is also present in the rest of the styles.

The classification of techniques of this system is often simplified to five areas: FEN JIN or ZHUA JIN = grabbing and dividing muscles and tendons.

CUO GU o YU GU = disordering the bone arrangement.

BI QI = blocking the air circulation.

DIAN MAI = blocking the energy flow.

DIAN XUE = interrupting the blood flow.

In fact, within this subdivision there are several details that open up a sophisticated and endless technical picture. Some of the keywords that regulate the technical attributes are: GRASP, BLOCK, PUNCTURE, RUB, TWIST, COMPRESS, ROTATE, BREAK, DIVIDE, SQUEEZE, STRIKE. Each of these actions can be used in the Chin'na.

In its most advanced levels, the Chin'na always developes these principles and seeks the path of energy, of CHI: as if it was trying to follow, grasp, hit a breath of wind. The neophyte must emphasize principles of SOFTNESS and YIELDING. "When an opponent pulls from you, you push him, when an opponent pushes you, you pull from him", so that the energy circulates nonstop to flow and lead the forces.

Precisely in order to exploit these principles, especially gentle and circular movements were developed, against those harsh and direct.

JOINTS, MUSCLES, TENDONS, ARTERIES, VEINS, CARTILAGES, RESPIRATORY SYSTEM, NERVOUS AND ENERGETIC CENTERS: each one of these body parts can be exploited by the Chin'na, since it tries to apply the various techniques on the entire body of your oponent, preferably in close situations like those of "melee", and also in blow fencing.

The possibility of controlling and immobilizing the opponent through the grips and leverage effects, numbing him and making him

Reportage

loose consciousness, as well as the influence it has on the normal body's energy transmission cycle and, above all, the possibility of modulating with extreme precision the effect of techniques, turns this discipline into a very "dangerous and deadly" one. On the other hand, the ability to carry out some techniques with millimetric precision permits as well to neutralize the oponent without causing him permanent damage.

In order to exploit to the maximum the potential of the system, an expert in Chin'na necessarily must have both a good knowledge of human anatomy and a deep understanding of the laws regulating the body energy flow throughout the channels or meridians. This link between Martial Arts and Traditional Chinese Medicine, particularly Acupuncture and Digitopressure, represents another trait of this system, that can succesfully exploit the Acupuncture points t h ro u g h

pressure or percussion to neutralize the opponent (DIM MAK or DIAN XUE).

In the Chin'na, being in harmony with one's energies and being sensitive to the balance Ying and Yang on the concept of full and empty related to actions, will permit us to act using the Ch'i in our actions and avoiding energy dispersions and useless movements, to handle and control the opponent's strengt. This principle is expressed in a superlative way in traditional exercises like the Tui Shou of Tai Chi o Pa Kwa, the Chi Sao of Wing Chun, or the Chi Lap of Tang Lang, where there are similar laws which are common to most teachers, as: Fu = make the breath circulate in the body and shift it towards the opponent, controlling him.

Gai = wrap the strength of the opponent, be sensitive to his energies.

Dui = know the objective to be attained, follow the path of the natural technique; it will the oponent himself the one to trace the route of our victory.

Dun = absorb and transform the oponent's energy The secret is always in the vital breath.

The same concepts are expressed in the Japanese term Ju (yield, softness), important root of arts like Judo and Ju Jitsu, or the concept of Ai-Ki (unification of energies) in the art of Aikido, all of them disciplines that trace back their origins in the ancient and classical Chinese techniques.

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The first step of "growth" in the traditional training of Hung Gar Kung Fu is the one many students describe as the learning of the main form of the system: the Gung Gee Fook Fu Kuen or "The Conquest of the Tiger Fist".

In China, in ancient times, the tiger was the strongest and most famous animal. No other animal nor people could beat this majestic creature; just look at the name of the form. It

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was said: "You have learned this form.

Now you will be even stronger than a tiger."

This is not just a superstition. In fact, as a teacher with experience says, the Gung Gee Fook Fu Kuen leads the students to a new level in the Hung Gar program tuning them up both physically and mentally in every aspect of the system.

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Development of the form with partners Although with these forms, like the Gung Gee Fook Fu Kuen, they were established important milestones in the Hung Gar training, advanced practitioners are constantly seeking hard to perfect the system and find new ways to help the students achieve their goals, that is, to become well prepared fighters, in the quickest way. With the training of the forms, which are fixed sequences of movements, the student carries out a fight against an imaginary adversary exercising his skills in this way. This works so extremely well that any student can improve on his own his fighting skills simply by practicing the forms without attending school lessons. Despite this fact, there was no intermediate stage, a transition between the forms and the actual fight with opponents or training partners. From these and other similar considerations emerged the so-called forms in couples, that is, with a partner.

Unlike conventional forms, these forms are usually designed to be executed by two people, although this fact don't make them less dangerous for practitioners. The advantage of these forms with a partner is quite obvious. You work with a companion and therefore there is a solid body contact. Thus there is an interaction and you can take advantage of these techniques in a significative way and so improve your skills. This inspired Hung Gar masters to create a form with a partner that provided the

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same benefits as the Gee Fook Fu Kuen, which resulted in the creation of Gee Fook Fu Doy Dar. In forms like the Gung Gee Fook Fu Dar Doy, everything is geared to advance in the process. There is a training partner, a fighting rival. The moment and the "authenticity" of the used force play an important role. The way your partner acts will determine the strength and timing of the techniques. Ultimately, it will provide both parties to know the results in a real fight. However, what comes next indicates how to outsmart the opponent,

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but with real skills and a possible "defeat". When performing the Gung Gee Fook Fu Kuen techniques there may occur dangerous situations between those carrying out the movements.

Then and now Learning the Gung Gee Fook Fu Dar Doy has always been a challenge for Hung Gar students, particularly for those following the line of Chiu. Of course, Grandmaster Chiu Chi Ling (10th Dan), experienced fighter and

leader of the style, knows the exact movements of the form, nevertheless offers a completely free and improvised version: Was it the left foot or the right foot?

"It doesn't matter" -said the Grand Master-, "in the end, you have to work to attack any how."

In a similar way behaves his successor in the style, Grandmaster Martin Sewer (8th Dan). He is one of the few Europeans who assumes the challenge of including a form as complex as Dar Doy, in the training program structured in his Kung Fu School MARTIN

SEWER, for the benefit of his students.

Many students seek to incorporate the Gung Gee Fook Fu Doy in their way in the Hung Gar Kung Fu Gee Fook Dar Doy, as well as in the lessons and educational principles. And rightly so! But the experienced student knows that learning the form is not enough, you also need to understand the form and recognize its nuances, to finally incorporate them into your own abilities. And he also knows that he can learn from his classmates as well.

"When I was aiming to my second Dan, my Sifu told me once that in combat you can know the true character of a person."

And he was quite right, of course! When you practice the Gung Gee Fook Fu Dar Doy with someone, you can easily judge the kind of person you

have in front of you, and students and fans of Martin Sewer's School of Kung Fu like it so much that they've asked the Master to publish an instructional DVD on Gung Gee Fook Fu Doy Dar. Under the direction of Master Martin Sewer, two of his instructors show us the whole form and its applications.

Naturally, this DVD also shows variations of the form, described and explained by Sifu Martin Sewer himself. Through these educational

films, students can favour their training expanding their horizons in the understanding of the Hung Gar system and therefore progressing faster A DVD that all fans should have!

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KAPAP: The Art of Giving Life, Not Taking Life

A

s a student of Japanese swordsmanship, it's clear that “To Study the Old is To Understand the New.” I was an “Uchideshi” for almost 8 years in Japan, under sword Master Sensei Kubo Akira, and I have followed him for the last 30 years. I witnessed his skill in front of me everyday and it was inspir¬ing. He demonstrated his mastery as my teacher with every move, every breath.

As he taught, he'd often speak of Nakayama Hakudo, also known as Nakayama Hiromichi, Soke of Muso Shinden Ryu. This is why I also teach my students Arts and Crafts. You cannot teach, you can ONLY study.

When I moved to Los Angeles I searched for a teacher that could keep this spirit and inspiration, and I found Professor John Machado. Professor Machado always taught me that Brazilian Ju Jitsu needed to flow with good spirit and good attitude and that you needed to maintain your own health. BJJ is an inspiring way of life and is all about having a good quality life.

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I was never a student of Carlos Gracie, Sr., but I can say that I do study a lot and am inspired by him, even though I have never met him in person. I have felt his spirit in every BJJ class with my teacher.

We used to joke back then and we would call it “story time” as Professor Machado would sit and share stories, inspirations, and things from his heart. He would share with his students while some kept rolling, or some would sit nearby. I used to go home and make a list of what I needed to keep studying. Not so much the techniques, as I always had techniques in my mind, and was always getting them right and wrong! It was more about the timing and where you'd plan to use them. That's the key, because if you use great technique with the wrong timing, it would be like using the wrong tool for the wrong job. This I'd already studied with one of my most inspired and inspiring teachers, Hanshi Patrick McCarthy. Hanshi McCarthy always looked to build a bridge between the Old Days Traditional Martial Arts and the Modern Martial Arts, using flow as used in Aiki Kenpo. When I found BJJ, it was the best fit for me but it also

showed the flow as in Aiki Flow - all the way from standing to ground.

Professor John Machado always spoke of “Uncle, Carlos Gracie” who was possibly the single most important figure in Brazilian Jiu Jitsu history. He was the very first Gracie to germinate the roots of BJJ, Japanese Jiu Jitsu. Carlos Gracie was known by his nickname “Pai Branco”, which means “White Father” in Portuguese, by family and friends. This was the name his brothers and close family called him due to his habit of wearing white at all times and because he was considered the head of the clan, it's fatherly figure. He was the weak student his father brought to Maeda Sensei, using the stage name of Count Coma.

Count Coma, Misuyio Esai Maeda, was a Jiu Jitsu/Judo representative sent to Brazil by Japan to share Jiu Jitsu with the world.

He had lots of stories, from Nutrition to Health, about how to flow, and I was inspired most about nature studies and human studies by this great teacher and his stories. He would tell stories of how he'd swim in the river with alligators, or

Martial Arts 5 Think always in the best, work solely for the best and expect always the best.

6 Always be as enthusiastic about the success of others as you are about your own.

7 Forget about past mistakes and concentrate your energies on the victories ahead.

8 Always keep your fellow men joyful and have a pleasant attitude to all that address you.

9 Spend all the time you need in perfecting yourself, but leave no time to criticize the others.

10 Become too big to feel unrest, too noble to feel anger,

how he developed mental training and stamina that would change him from the white chicken and train him to be the war chicken.

I am inspired by Carlos Gracie's 12 commandments, and would like to share them here: 1 To be so strong that nothing can disturb your peace of mind.

2 Speak to everyone of happiness, health and prosperity.

3 Give all of your friends the feeling that they are valuable.

4 Always look at events from a positive point of view, and turn positivity into a reality in life.

too strong to feel fear and too happy to tumble in adversity.

11 Always have a positive opinion about yourself and tell it to the world, not through words of vanity but through benevolence.

12 Have the strong belief that the world is beside you if you keep true to what is best within you.

This all came back to me during my last training with Hanshi McCarthy while I was looking into more study between swordsmanship, Judo, Jiu Jutsu and BJJ. In looking at today's Modern Martial Arts, we must excel at what we do and

what we teach and with what 'messages' we will and must pass on to the next generations.

One of my 'messages' was to develop a new knife based on this whole study. The new knife is made by Fox knifes in Italy and it's called the “Israeli Tracker: KAPAP.” This knife was developed from many ideas, beginning with my own history.

My father was a combat paratrooper.

The background color of his wings was red (as opposed to blue) signifying that he actually made combat drops. This is rare, since most paratroopers train but do not actually deploy into combat in this fashion. As such, I grew up amongst the first paratroopers of the IDF, absorbing their culture, their history, their stories and pictures from the old days. One picture I have never forgotten is that of the platoon training knife-fighting in the 1950's, when KAPAP, Krav Panim El Panim/Face-to-Face combat, was the close-combat system used in the IDF. As we re-de¬veloped it and started to re-introduce it throughout the world to the civilian market, this picture kept popping up again and again in my mind as the start of KAPAP. The picture is that of my father, which I adapted into my logo. I carry my father's memory and tradition. This 'shadow' of the knife has fol¬lowed me since I was a small child. I remember how my father used the knife outdoors and indoors as a heavy duty knife.

I enlisted in the army in 1980 and was challenged to go to war in 1982. I served in a war zone for two years, and my father's knife was always on my military vest. When I left the army, I gave my knife to a Lt. Colonel friend as a present. I then traveled to Japan to study Japanese Martial Arts for almost 8 years. I became a 6th Dan in Japanese swordsmanship and a 7th Dan in Aiki Kenpo Jutsu. I have done different martial arts, but I always see myself as a Combat and swordsmanship teacher.

My school of swordsmanship is that of giving life. When I started to teach Combat, I noticed that many were teaching how to kill with a knife and explained the knife in the wrong way. You can kill with a stone... but the knife is the most important tool for humans. We use it for our survival every¬day. By connecting my personal history, my way of life, and my principles, as well as a deep study of swordsmanship and knife fighting from the masters, I developed ideas as to what would constitute the ideal all around knife. Based on the origin of the knife,

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Kapap and with my experiences as an Olympic fencing coach and knife fighting teacher, as well as Japanese swordsmanship, I started to design this knife which would be the basis for a workshop we teach in KAPAP called “Only Knife.” Students will take only a knife and go into the woods by themselves and survive. The design of the knife had to be one that was not only effective as a weapon, but it would also have to encompass other capabilities: to allow one to build their own shelter, to get their food, to get their water, to help them build a fire, and take care of all their needs to survive. The idea is that with my Fighting knife you can not only kill but also save lives and survive. This is the main idea for this knife - to give life, not to take a life.

KAPAP is not a conventional system. It is a bridge between systems: it's a philosophy and a concept. KAPAP was not designed as a belt ranking system, or to create new Masters and Grand Masters.

There are more than enough systems that do this. As a bridge, KAPAP's goal is to unite Martial Artists from different disciplines so that they will be able to communicate and share knowledge as brothersin-arms. We wish to do this without conflict, ego or politics based on common martial art principles.

Someone told me “There are no bad students, only bad teachers.” I wonder what these bad teach¬ers were before they became bad teachers? I think they may have been bad students. And today, with 'No Roots' systems, we get so many Grand Masters of Everything, and that is really Nothing.

There are so many YouTube and Facebook 'internet' or 'keyboard' warriors and Grand Masters that are in Martial Arts for a only few days seemingly, and they all slander great people and teachers. These same teachers have been in the Martial arts for most of their lives! My friend Sam Markey told me a story about someone that had asked him if he could fight two or three attackers and he said “I can fight one lion, but not one-hundred Rabbits - True is On the Mat!” There are not so many teach¬ers today as there are too many organizations, and running those organizations has become more important than teaching.

“An army of sheep led by a lion is better than an army of lions led by a sheep.”

Alexander the Great I love being a teacher and will continue to fight to remain a teacher and not a business organiza¬tion. One of my main teachers is Nature. This is why we are doing lots of survival and bushcraft workshops, as no art or craft can really teach and you can only study, and your skills will be tested for real. It's the same with Martial Arts. People try to over-sell themselves in the Martial Arts like this: There was one legendary teacher and this one student had been his best student, but

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since the teach¬er is now dead, they are the new Grand Master of that teacher's life-work. But it's never like that. Most good students also had something in them to create, explore and study and this is why most of today's modern Grand Masters should remember that they are here to carry the flame, not the ash. Carry the Sprit. This is why I try teach all 3 elements: Body, Mind and Spirit. It's the same as carrying the three circles of Martial Arts: Traditional, Combative and Sport.

Always remember that techniques can work or they can fail. They are dependent on the situation, on proper timing and also what target that you choose to hit. It may be wrong, but it can also be right at the same time. Trust free-fight sparring and not theory or static practice. Truth is always discovered on the Mat by trying and mostly by studying through failing: You can hit this way and you can hit that way, with an open hand or a closed hand. The experience of free-fighting, action/reaction, standing to ground fighting, using a weapon or no weapon, strikes or no strikes, Gi or No Gi - lessons can be learned, even when you fail.

Stay away from those cowards that say things like: “We are not a sports Martial Art” or “We are not a traditional Martial Art, we are a no-nonsense Martial Art” or “No Referee, No Tap, No Rules.” These slogans only show FEAR, as we all understand that we can kick someone in the groin or poke his eyes in a real fight.

But, have you forgotten about the other guys skills? The advantage of a fighting sport with a referee and Tap Out rules is that it only gives you one way to challenge yourself and your fears. By hiding behind these slogans, you are not getting better prepared. By failing to prepare, you pre¬pare to fail. Nature has no mercy at all, if it's going be snowing and you get dressed in only your un¬derwear, it's still going to snow and you will still need to deal with it. To study nature, to love nature and to flow with nature - this is why nature can be such a great teacher.

Pain is also a good teacher, but no one wants to learn this in a class!

Study yourself, improve your skills.

Survival gives you so many ways to train your spirit to get stron¬ger. To feel fear is normal and necessary, it is nature's way of giving you that extra shot of energy.

Knowledge is the first step in overcoming your fear. By placing yourself in nature, you can study and learn to use your thinking in survival situations. Panic can cause humans to act without thinking.

I would like share some quotes and words of wisdom and then end this 'lesson' with “Mokuso.” Each traditional class starts and ends with it.

Nature gets you to bully yourself.

Challenge yourself, not others.

“He who knows others is wise. He who knows himself is enlightened.” Lao Tzu

Great people and inspired people are said to stay away from evil.

“I would rather be a little nobody, than to be an evil somebody.”

Abraham Lincoln “There are many things worth living for, a few things worth dying for, and nothing worth killing for.”

Tom Robbins, “When people hurt you over and over, think of them like sandpaper. They may scratch and hurt you a bit, but in the end, you end up polished and they end up useless.”

Anonymous “Life is a fight, but not everyone's a fighter. Otherwise, bullies would be an endangered species.”

Andrew Vachss “With ignorance comes fear - from fear comes bigotry. Education is the key to acceptance.” Kathleen Patel “What if the kid you bullied at school, grew up, and turned out to be the only surgeon who could save your life?”

Lynette Mather “If there are no heroes to save you, then you be the hero.”

Denpa Kyoshi “You can have no dominion greater or less than that over yourself.”

Leonardo da Vinci “You have enemies? Good. That means you've stood up for something, sometime in your life.” Winston Churchill As I have mentioned many times, the first thing to study from history is that we do not study from history! Keep away from evil and the Martial Arts that try to teach you to be a bully or evil.

“Don't carry a weapon - be a weapon.”

Avi Nardia This is how we train, to be the weapon, by using our brain, and with mental training like that taught in survival studies. All Kapap training strives for the concept of not depending on any weapon other than ourselves. Like the sandpaper quote above, you become the weapon by a slow process of the body, mind and spirit all being polished.

Understand the purpose of Mokuso in the opening and closing Reshiki.

“Mokuso is the Japanese term for meditation. It is performed before beginning a training session in order to “clear one's mind” of the distractions of their everyday life, and is similar to Mushin, a Zen concept. This is more formally known to mean, “Warming up the mind for training hard.” We repeat Mokuso at the end of the training session when we practice a moment of introspection.

Introspection is the self-examination of your conscious thoughts and feelings.

Introspection can be referenced in a spiritual/martial context as the examination of your spirit. Introspection is related to the philosophical concept of human selfreflection, and is contrasted with external observation.”

“You have enemies?

Good. That means you've stood up for something, sometime in your life�

Winston Churchill

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EVOLUTION OR REVOLUTION n many Martial Arts magazines interviews and also by participants at my seminars I am often asked why and how I came to found Combat Hapkido. Before I can answer let me make something very clear: I did not wake up one morning and said “I think today I will create a new Martial Arts style”. And also let me state at the onset that I did not create a new martial art and I did not invent hundreds of new techniques never seen before! In fact, what I did had been done before by many others over hundreds of years, in many different countries. Founding a Martial Arts “style” (Kwan, Ryu, etc…) does not involve inventing totally new Self Defense / fighting techniques, strategies, concepts, principles and philosophies. A “style” is created by first using an existing, proven art as a foundation and an anchor of stability and sound framework and then choosing and arranging selected principles, concepts and techniques in a new structure, with new emphasis and a new method of execution. Thus the technical development of a new style can bring a fresh, exciting and more practical approach to modern fighting realities while maintaining strong roots in the original art and a respectful connection to its traditions.

Martial Arts styles evolve gradually and independently. In several cultures they were tribal in nature with every village developing its own fighting style.

In some cultures they were family based with the teacher passing the “secret techniques” only to family members and a few chosen disciples.

In other cultures they evolved methods and weapons out of social necessity, such as the Okinawans transforming farming and fishing implements into deadly weapons because of the Japanese ban of “real” weapons possession. In certain historical times and cultures different fighting arts and styles developed because of strict philosophical disciplines and government requirements such as the Japanese Samurai and other Warrior Classes. We could go on and on with a lengthy dissertation on the World's many fighting arts and the different styles that each has generated, but I think that by now the reader fully understands the process and the reasons. In modern Western countries legitimate styles are the product of instructors with many years of experience, profound technical knowledge, vision and a sincere desire to modify the art not to gratify their ego or for self-aggrandizement but to make the

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art more accessible to more people and more relevant to present conditions. It is not then to “improve” it but to “adapt” it. It is not a “revolution”, it is an “evolution”.

When the subject of “styles” is discussed, many famous Martial Arts Instructors, past and present, come to mind, some of them attached to a lot of controversy concerning their motivation, their true lineage and even their loyalty. Pioneers or renegades?

Innovators or rebels? Visionaries or egomaniacs? When you calmly, fairly and dispassionately consider the facts, you will come to the conclusion that, in the end, it's all a matter of freedom of expression and the quest for self-realization. Bruce Lee honestly believed that his original art, Wing Tsun, and most other traditional arts were too rigid, limiting, even ineffective, and decided to go against the orthodoxy and express his fighting philosophy in the evolution of Jeet Kune Do. Ed Parker believed that traditional Chinese Kenpo could better serve the needs of modern Western students by being transformed into his style of American Kenpo. Many “old school” Korean Kwans agreed that in order to popularize and promote their similar Martial Arts styles, they should unite, blend and standardize into a new art called TaeKwonDo. Examples should be sufficient to illustrate the fact that the evolution of a Martial Art into different styles is not an exception but it is actually the norm and it has been so for hundreds of years around the globe.

So now that I have put some background in context, back to the original question as it applies to our style “Combat Hapkido” While studying and teaching Hapkido I never felt that it was inadequate, inferior or obsolete.

I loved the traditional art and I was its loyal proponent and a true believer in the effectiveness of its techniques. I still respect and love the art.

Motivation and inspiration for change came to me because of modern, practical realities, not change for the sake of change, not the seduction of a new fad, not any egotistical ambition. I simply wanted to adapt Hapkido's devastating self-defense techniques to Western physical qualities, training disciplines and legal environment. In other words, I wanted to make Hapkido a popular and desirable selfdefense system for most men and women in today's world.

I realized that certain technical aspects and training requirements had to be modified to allow safe, enjoyable and productive practice for people of all age groups, and vastly different physical shapes and conditions.

During the structuring and developing

of the system, serious considerations were also given to the possible legal and moral ramifications connected to the actual use of the techniques. Put simply, we did not want to prevail in a street fight only to wind up in prison.

In future articles I will share with you some of the specific changes I felt it was necessary to implement in order to “modernize” Hapkido.

The process of the evolution of Hapkido into “Combat Hapkido” began in 1989 and resulted in the official founding of the “style” and its Governing Body, the ICHF, in 1992.

Since then we have certified over 2500 Black Belts and hundreds of Instructors in over 20 countries. We have over 200 active programs licensed to teach our system (some of them in military bases and police departments in addition to Martial Arts schools). We also have several hundred students enrolled in our Combat Hapkido University. In 1999, the Korean government through its chartered agency, the World Ki-Do Federation, officially recognized Combat Hapkido as a “legitimate” and accredited “Kwan” (style) of Hapkido. However, this was not to be without controversy. In spite of the official recognition, legitimate lineage and all the other accomplishments (which include 30 instructional DVDs, 6 books, 18 magazine covers, dozens of Hall of Fame Inductions and over 600 seminars in 22 countries!!) there were and still are those who strongly condemn and disapprove the founding of a new Hapkido style. Maybe they just don't like me… maybe they are jealous of our success. Some claim that a sacred tradition has been violated and that I have disrespected the founder of the original art. To them I just want to say: “Correct your ignorance by studying a little history”. A young Korean man and a young Japanese man trained for many years under a renowned Master of Daito-Ryu Aikijujutsu (a classical Samurai “style” of Aikijujitsu), their names were Choi Yong Sool and Morei Ueshiba. Later, for different reasons, they went on to found their own “styles” called Hapkido and Aikido.

They modified and modernized the traditional art in different ways to adapt to the requirements of their cultures and their times and to reflect their different personal philosophies.

Let's be grateful for their vision, their courage and their contributions to the “evolution” of the Martial Arts.

To contact Grandmaster Pellegrini and for more information on Combat Hapkido, visit www.dsihq.com

“...In other words, I wanted to make Hapkido a popular and desirable self-defense system for most men and women in today's world�

For Sifu Cangelosi there is only one kind of Kung Fu, those from which every style branches off from one same trunk and a true martial artist should study all of them. In this new dvd he presents a special work on Chin Na, the Grabbing Art of controlling your opponent.

It´s not a traditional method of combat but a sophisticated and wide-ranging technical knowledge present in all Chinese martial arts, Tang Lang, Pa Qua or Tai Chi Chuan stand out the most amongst a few.

Through the centuries it underwent a technical evolution incorporating techniques against the joints, pressure points, tendon and muscle blocks, breathing and blood chokes, throws, and different forms of striking. At the advanced levels of Chin Na the use of Chi energy training is always present, and it can be used as an outstanding weapon in which force can be transformed while keeping respect towards your opponent. An excellent tool to solve any form of situation without violence. In this second dvd, Master Cangelosi teaches the use of shoulder, elbow, wrist and finger locks.

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ORDERS: Budo international. net