Issuu on Google+


WING CHUN After a long time off from our pages, Randy Williams, a classic of the Wing Chun and undoubtedly one of the pioneers of this style, especially in Europe, is back!

FILM MARCIAL Jackie Chan and the 12 Zodiac Animals. Jackie Chan was born in Hong Kong on April 7, 1954, son of Charles Chan (1914-2008) and Lee Lee Chan (1916-2002), an immigrant couple from mainland China. About to be sold at the time of his birth, at six years of age, Chan would enter a Peking Opera School under a ten-year permanence contract as his only option for survival.

KAPAP Shooting: How Close is Too Close? During this past year a firearms instructor, a "Rambo, Real Deal deadly guy" shot one of his own student's four times! This event led myself and Ben Krajmalnik, who also served in the Israeli Army/IDF to come out with a new basic DVD to explain a little about firearms and safety and to share some basic techniques to train with firearms.

KYOKUSHINKAI His high discipline and technical level have turned Alejandro Navarro into a worldwide reference of the Kyokushin Karate. Charisma, determination and pure spirit Kyokushin, reach the pages of Budo International, here comes ... Alejandro Navarro!

INTERNATIONAL BUGEI SOCIETY After a major global expansion, it has been recently created the International Bugei Society, headquartered in Spain, a regulating body for all the Bugei Societies of each area, ensuring the consistency of teaching and learning quality for students, regardless of country to which they belong.

“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

NIÑOS Y ARTES MARCIALES The future of martial arts lies in our kids. Children and youngsters are the ones who will grow up and carry on our martial tradition, thus they need to be nurtured and taught in the best manner possible. But most instructors have only a vague understanding of kids' natural development, motor capabilities and psychosocial skills.


SDS-CONCEPT Principles of Self-Defense. How does self-defense begin? It is not just an attack which triggers a response of self-defense, no, realistic selfdefense begins the moment we think about it. If we consider strategies for dangerous situations, we will be better prepared. Thanks to its simple basic ideas, S.D.S.Concept is the ideal system for everyone who wants to use a tool to improve their safety.

KUNG FU WEAPONS The Power of the Kung Fu Weapons History: For many people nowadays, Kung Fu weapons can seem out of date, already buried by an ancient history that saw them as absolute protagonists in the battlefield, and which today can have no concrete use. However, this is not the case… Weapons are also studied today, but most of all they are loved, attractive for that particular energy that characterizes them, that vibration that didn’t escape the eyes of the warriors of the past, as well as of today.

WINGTSUN Almost in any social gathering among practitioners, it is discussed if WingTsun, or any other system of Traditional Martial Arts, are really that effective, because they don't prove it within the "cage" of MMA. It's a recurring theme for which I am often asked in many of the places where I impart courses and seminars.

SIB PAL KI Sib Pal Ki is a Korean style of combat with a lot of popularity these days in its country of origin. It incorporates a great number of techniques, the use of all kinds of weapons, spears, knives, etc., and it came seem very much like Chinese Kung Fu at first glance. However, it has its own personality and idiosyncrasies. Despite the difficulty of its practice, its success during the past years seems to be tied up with the search for new horizons among the students of Taekwondo.

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 want a love that is good, but good is only half of evil" George Harrison

F

or the ancient Shizen priests, love was one of the most dangerous demons (Oni), an evil spirit that made you lose all your potential capacity of lucidness and often led you to blindness and stupidity. Of course, they were referring to love as a human feeling, not as an undifferentiated force. Love as a force is that which tends to the union, the merger of the separate parts into a new unit. Love is the force that makes a 'tandem' go, i.e. a set where the sum of the forces involved is higher than the unit value of the parts. For the ancient Greeks, love was personified by Eros, son of Chaos and brother of Eris, his counterpart or the Universal force of repulsion. However, Eros and Eris were neither the good nor the bad, as the simplistic mind tends to read. Every attraction can result in something positive or negative and vice versa. Chaos derives from the root ghe or ghn of the proto-Indo-European language, and it means "hollow" or "very open". Because of linguistic variations, the meaning of the word shifted to “disorder”; however, we are speaking of a term that implies the emptiness, the "nothingness", from which all matter comes in constant impulses, and that science has recently discovered to be sustained by the so-called "cosmic brick" or famous "Higgs Boson". Some mythological stories speak about Chaos as the primeval god that existed before all the gods and forces, and describe it as a "slit", a "space that is opening". Other descendants of Chaos were Hemera, the female goddess personifying the day, and Erebus, the god of darkness. The essential duality of all things is present in every tradition, but reducing the idea to the concepts of good and evil is falling into one of the worst Sadducee traps. The notion of good and evil is definitely simplistic and leads inevitably to a poor and mean mental minimalism; but then, why was it imposed? It is easy to imagine an old Neanderthal telling his grandson "Yuyu", "Bad!", or maybe "Taboo!", while pointing woebegone his finger at a plant. What happens is that good and bad are very useful ways to convey information, a recipe of direct and immediate use; however, if we are to look beyond and penetrate the understanding of things, these concepts are clearly insufficient. For example: This same plant, which was not edible or maybe it just had a nasty taste, in small doses, turned out to be a great medicine for diarrhea, headache or other ailment. Someone smarter, who did not stay within the limits of what it was known and accepted, in other words, someone who definitely was a transgressor, could understand this reality with another approach, and this allowed him to discover such a wonderful medicine. The history of mankind is filled with similar examples. Any development is based on transgression, but transgression can be evolutionary, when it acts positively, or “involutionary”, that is, regressing, when it does in negative. Without the benefit of hindsight it is difficult for us to see which way it will result in either sense, therefore, any tool from the past is a compass to guide our future steps; the

"Let us never forget that good is never reached but through the best" Victor Hugo

key is in how we use it. A same theorem can lead to completely opposite decisions, depending on the peculiar mix of heart, guts and brains of the one who applies it. Yes, everything is solved, yet everything has to be solved, because the human equation has so many variables that it is capable to reinvent itself in each person, so that none of us (and we are quite a few!) possesses not even the slightest similarity in our simplest expression: DNA. On the other hand, we are all subject to the same Universal forces and these make us equal in one way or another in functional form; time goes by for all of us, we all die, we all suffer, etc. Human life is a wonderful combination of all these constant and universal variables and there are not few of us who have devoted much of our time and energy trying to understand them. Therefore, bargain simplifications, whether in the form of morality, or in the form of religion or regulations, must be overcome, because what men have invented are just models. Life does not have enough room within any of them; nevertheless, some are more accurate than others, although all of them perform a function in the All; if something exists is only because it needs to exist. Reductionisms, futility and redeemers are dangerous because of that; one thing is to subvert the order so that something new be born, and another is setting nonsense as model. Those who are more wide-awake will always get further, because they just don't swallow what they serve them, but they keep chewing it, and sooner or later they digest it. Any evolution is based on this questioning and reflective attitude; from the roman plow to the tractor there have been many intermediaries, many who thought it was "not enough". Beyond all this, human beings live facing the idea of suffering not in an abstract way, but in a very specific one. The ancient Miryoku argued (and have not been the only ones) that we suffer because we lack something; because we are afraid to lose what we have; because we have something that looked good, but it turned out to be not so good; or because we have something we can't get rid of. The nature of man is dissatisfaction, because this is the force that drives him to change, to evolve and renew; but it's also the force that might consume, exhaust and empty his being leading him to his complete stagnation. The forces are there and they will remain when we are gone; what we do with them now is precisely what will distinguish our future experiences, what will mark the paths of the future, as it was also what made the tracks we left in our past. These footprints can't be changed, only the waves of time will delete them from the sands of memory, but the future and the present are ours and we are theirs, to choose to grow, to choose evolution, to expand the limits of our consciousness; to awake to new realities, new approaches; to expand our perception and also to leave on the way our leftover skin bags, filled with all those things that, while not bad, are no longer useful to us. Lightweight is the luggage of the wise. Evolution is transgressing the limits; transcending minimalist approaches; leaving behind small and simplistic


https://www.facebook.com/alfredo.tucci.5

visions. One thing is to define what is good and what bad in terms of our own taste, our personal fondness; another quite different is to establish with them moral paradigms designing general principles "prĂŞt a porter" and then pretend that everybody fill in that same suit. Good and bad just don't exist and one of the greatest perversions of its own nature as a universalizing concept is to allow and encourage some of the greatest aberrations made by humans. History is full of them... The wise looks beyond good and evil, because there can't be a true wise corseted in these principles. We humans, frightened before that elusive reality, legislate forever and try to put gates to the field, we establish protocols and define parameters of good and bad. Then come the waves of time, laugh at us and erase everything with the slight gurgling of their salty foam. Nothing replaces the consciousness of being and understanding; that's why the authentic path must force the transformation of consciousness enabling us to die to what we are, so that we can be born to what we are not; in this transit, pain is not negotiable, but suffering is.

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


Wing Chun After a long time off from our pages, Randy Williams, a classic of the Wing Chun and undoubtedly one of the pioneers of this style, especially in Europe, is back! His reentry, that will accompany the next issues of our magazine, presumably in the form of a column, is with all the honors: on the front cover and with his article on the 8 arm wooden dummy. We hope you enjoy it.

BOT JAU YUE - THE “OCTOPUS” WOODEN DUMMY Joang Sau, literally “Dummy Hand,” is the Chinese term for the techniques of the Mook Yan Joang, or “Wooden Man Dummy”. The Mook Yan Joang is a training device used by many different styles of Chinese Gung Fu such as Choy Lay Fut and Praying Mantis, but is probably most often identified with the Wing Chun system. And now, I have made a significant change to the basic structure of the traditional Mook Yan Joang by adding four more arms to it, for reasons I will explain in this essay. I call this new take on an old training aid, “The Octopus,” (Bot Jau Yue) because it has seven arms and a leg. It can be made of wood, PVC plastic, or even of metal. The first form of Wooden Man was used in the Shaolin temple of ancient China, where legend has it that in order to graduate from the temple, a disciple had to fight his way out through a complex maze of 108 different Wooden Dummies, some of which were spring loaded and could inflict fatal injury if not dealt with correctly, others which were mechanically operated by concealed onlookers. It is even rumored that some of the Wooden Men were actually elder monks wearing wooden armor.

BENEFITS OF WOODEN DUMMY TRAINING Practice with the Wooden Dummy benefits the Wing Chun student in many ways. Firstly, the Dummy provides the trainee with a partner when no one else is available to practice the applications of hand and leg movements. All blocks, strikes and kicks can also be executed with full power transfer without fear of injury to a live partner. As the Dummy does not move much, the student learns mobility while circling around it with various footwork in conjunction with blocking and striking hand techniques to “Bridge the Gap” a universal term for closing the distance between two fighters. Wooden Man training can also be enlightening in regard to use of the Centerline to attack and defend from all angles as the trainee “changes the line” from one movement to the next. This angulation and proper use of the Centerline can enable a smaller, weaker person to overcome a larger force, by “borrowing power” and diffusing strength with body positioning and structure. As the Wing Chun Wooden

Dummy proverb goes, “Seen Wai Yoang Duck Hoh Lahng Chue,” which means “Use of the Centerline will be proper and therefore hard to defeat.” The upper arms are set at a strategic angle to represent the final position of a correctly blocked strike, setting it as an outside limit. For example, when executing a right Pock Sau slap block, rather than imagining them to be two punches moving outward from the center, the trainee should envision the upper left Dummy arm as a left punch from the opponent which his right hand has knocked across the Centerline. In the same way, the right Dummy arm can be imagined to be a right punch that has been pushed to a point sufficiently outside to keep it from hitting the trainee, but no further than necessary. This outside limit point is dictated by rules of Centerline Advantage, Facing and the “Cutting Angle” that were explained previously in this book series and conforms with the Wing Chun concept of Economy of Motion. Mook Yan Joang training clearly illustrates applications of the three hand forms under “laboratory conditions.” This is due to the structure of the Dummy itself. Because of the perfect Angle Structure built into the Dummy, the trainee is naturally drawn to execute his techniques with equally perfect Angle Structure. Any structural defect in the trainee's motion tends to be magnified by the Dummy and can therefore be easily identified and corrected. In addition, if a technique is performed improperly, it will usually cause some excessive pain to the trainee, signaling that the angle of contact or the striking surface of the hand, arm or leg is incorrect. Another advantage of training with the Wooden Dummy is the toughening of the skin and bone of the hand, arm, shoulder, foot and leg. This is accomplished through “Tapping,” also called “Energy Packing.” The Dummy should not be hit with full force initially but instead should only be tapped. Tapping the Dummy's wooden surface in this way, combined with the use of Leen Goang Jau (herbal liniment) will eventually “pack” Chi into the bone cavities, preventing bone brittleness in old age. Although at first the trainee may experience a small degree of pain and bruising, after a short time he will be able to execute all movements sharply and crisply without any more discomfort, having developed an “Iron Bridge Hand,” or Teet Kiu Sau. Once the trainee has a toughened arm, not only can he block an opponent's punch or kick, he

can also damage the arm or leg he is blocking. This is a part of the Simultaneous Attack and Defense principle of Wing Chun (Leen Siu Dai Da). A toughened arm is less likely to be injured in combat and can withstand more impact if necessary to block a heavy weapon. A student with an arm toughened by Wooden Dummy training can also train for longer periods with harder contact in drills with a live partner without suffering pain or bruising. Toughening skin and bones does not mean callusing or deforming the hand, nor does it mean bruising the bones. This conditioning must be performed gradually; the conditioning becomes a little longer and harder with each training session until the desired result is attained. Wooden Dummy training simultaneously develops the student's ability to transfer power into a stationary object while avoiding choppiness between motions and drills many of the motions of the system with the added element of contact. As he executes the techniques in a more realistic manner than in the first two hand forms, flowing smoothly from one to the next, up and down, left to right, while completely releasing the power of each into the “core” of the Dummy, the trainee will develop the ability to continually strike from any combination of angle and level while maintaining good balance and posture. This also enables the practitioner to flow directly from one movement into another without interruption of power, momentum and speed. Although it may appear that the movements blend into each other, in actuality each motion is completed and its power totally released into the Dummy before the next motion is begun. This will be apparent in the rhythmic sound produced by the correct flow of motion. In fact, a true master of Wing Chun can actually detect faults in the structure of a student's Dummy form simply by listening to sounds made by the wood and his footwork, without actually watching. This because of the distinctive sounds and rhythms made by movements that are correctly self-timed and then in turn correctly timed on the Dummy. A well-trained ear can detect the proper stepping, sliding and release of power by their sound alone. While the Dummy can be used for training blocks, parries, strikes, kicks, elbow and knee strikes, sweeps and other leg maneuvers, there are other less obvious ways of using the Dummy. The Dummy arms and horizontal crossbeams can be used like a ballet

Randy Williams and Zoltan Bathory of the USA's Number One Heavy Metal group Five Finger Death Punch demonstrate how two people can simultaneously train the Boang Sau Wing Arm Deflection on The Octopus. Photo taken onstage during the recent worldwide Mayhem Rock Festival


Great Masters bar to stretch the legs at different levels and the wrist can be stretched by pressing the palm against the Dummy trunk with the palm heel up, fingers down. Even the horizontal crossbeams can be used for support for wrist rolling forearm-conditioning exercises with weights. It is important to be innovative in using the Octopus. Try to find new ways of using all parts of the device, including the top, the area behind the leg and even the vertical upright support beams, which can be padded and used as makiwara type striking posts.

BENEFITS OF OCTOPUS DUMMY TRAINING Facing Advantage - One of the most essential strategies of Wing Chun combat is known as the “Advantage of Facing.” In essence, the Wing Chun

fighter strives to position himself behind the opponent in such a way that he can use both of his own hands to strike the enemy, while the opponent can use only one hand to defend or counterattack, or none at all. When training with the traditional three-armed Dummy, once the trainee has moved to the outside so as to have obtained this advantage, he must move back in toward the center, giving up the Facing advantage he has gained. But with the Octopus, he can move yet further to the outside, improving his Advantage of Facing as he works on the outer arms as though he were continuing to attack the opponent from a flanked position that is difficult or impossible to defend. Multiple Partner Training - Basically, the upper four arms of the Octopus are set up in such a way that you have what amounts to three “sets” of upper arms as they appear on the traditional threearmed Dummy. Because of the additional arms, one, two, three and even four trainees can simultaneously work techniques and sequences on the Octopus. For example, a simple twomotion sequence can be worked by two trainees at the same time on both outer sets of arms. And the trainees can execute the motions so that they are going together in the same direction, or can go in opposite directions so that their energy goes against each other. A third person can work the center set of arms at the same time, just as he could with a traditional Wing Chun Dummy. Another trainee can work ground technique on his knees, using the leg in the same way he would use the low arm of a traditional Dummy while standing. Groundfighting Techniques - As mentioned above, the trainee can kneel down and use the three low arms for blocking, trapping and striking as he uses the leg in the same

way he would normally use the lower arm of a standard Wooden Dummy when standing. He can walk and pivot on his knees or knee and foot for power and Facing advantage. Chee Gyeuk - Because of the two extra lower arms of the Octopus, the trainee can practice a wider variety of leg blocking, trapping and kicking combinations that cannot be done with the traditional three-armed Dummy. The leg can be moved from Boang Gyeuk to Tan or Pock Gyeuk, or many other possible leg maneuvers and kicks. Owning and training with the Octopus Dummy could be a benefit to any martial artist who is interested in sharpening his technique, toughening his arms and improving his overall combat strategy.

trainee with a partner when no one else is available to practice the applications of hand and leg movements. All blocks, strikes and kicks can also be executed with full power transfer without fear of injury to a live partner. As the Dummy does not move much, the student learns mobility while circling around it with various footwork in conjunction with blocking and striking hand techniques to “Bridge the Gap” a universal term for closing the distance between two fighters. Wooden Man training can also be enlightening in regard to use of the Centerline to attack and defend from all angles as the trainee “changes the line” from one movement to the next. This angulation and proper use of the Centerline can enable a smaller, weaker person to overcome a larger force, by “borrowing power” and diffusing strength with body positioning and

BOT JAU YUE - THE “OCTOPUS” WOODEN DUMMY

structure. As the Wing Chun Wooden Dummy proverb goes, “Seen Wai Yoang Duck Hoh Lahng Chue,” which means “Use of the Centerline will be proper and therefore hard to defeat.” The upper arms are set at a strategic angle to represent the final position of a correctly blocked strike, setting it as an outside limit. For example, when executing a right Pock Sau slap block, rather than imagining them to be two punches moving outward from the center, the trainee should envision the upper left Dummy arm as a left punch from the opponent which his right hand has knocked across the Centerline. In the same way, the right Dummy arm can be imagined to be a right punch that has been pushed to a point sufficiently outside to keep it from hitting the trainee, but no further than necessary. This outside limit point is dictated by rules of Centerline Advantage, Facing and the “Cutting Angle” that were explained previously in this book series and conforms with the Wing Chun concept of Economy of Motion. Mook Yan Joang training clearly illustrates applications of the three hand forms under “laboratory conditions.” This is due to the structure of the Dummy itself. Because of the perfect Angle Structure built into the Dummy, the trainee is naturally drawn to execute his techniques with equally perfect Angle Structure. Any structural defect in the trainee's motion tends to be magnified by the Dummy and can therefore be easily identified and corrected. In addition, if a technique is performed improperly, it will usually

Joang Sau, literally “Dummy Hand,” is the Chinese term for the techniques of the Mook Yan Joang, or “Wooden Man Dummy”. The Mook Yan Joang is a training device used by many different styles of Chinese Gung Fu such as Choy Lay Fut and Praying Mantis, but is probably most often identified with the Wing Chun system. And now, I have made a significant change to the basic structure of the traditional Mook Yan Joang by adding four more arms to it, for reasons I will explain in this essay. I call this new take on an old training aid, “The Octopus,” (Bot Jau Yue) because it has seven arms and a leg. It can be made of wood, PVC plastic, or even of metal. The first form of Wooden Man was used in the Shaolin temple of ancient China, where legend has it that in order to graduate from the temple, a disciple had to fight his way out through a complex maze of 108 different Wooden Dummies, some of which were spring loaded and could inflict fatal injury if not dealt with correctly, others which were mechanically operated by concealed onlookers. It is even rumored that some of the Wooden Men were actually elder monks wearing wooden armor.

BENEFITS OF WOODEN DUMMY TRAINING Practice with the Wooden Dummy benefits the Wing Chun student in many ways. Firstly, the Dummy provides the


Head-and-Arm Choke Sequence – Choking techniques can also be practiced and perfected using the arms, body and even the horizontal crossbeams of the Octopus Dummy. Photos 1-13 show an example of how CRCA Wing Chun uses choking in combat. Fighters are squared off for battle (Photo 1). As the opponent steps forward with the Jab, Randy taps the punch offline, picks up his front foot and shoots a low “Touch and Go” Chop Kuen punch to the ribs (Photo 2), making sure his punch makes contact while both his own front foot and the front foot of his opponent are still in mid-air. In this way, the power of the opponent’s punch will be “borrowed” while Randy’s own power will be magnified by his own momentum, causing maximum impact. In Photo 3, Randy uses a left hooking Fook Sau trap and right punch to the face, then repeats the same Fook Da move on the opposite side (Photo 4), trapping the opponent’s arm against his chest to prevent him from punching with his free hand. Stepping in deep with his front foot, Randy lifts the opponent’s elbow using Pau Sau (Photo 5), then throws his Lon Sau Bannister Hand around the opponent’s neck (Photos 6 and 7) as he uses another Pau Sau motion to begin the choke. Photos 8 and 9 show the completion of the choke. Sidestepping for leverage (Photo 10), Randy then completes a Seep Ma Circling Step behind the opponent to take him down by smashing his head into the ground without releasing the choke (Photos 11-13).


Wing Chun cause some excessive pain to the trainee, signaling that the angle of contact or the striking surface of the hand, arm or leg is incorrect. Another advantage of training with the Wooden Dummy is the toughening of the skin and bone of the hand, arm, shoulder, foot and leg. This is accomplished through “Tapping,” also called “Energy Packing.” The Dummy should not be hit with full force initially but instead should only be tapped. Tapping the Dummy's wooden surface in this way, combined with the use of Leen Goang Jau (herbal liniment) will eventually “pack” Chi into the bone cavities, preventing bone brittleness in old age. Although at first the trainee may experience a small degree of pain and bruising, after a short time he will be able to execute all movements sharply and crisply without any more

discomfort, having developed an “Iron Bridge Hand,” or Teet Kiu Sau. Once the trainee has a toughened arm, not only can he block an opponent's punch or kick, he can also damage the arm or leg he is blocking. This is a part of the Simultaneous Attack and Defense principle of Wing Chun (Leen Siu Dai Da). A toughened arm is less likely to be injured in combat and can withstand more impact if necessary to block a heavy weapon. A student with an arm toughened by Wooden Dummy

“Another advantage of training with the Wooden Dummy is the toughening of the skin and bone of the hand, arm, shoulder, foot and leg” training can also train for longer periods with harder contact in drills with a live partner without suffering pain or bruising. Toughening skin and bones does not mean callusing or deforming the hand, nor does it mean bruising the bones. This conditioning must be performed gradually; the conditioning becomes a little longer and harder with each training session until the desired result is attained. Wooden Dummy training simultaneously develops the student's ability to transfer power into a

while completely releasing the power of each into the “core” of the Dummy, the trainee will develop the ability to continually strike from any combination of angle and level while maintaining good balance and posture. This also enables the practitioner to flow directly from one movement into another without interruption of power, momentum and speed. Although it may appear that the movements blend into each other, in actuality each motion is completed and its power totally released into the Dummy before the next motion is begun. This will be apparent in the rhythmic sound produced by the correct flow of motion. In fact, a true master of Wing Chun can actually detect faults in the structure of a student's Dummy form simply by listening to sounds made by the wood and his footwork, without actually watching. This because of the distinctive sounds and rhythms made by movements that are correctly self-timed and then in turn correctly timed on the Dummy. A well-trained ear can detect the proper stepping, sliding and release of power by their sound alone. While the Dummy can be used for training blocks, parries, strikes, kicks, elbow and knee strikes, sweeps and other leg maneuvers, there are other less obvious ways of using the Dummy. The Dummy arms and horizontal crossbeams can be used like a ballet bar to stretch the legs at different levels and the wrist can be stretched by pressing the palm against the Dummy trunk with the palm heel up, fingers

stationary object while avoiding choppiness between motions and drills many of the motions of the system with the added element of contact. As he executes the techniques in a more realistic manner than in the first two hand forms, flowing smoothly from one to the next, up and down, left to right,

down. Even the horizontal crossbeams can be used for support for wrist rolling forearm-conditioning exercises with weights. It is important to be innovative in using the Octopus. Try to find new ways of using all parts of the device, including the top, the area behind the leg and even the vertical upright support


beams, which can be padded and used as makiwara type striking posts.

BENEFITS OF OCTOPUS DUMMY TRAINING Facing Advantage - One of the most essential strategies of Wing Chun combat is known as the “Advantage of Facing.” In essence, the Wing Chun fighter strives to position himself behind the opponent in such a way that he can use both of his own hands to strike the enemy, while the opponent can use only one hand to defend or counterattack, or none at all. When training with the traditional three-armed Dummy, once the trainee has moved to the outside so as to have obtained this advantage, he must move back in toward the center, giving up the Facing advantage he has gained. But with the Octopus, he can move yet further to the outside, improving his Advantage of Facing as he works on the outer arms as though he were continuing to attack the opponent from a flanked position that is difficult or impossible to defend.

“Wooden Dummy training simultaneously develops the student's ability to transfer power into a stationary object while avoiding choppiness between motions and drills many of the motions of the system with the added element of contact”

Multiple Partner Training - Basically, the upper four arms of the Octopus are set up in such a way that you have what amounts to three “sets” of upper arms as they appear on the traditional threearmed Dummy. Because of the additional arms, one, two, three and even four trainees can simultaneously work techniques and sequences on the Octopus. For example, a simple twomotion sequence can be worked by two trainees at the same time on both outer sets of arms. And the trainees can execute the motions so that they are going together in the same direction, or can go in opposite directions so that their energy goes against each other. A third person can work the center set of arms at the same time, just as he could with a traditional Wing Chun Dummy. Another trainee can work ground technique on his knees, using the leg in the same way he would use the low arm of a traditional Dummy while standing. Groundfighting Techniques - As mentioned above, the trainee can kneel down and use the three low arms for


Great Masters blocking, trapping and striking as he uses the leg in the same way he would normally use the lower arm of a standard Wooden Dummy when standing. He can walk and pivot on his knees or knee and foot for power and Facing advantage.

Chee Gyeuk - Because of the two extra lower arms of the Octopus, the trainee can practice a wider variety of leg blocking, trapping and kicking combinations that cannot be done with the traditional three-armed Dummy. The leg can be moved from Boang Gyeuk to Tan or Pock Gyeuk, or many

Gahng/Jom Sau Application Sequence – Gahng/Jom Sau, the High Chop/Low Sweep Block can be trained on the Octopus with and without a kick. The same motions can be seen in combat application in photos 1-10. Fighters ready (Photo 1). Randy stops the opponent’s rear right Roundhouse Kick using Gahng/Jom Sau (Photos 2 and 3). Randy then envelops and raises his arms into a Chum Kiu Leg Trap (Photos 4 and 5). He then raises the trapped leg while slamming his right Chum Jahng Sinking Elbow into the side of the knee to break the leg with a push/pull action (Photos 6 and 7), then brings his right knee up to further punish the kicking leg from beneath (Photo 8). Then, without putting the foot down, Randy kicks the base knee using Moh Ying Yai Sut Dai Gyeuk (Invisible Knee Smashing Low Kick) and then leaps into a follow-up Moh Ying Loy Tiu Yai Hau Gyeuk to further attack the base leg (Photos 9 and 10).

other possible leg maneuvers and kicks. Owning and training with the Octopus Dummy could be a benefit to any martial artist who is interested in sharpening his technique, toughening his arms and improving his overall combat strategy.


Text: Emilio Alpanseque Photos: Jackie & JJ Productions, H. Brothers, Emperor Motion Pictures

JACKIE CHAN AND THE 12 ZODIAC ANIMALS F r o m ve r y hu mble orig ins, hi s history is now the personification of personal overcoming through tireless work and total commitment. JACKIE CHAN is known today all over the world and his name represents a unique blend of martial movies, physical comedy and highrisk scenes without peer. With the launch of his film "CZ12 Chinese Zodiac", we have decided to write this short biography and celebrate his forty years of film career. Jackie Chan was bor n in Hong Kong on April 7, 1954, son of Charles Chan (1914-2008) and Lee Lee Chan (1916-2002), an immigrant couple from mainland China. About to be sold at the time of his birth, at six years of age, Chan would enter a Peking Opera School under a ten-year permanence contract as his only option for survival.

From the beijing Opera to the Marcial Movies Peking Opera is a popular art gender closely related to Chinese traditions in all their aspects, fusing different styles of theater, mime, music, acrobatics and martial arts. The Peking Opera School that had received Chan as a disciple was the Research Institute of Chinese Drama, directed by Yu Zhanyuan, a renowned teacher and performer, who would be responsible to train a whole generation of martial movie superstars such as Sammo Hung, Jackie Chan, Yuen Biao, Corey Yuen and Yuen Wah, among many others. In Peking Opera, every movement of the fingers, hands, arms and legs, every facial expression, is predetermined by the character to be represented. Each step, punch, jump, acrobatics and handling of the socalled Eighteen Weapons (saber, sword, stick,

Film Marcial


Film Marcial spear, stick of three sections, rope dart, etc.) should be perfected through a rigorous workout. Chan was able to represent a variety of characters, including some female roles, but his specialty were the wuchou or "comical warriors", because of his gymnastic ability and mastery of combat weapons. Chan appeared as a child actor in some Hong Kong productions while still in the opera school, being his

debut in a film entitled "Seven Little Va l i a n t F i g h t e r s : B i g a n d L i t t l e Wong Tin Bar" (1962). Going rolling a film meant not having to train u n d e r m a s t e r Yu , a n d t h a t fascinated young Chan, because a normal day at the school was synonymous with corporal punishment, deprivation of food a n d o t h e r f o r m s o f t o r t u re . However, after ten years of training, his development both acrobatic-

martial and interpretative would allow him to enter directly into the Hong Kong industry of martial art films, where he offered his services as a double specialist and martial art s coord i nat or. C han d evoted himself to risk his life in combat scenes, participating in a number of productions of the 70s, including the famous "Fist of Fury" (1972) and "Enter the Dragon" (1973) alongside the legendary Bruce Lee.


Jackie Chan Evading the Shadow of the Little Dragon In 1973, Bruce Lee's death shocked Hong Kong and the whole world. There was no long wait for the Hong Kong Production Companies to flood the screens with clone characters of the Little Dragon: Bruce Le, Bruce Li, Bruce Liang and many more, tried to imitate all his moves and characteristic styles in shoddy productions. Not even Chan himself would escape this phenomenon; in 1976, after a short season in Australia with his parents, he returned to Hong Kong to participate in what would be his first major acting job, "New Fist of Fury" (1976). Now, under the Chinese name of Cheng Long, was hired in a short time in over eight productions, drawing the attention of all producers. Perhaps his new name, which translates as "become a dragon", served as a premonition because that was exactly what that young man would do. During those years, Chan thought often about finding his way to stardom; he admired Bruce Lee, but he didn't want to become his shadow. To differentiate from him as much as possible, the invincible hero became an unfortunate victim of circumstances, and instead of using decisive techniques and fulminant direct blows, he resorted to all kinds of traditional Wushu styles (real or invented) to try to entertain the audience with something different. From serious scripts he passed to popularize

comedy within martial art films. The formula was a success; only two years later, Chan was the highest paid performer in Hong Kong. Films like "Snake in the Eagle's Shadow" (1978) and "Drunken Master" (1978) broke all box office records in Asia and toured the world. In 1980, after a couple of failed attempts to enter the U.S. market with "The Cannonball Run" (1981) and "The Big Brawl" (1980), Chan made his directing debut with the blockbuster "The Young Master" (1980), beginning to develop his own movie style by directing films like "Dragon Lord" (1982) and "Project A" (1983), charged with his trademark humor, but at the same time, filled with highly risky action and danger scenes, which inevitably involved some accidents. In 1984, Chan would make two films for the Hollywood market, "The Cannonball Run II" (1984) and "The Protector" (1985), which, once again, would pass unnoticed by the theaters on both sides of the Pacific. It is said that the latter's failure motivated him to go to Hong Kong, ready to prove how a detective story should be made, filming one of his masterpieces, "Police Story" (1985). This film would mark a stage in the development of his personal style, which would remain constant for just over 10 years, with grandiose productions as "Armor of God" (1986) , "Project A II " (1987) , "Police Story II" (1988) , "Miracles" (1989) , "Armor of God II " (1990), "Police Story III" (1992) and "Drunken Master II " (1994) , "Rumble in the Bronx " (1995) and "A Nice Guy" (1996).

Hollywood, third time's Charm After the resounding success of "Rumble in the Bronx" (1995) in the United States in February 1996,


Film Marcial international distributors would take an interest in Chan and, just six months later, would be simultaneously released "Supercop" (1992) in the United States, "Rumble in the Bronx" (1995) in Europe, Africa and Oceania, and "First Strike" (1996) in Asia, turning Chan in the biggest box office star of the moment worldwide. And so it was that finally Hollywood studios opened their doors to Chan, allowing him to work in "Rush Hour" (1999) with Chris Tucker, and "Shanghai Noon" (2000), alongside Owen Wilson. Both films, with a lot of comedy and a few action scenes, were a big hit resulting in multiple delivery sagas and placing Chan on top of the U.S. box office comedy and action movies of all times. However, despite his success in Hollywood, Chan still couldn't acquire the necessary control at a production level and remained without the possibility to break away from the typical roles for Asian actors that this market dictates. Chan would keep trying in films like "The Tuxedo " (2002), "The Medallion" (2003) and "Around the World in 80 Days" (2003), but it is practically impossible to fight against the strict regulations that studios and

specialist unions impose, so Chan would be forced to continue making different films for both markets, rolling in Hong Kong the explosive "New Police Story" (2004), with type of action scenes that Chan 's followers had been crying out for during the last decade, although wester n audiences would have to submit to see it in DVD in most cases. And this dichotomy between both markets continues to exist until today. Just take a look at the following productions to realize it's like that: "The Myth" (2005) and "Rob-B-Hood " (2006) for Asia , "Rush Hour 3 " (2007) and "The Forbidden Kingdom" (2008) for USA, followed by the action comedy "Little Big Soldier" (2010) for Asia, and the family comedy "The Spy Next Door" (2010) for the U.S.

MorepPerformance and Less Blows Chan is a real first magnitude movie star - an icon of world cinema - but the high realism of his stunts has led him to build an impressive list of accidents and broken bones, even being on the verge of death during filming of "Armor of God" (1986), when he fell from a tree fracturing his

skull. Therefore, as age won't forgive, Chan has stated that his current goal is to prove his worth as an actor , playing different roles in all kinds of films and genres, and not only in martial movies. So, decided to become a versatile and chameleonic actor, Chan stars in "Shinjuku Incident" (2009), a drama in which Chan plays a Chinese illegal immigrant who comes to Tokyo to find his girlfriend and ends up working for the Yakuza, the feared Japanese mafia, as the only way to survive there, surprising both critics and the general public with such risky change of formula. Next, Chan worked in three films playing characters diametrically opposed, starting with the remake of the classic "The Karate Kid" (2010) in which he plays the role of endearing Mr. Miyagi of the original series, although more stoic, taciturn, and also with a somewhat darker past; he then worked on the drama "New Shaolin Temple" (2011), portraying a folksy old temple cook, who has inadvertently martial skills due to his day job as a cook; and finally in the historical film "1911" (2011), bringing to the screen the revolutionary leader and chief commander of the Chinese


Jackie Chan army, Huang Xing, during the Xinhai Revolution, the rebellion that would put an end to more than two thousand years of feudal system in the country and led to the establishment of the Republic of China, now settled on the island of Taiwan.

Cz12 The Condor is Back CZ12 is the final installment of the "Armor of God" trilogy, in which Chan reprises his role as the Asian Condor - a treasure hunter in the style of Indiana Jones - something not done since 1991. On this occasion, the quirky searcher has been hired to track several bronze animal heads, part of a set of twelve animals

representing the Chinese zodiac, ransacked when Anglo-French armies looted the Summer Palace in Beijing in 1860, and retur n them to the Chinese government. The central argument was inspired by true events and written by Chan seven years ago. CZ12 is an action comedy in the purest and usual Chan style, dancing between the funny and the absurd, full of kind of hilarious adventures, visual gags and spectacular choreography, with a very international image, shot in France, Latvia, China, Taiwan and the Ambrym island of Vanuatu, in a pleasant and familiar tone. In this film, Chan proves that at the age of 58 he still has great endurance and, despite the use of some special effects, he still can face action roles that are

physically highly demanding. It is to be note the great performance of the National Taekwondo Female Champion of China and sensational model Zhang Lanxin. CZ12 was announced during its promotion as Chan's number 101 movies, and as his latest action blockbuster. Nevertheless, both mentions seem to be somewhat illegitimate, since it is difficult to know in how many films has Chan actually participated; it is spoken over 250, and it's also known that Chan has completed a new action film this year entitled "Police Story 2013," a dramatic and crude film that focuses on the life of a policeman from the Chinese mainland, which is not part of the popular action series under the same name.


“Best Karate Kumite”. George Bierman Generally speaking, if you ask someone, “why are you in Martial Arts”, they will tell you it's because they want to learn how to fight. You usually never hear them say that they wanted to learn kata, weapons or wazas. I guess all of us have a little of that “I want to be a tough guy” or you could be motivated by a real need to protect yourself. Whatever the reason, in this DVD I discuss Basic and Advanced kumite techniques and concepts that all of us should know, whether you are an advanced student or just beginning, and some things that have worked for me over and over. Some can be used on the street but I'm mainly focusing on tournament techniques. I can tell you over and over to keep your hands up to protect your face. Some of you may do it and some may not. Once you get hit in the face several times by not doing it, you will. I began my Martial Arts training in 1973 and this is a collection of proven techniques and strategies that have worked well for me in competition to present day. I have combined strategies, footwork, techniques and combinations that lead me to well over 2000 tournament wins and a World Champion fighter in St. Petersburg, Russia. They work! LANGUAGES: ENGLISH, ESPAÑOL, ITALIANO, FRANÇAIS

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


Kung Fu

If your thing is the Chinese Martial tradition and you still don’t know Master Paolo Cangelosi, what are you waiting for? We are undoubtedly before one of the greatest and rarest exponents of the true Chinese Marital tradition of our times. Yes! And he isn’t Chinese! The East and the West have already mutated in their roles in so many things that it shouldn’t amaze us, but still for many people, one can only be a master of the Eastern Arts if they have almond-shaped eyes. Those who already know his work know about his impressive knowledge, about his nobility, his Mastery, and of his incorruptible character. When Cynthia Rothrock saw him in action, she said, “This man is marvelous. Where did he come from? If he were closer, I would train with him often.” And it is the case that Sifu Cangelosi is much more than a simple athlete; he wholly captures the essence of the true martial artist, and for that, each time he offers us his texts, or stimulates us with his videos, we are very pleased to bring him to these pages. He is busier and busier every day, traveling continually, giving seminars all over the world, demonstrations in which he is always the most applauded, even though what he does is something so unspectacular as a Tai Chi form. Paolo continues working on a television series of which we had the pleasure of viewing the pilot of, and it presents a series of a dozen episodes in which he goes over all the Chinese and Eastern tradition, from the philosophy to the medicine and, of course, in the center, the man, the martial artist and the way of the warrior. A truly spectacular project that we hope sees the light of day next year. On this occasion, Paolo undertakes a new adventure and begins a series of projects on the weapons in Kung Fu, without a doubt one of the aspects of Kung Fu in which there is the least quality audiovisual material available for students. W ith the masterly and p e d a g o g i c a l exactitude with which he has us accustomed in his long series of projects for Budo International, Paolo introduces us in this first work to two weapons intrinsically united to the spirit of Kung Fu: the spear and the cur ved swor d. He completes the project with the Nam Pak Siu Lam form, which will, I’m convinced once again, delight the true fans of Chinese Art par excellence: Kung Fu. Alfredo Tucci


Kung Fu The Power of the Kung Fu Weapons History: For many people nowadays, Kung Fu weapons can seem out of date, already buried by an ancient history that saw them as absolute protagonists in the battlefield, and which today can have no concrete use. However, this is not the case… Weapons are also studied today, but most of all they are loved, attractive for that particular energy that characterizes them, that vibration that didn’t escape the eyes of the warriors of the past, as well as of today. If one wants to understand the evolution that has brought the weapons to the twenty-first century, it is necessary to know the reality of the historical past, and so we return to the history of the Chinese people, to that essentially rural world. In the past, life in China was much more dangerous than today; whoever had to leave his village or neighborhood, belonging to any social class, did so armed or protected. Each caste had its own weapon or used their own work tool in case of necessity. Thanks to the peasants, the woodcutters and the fishermen, the use of weapons began in that which today is the vast panorama of traditional Kung Fu. The popular classes came to use the tools of daily life as defense instruments, in this way responding to a prohibition that had been imposed on them: that of not possessing any noble weapons, which is to say, a real weapon such as: swords, spears and halberds. The farmers not only had to organize defenses against ferocious animals which destroyed crops, and well-organized gangs of thieves that attacked them, but in certain historical

periods, they had to learn to defend themselves from the abuses of the very imperial soldiers. It was these circumstances that pushed the Chinese popular classes to use, and consequently, specialize in, the use of work utensils. Initially, the most common and crude tools were enough, like sickles, rakes, baskets and hoes. They successively discovered that the use of more specific utensils offered greater freedom of movement and especially greater facility in defense and in injuring the adversary. The following instruments will be developed as weapons and will remain to this day in the technical programs of different traditional styles: conical stick with one headKWAN- utilized by the fishermen to push the boats in shallow waters, while for deeper parts they used the oar; a three-sectioned stick-SAM CHET KWAN, which served to beat the wheat; tonfa-KWAN TO TZE, used in agriculture to cultivate the potatoes, famous today because the New York police use them; short sticks joined together in pairsSEON CHET KWAN (NUNCHAKU in Japanese); 3-point stick of the forked type-SAM CHA PI, to move hay bails; hatchets-TA FU TAO, used by the woodcutters to fell trees; a rope with lead pieces at the endsSEON LUM BIAN, used to close the bundles of wheat; the whip, an instrument of the wagon drivers and the cattle breeders. We then learn about particular weapons like: the stool, sticks-KUAI JIN (often used in throwing), to the kitchen knife, all typical tools of the restorer. Objects of daily use transformed into weapons: The walking stick-SHOU TOU,

used for support to move around and travel; the beggar’s pole; the pipe; the flute; the umbrella; the fan-GUN SEN, normally of bamboo and silk, but reinforced with little edged flaps on the crests, for the expert masters. These were often used to stop and strike muscles, nerves, and vital points. All of them are PIN HEY (weapons in Cantonese), which will take a position of honor within Kung Fu, eventually having their own sector, denominated SHU MO HAY, complements to what already existed in empty hands. In ancient times, weapons practice sought maximum efficiency, given that a warrior’s or soldier’s life depended on it. The soldiers, if they were simply warriors, used the curved sword of one edge -TAN TAO- whose blade is similar to the sable. Also known in certain Kung Fu styles by the name of “Cloud blade”, it is an optimum, versatile weapon at any distance, thanks to the peculiar curved shape of the blade, which allows one to wield it following an incredible number of trajectories with point or edge strikes, as much in attacking as in blocks. Generally, it is used with only one hand, while the other arm moves as a counterweight to the movement, or else to support the “back” in order to cushion the adversary’s strikes. Nowadays, 90% of the Kung Fu styles, as much those that belong to the WAI CHIA school (exterior school) as the NEI CHIA (interior school), use this sword in their technical programs. In contrast, the elegant and most feminine straight, double-edged sword KIM-CHIEN was generally symbolic, often employed in duels, a sign of distinction for the upper civil servants of the Chinese army. The iron or steel blade, very thick and resist-


“For many people nowadays, Kung Fu weapons can seem out of date, already buried by an ancient history that saw them as absolute protagonists in the battlefield, and which today can have no concrete use. However, this is not the case…”


Kung Fu ant, allowed them to absorb violent impacts. The two edges were not very sharp, since they were used to intercept and stop the adversary’s weapons techniques; only the final third was sharp. Even today, some traditional Kung Fu styles use these two double SEON swords in a complex system of coordination and speed where experience in the handling of the particulars makes all the difference. We can’t underestimate the importance of the spears, employed in long distance combat or in fighting on horseback. Normally, the pole was constructed of particular, very flexible woods, with an iron point at the end. Just below the point there is a tuft that serves to hide it, or to retain the flow of blood of the injured adversary. There are many different kinds that vary in height, workmanship and shape. The venerable KWAN THIN (KWAN KUN) “God of War”, according to the Chinese, gave his immense contribution and his own name to one of the most important weapons in the history of Kung Fu: the halberd -KWAN TAO- the weapon of the generals. Derived in its shape from the spear, one or more blades were added to the end, also differing in models and workmanship, and to balance the heaviness of the blade, they added a ring, or an iron or steel point to the end of the stick. This weapon is able to combine cutting and hooking techniques to the thrusts in direct and circular movements, making it a versatile weapon, especially against horsemen. The main difficulty of this weapons is found in the execution of the techniques that allow fast and easy changes of direction. For this reason, the training was done with heavier and

heavier weapons. Alive during the HAN dynasty (206 B.C. – 220 A.D.), KWAN THIN was one of the many personalities that made some of the weapons of classic Kung Fu famous and immortal. It is worth remembering his hard training, which led to his training with a halberd that weighed nearly 60 lbs. That shouldn’t surprise us, but make us reflect… personalities like him are the ones who made martial art history, and specifically, Kung Fu, men like: YEHE FEI (HISING’I master), popular hero, formidable fighter, famous for his nearly 20-foot spear, used primarily on horseback, while on the ground he fought with a 6.5’ – 8’ spear; like the Master CHAN HEUNG (founder of CHOY LEE FUT), an extraordinary expert in his “Nine Dragon-toothed halberd”; skilled swordsmen like LI PO (from the TSUI PA HISIEN style) and WANG CHEN MING (TAI CHI master), up to the recent WONG FEI HUNG, expert in the one-headed long staff, and TI KIU SAN (master in the HUNG GAR style), expert in the one-toothed KWAN TAO.

Classification of the Weapons: In contemporary Kung Fu, weapons are classified into two major divisions: YANG weapons: born to be weapons (sword, halberd and spear). YING weapons: originally work implements and later transformed into combat tools out of necessity, like the KWAN, the KWAN TO TZE, and the SAM CHET KWAN. In addition, there are three other divisions: Masculine weapons: (also called Yang weapons) those that most remind one of the characteristics of a

masculine figure, for example, the KWAN TOU. Feminine weapons: (also called Yin weapons) those that most remind one of a feminine figure, KIM, DAN BIEN, GUN SENG. Neutral weapons: those that remind one of both sexes. Another, simpler distinction subdivides them into: long, short, untied, and cutting weapons.

The energy of the Weapons: Staffs, swords, spears… materials, forms, different uses and histories, but all inseparably connected by one magnificent energy, that of the weapon and who uses it… to handle them means to enter into contact with the immense historic past of Martial Arts. All weapons have their chi, and it is necessary to know how to find the perfect feeling, to learn how to feel it, and later, taking advantage of it to get to the correct execution of the movement and the techniques. The old Masters would often hide the secrets of the style in the principle positions of traditional Kung Fu, using symbols and philosophical metaphors to suggest the correct mental and energetic focus to the practitioner. The study of weapons in the various Kung Fu styles forges and sharpens the practitioner on a physical, energetic, and spiritual level, offering them an opportunity that they had never had before. Thanks to serious and pernicious training in the handling of weapons, we immediately notice what we lack in motor skills: a lack of precision, limited speed, crude movements, poor coordination, techniques without fluidity and being too heavy.


Grand Masters “Staffs, swords, spears… materials, forms, different uses and histories, but all inseparably connected by one magnificent energy, that of the weapon and who uses it… to handle them means to enter into contact with the immense historic past of Martial Arts”


Kung Fu The particular qualities that the Martial Arts path demands to an ever greater degree could simply be sleeping, or in the most unfortunate hypothesis, totally absent in the individual. The study of weapons is the key to get closer to, awaken, and perfect these qualities, the way the handling of a spear teaches precision and accuracy; a straight, double-edged sword offers elegance and grace in techniques, comparable to the movements of the phoenix; speed and coordination will come from training with the curved sword-alone or in pairs; strength and stability of positions will come from a potent halberd, and on like this going up in a spiral of re-discovery of the potential of the body and its characteristics. After many years of training, Kung Fu offers the possibility of learning to use the traditional weapons as a natural extension of the arm. Light, natural movements with a precision down to millimeters, without any hesitation or doubt at all, can be achieved: in unison with the weapon, the body raises its spirit, the Martial Artist forgets everything else, and enters into perfect understanding of the energy of the weapon, with its unlimited power… it is the emptiness.

The spear The spears are differentiated in their structure, shape, length and weight. The points and heads that characterize this weapon are various. In the Chinese arsenal we can find the head of the weapon surrounded by blades that serve to protect the central point, and which are also used to stop or attack the adversary. The most common are composed of a single point, which can differ in

their measurements. The staff, the stick of which it is composed, has a conical shape: the cone is fixed at the end and serves to give elasticity to the weapon; the diameter is greater in the held part to make the grip firmer when the spear is slid between the hands. The red bow and the metal ball, between the point and the wood, serve to choreograph the movements and put rhythm in the techniques, apart from having the strategic function of bothering the adversary during combat. That type of single-point spear with red bow is called CHEON in Cantonese and CHANG or MAO in Pekinese.

THE SPEAR AND THE CURVED SWORD In this first project on Kung Fu Weapons, Grand Master Paolo Cangelosi presents us with two arms that form an essential part of the Chinese tradition. The spear, as it could not be any other way, is the weapon par excellence. It combines the staff and its way of being handled with the attacks of its pointed end. The curved sword is also presented in this first video in the Kung Fu Weapons series. One will learn about the way to hold it, positions, attacks and defenses, etc…. furthermore, the video includes the spear form Nam Pak Siu Lam, a beautiful and spectacular traditional form. Throughout his teaching, Master Cangelosi, respecting the purest essence of the traditional just as we are accustomed to seeing, will transmit to us the basic knowledge as he received it from his Masters, being

very careful with the technical details to the point of perfection, so that the student can learn the subtle handling of these powerful weapons through his or her practice, and from there, body control and the domination of movement, soft but powerful, fast but exact, and always, always fluid. A new demonstration of what Martial Mastery really is.

NAM PAK SIU LAM “SEON MUI FA CHEON” (“MUI FA CHUEON SEON YING”) The name of the form has its origin in the symbolism of the plum blossom, known as: MUI FA. This term is often used in the technical language of Kung Fu in order to give importance to the forms that have to be represented. For the Chinese, the Plum Blossom, which one can find in the north as well as the south of China, is the most

resistant, expressive and prettiest flower that blooms at the end of winter. In Martial Arts, it often represents the fundamental forms, very important for the styles, and the forms of advanced levels. The meaning of the name of this form is “to unite the two flowers”, because the technical sequences extracted from the principle styles of the south and of the norther n methods are united. The first phase of the form presents typical techniques from the South of China, belonging to the NAM SIU


Grand Masters LAM tradition, with rapid, precise, and commonly short and direct movements. By contrast, the second part shows the use of the spear through the methods of the North of China, which primarily takes advantage of circular trajectories and long techniques. It is a form that moves in all eight directions. The form brings together the essence of the weapon and the technical combinations are quite difficult, yet they are very useful for the practitioner, especially for movement training and in fast changes of direction. All that makes it a very complete form, but not apt for those who begin the study of this weapon. In our school’s programs, it is considered a superior form.

“In this first project on Kung Fu Weapons, Grand Master Paolo Cangelosi presents us with two arms that form an essential part of the Chinese tradition�


REF.: • DVD/KFW In this project, Sifu Cangelosi, one of the most renown experts in the Chinese martial traditional, presents us with the most representative weapons of Kung Fu: the spear and the curved sword. With his characteristic pedagogical exactitude, Master Cangelosi reveals the secrets of the handling of the spear as well as the Nam Pak Siu Lam form and its applications, a spectacular and complex high-level form that is very useful to the practitioner in training. In this first video in the series, we will familiarize ourselves with curved sword work, the way to hold it, positions, guards, attacks and defenses, as well as sequences of different forms and pre-established combat. A project respectful to tradition that will delight the true fans of Kung Fu.

ORDERS: Budo international. net


Text: Avi Nardia, Benjamin Krajmalnik ("Krav-jmalnik") & Tim Boehlert PHotos: Several authors courtesy of Avi Nardia

"Shooting: How Close is Too Close?" When students ask me "what is the most dangerous gun?" I always say "your fork as most of us will die from over-eating and not from gunshots." For a few years students, instructors and even the folks at Budo Magazine have asked me to put together a DVD on firearms instruction, but Lt.Colonel(Res) Chaim Peer, KAPAP founder always refused to give civilians too much info as he wanted KAPAP to be only for our people. Experience had shown that others would copy KAPAP and call it different names. He always said that 'Integrity' was to do the right thing. Not many see it, but in today's Martial Arts marketplace, there are many, many opportunists, 24 year-old kids that leave the Israeli Army, and then call themselves Grand-Master, or 'Real Deal' and then try to call everyone else a fraud and slander them using their own DVD and background information of study to claim that THEY are the only 'Real Deal!" So, after a very long time I managed to ask Chaim Peer for his permission to create a new DVD, and thus we have created a new Kapap Firearms DVD. Personally I don't like firearms, even though I have been around them since I was born as my father served in the Israeli Army. To see firearms in our home was natural, and as a kid I used to play on his Jeep or with some of his military gear, as it was always around our home as part of my father's visits home from the Army. Sometime's I would even drive the Army ambulance, as my father later became an Army Medic/EMT. At around 6 years old, my father spoke with me and explained firearms to me, citing specifically the ones that had been in our home, an Uzi and an AK-47. He said: "I know you know where it is and if you touch it with out my permission, I'll smack you!" and then he smacked me‚ as he caught me with a smile on my face, smiling about the ideas to

2


Israel “The purpose IPSC training is to enable you to quickly and effectively stop someone from making you a victim�

3


come. He then said: "this is a very bad thing, a gun, BUT I know you may want play, so if you want to, all you need to do is ask me but please don't do it without my permission and without inspecting it FIRST." He then taught teach me the second rule,"Safety First,Safety Last." These two rules I will hold with me forever and they are more important for me today as a firearms instructor as I see so many people fooling around with guns. During this past year a firearms instructor, a "Rambo, Real Deal deadly guy" shot one of his own student's four times! I thank God that the student survived. As a joke, we say in Israel, "...the instructor is also a bad shot" as a macabre joke. But EGO caused this accident, nothing else. This event led myself and Ben Krajmalnik, who also served in the Israeli Army/IDF to come out with a new basic DVD to explain a little about firearms and safety and to share some basic techniques to train with firearms. Mostly I don't like to teach firearms unless I know the students personally, or if she/he is in Law Enforcement or coming from a friendly Military service. Firearms are made only for one purpose – to kill. This is why I'm not much in favor for it and in any firearms class I always state to my students "if you carry a firearm, you need be ready to kill! It's not for fun, it's not for ego and to show who has the bigger gun as most people play with guns to extend their ego." In my experience I have had many students from the best firearms instructors, but when I left the the Israel's top counter-terrorism unit, I understood that mostly we didn't really know how to shoot properly. The art of shooting is more than shooting people and too many ex-military personnel

4

say things like "I'm not a paper shooter" - that's just egotistical. I have had lots of firearms instructors from many fields such as hunting, sport shooting and even Army counterterrorism experts. Shooting can be done for Combat or for Sport or recreational, and some do it only for fun. The sport is very demanding and hard but combat requires less skills, but it's goal of using the gun is ONLY to kill. I have studied the gun from all three methods of training and from so many instructors and mindsets, and I then understood many mistakes in the Israeli systems that I studied first, like "point shooting." Point shooting, which is GREAT for self-defense at close distances and is helpful to break the 21-foot rule - The Tueller Drill - is a self-defense training exercise to prepare against a short-range knife attack. Sergeant Dennis Tueller, of the Utah Police Department wondered how quickly an attacker with a knife could cover 21 feet (6.4m), and so he timed volunteers as they raced to stab their target. He determined that it could be done in 1.5 seconds. These results were first published as an article in SWAT magazine in 1983 and in a police training video by the same title, "How Close is Too Close?" Point shooting is great for this scenario, BUT by not using


“A high percentage of gunfights and assaults occur in dim-light or where sights are hardly visible�

5


Professional Self-Defense “Most gunfights and assaults are over in two to three seconds�

6


gun-sights you create different problems and one BIG mistake with Israeli firearms training is to walk with an unloaded gun (for safety) but if you find yourself in this scenario you can't use one hand to try and load under stress as you may need that hand to block a knife attack and use your other hand to draw your weapon with. It's a very common mistake go with an unloaded gun, so if you carry a gun you must be ready to use it in anytime you carry it.

Introducing: Instinctive Point Shooting Combat (IPSC) Safety with firearms and handling firearms in the use of self defense and protection. Point Shooting is the skill of quickly discharging a firearm (usually a handgun) with minimal or no use of the sights on the weapon. It is a method of shooting that relies on instinctive reactions and kinematics to engage close-range targets. This shooting method is used in fast and dynamic situations when there is no time to use a gunsight or in low light conditions. Point shooting does not rely on sights and instead places the gun below the line of sight, but still in the field of vision. Since the sights are not employed, the shooter focuses on the target. The point shooting method is often referred to as threat focused shooting. The purpose of Instinctive Point Shooting Combat Training (IPSC) is not to develop marksmanship or to develop competition skills. It is not for shooting holes in paper targets and it is not a skill for hunting small game. The purpose IPSC training is to enable you to quickly and effectively stop someone from making you a victim. IPSC trains people to survive lifethreatening situations and trains you to react in a fraction of a second in order to defend your life and protect innocent people. It is a self-defense discipline. You cannot shoot another person on mere suspicion. The innocent citizen or police officer must wait until a predator or terrorist makes an overt act, putting the citizen in a situation where they must react to their actions. In a gunfight the aggressor has the advantage and the defender is a second or two behind them. Against this terrible disadvantage, the citizen must be able to overcome lost time with a combination of speed and accuracy. IPSC shooting trains you to survive a gunfight, even when the aggressor has the advantage. We teach speed and accuracy in an armed encounter because you need to be the survivor. There are no rules in a gunfight, knife fight or street fight; there are only facts,

7


Professional Self-Defense which when understood, can give you a winning edge: • Fact: Almost all gunfights, knife fights and assaults occur at distances of under three meters. • Fact: Most gunfights and assaults are over in two to three seconds. • Fact: A high percentage of gunfights and assaults occur in dim-light or where sights are hardly visible. • Fact: In a spontaneous life-threa-

tening situation, the body undergoes changes that degrade our fine motor skills because our vision is focused exclusively on the threat.

Conclusion: To win in a gunfight or to survive a life threatening assault requires great speed and accuracy; drawing and firing the gun at close-range without the use of sights. This is Instinctive Point Shooting Combat. Violence – recreational or otherwise – is a part of society, and in the new era of terrorism it knows no boundaries. Whether we like it or not, violence is going to be a feature of our lives for a long time to come. Rather than ignore it or hide from it, we must learn to handle it. The objective way to live with violence is to avoid it, deflect it or reduce its impact by being prepa-

“Almost all gunfights, knife fights and assaults occur at distances of under three meters” 8

red for it.  We do not get to choose the bad things that happen to us. A person’s natural instincts – which include spontaneous reaction to sudden attack – are formidable powers that usually ensure survival if they are harnessed correctly. In my experience there are two factors that interfere with our ability to defend ourselves: inappropriate equipment and inadequate training. These things have killed (and continue to kill) innocent people. After many years of involvement in personal security I have reached the conclusion that in order to harness the natural survival instincts of the human body, equipment and training must be kept as simple as possible. Attacks are sudden and without warning and a huge advantage during an attack is a concealed handgun capable of immediate action. Requiring no time-wasting, no twohanded loading operation or a frantic

search for a cunningly hidden safety catch, it is available in a split second. It is a handgun that can be pulled, pointed and fired repeatedly with ease, as well as capable of being carried safely. The training and the equipment recommended by IPSC is calculated to keep people safe with minimal impact on their daily lives.


“In a spontaneous life-threatening situation, the body undergoes changes that degrade our fine motor skills because our vision is focused exclusively on the threat�

9


His high discipline and technical level have turned Alejandro Navarro into a worldwide reference of the Kyokushin Karate. His record is impressive, these are just some of his triumphs: Japan Open Champion, 9 times European Champion and just a few weeks ago, World Champion heavyweight, becoming the first Westerner to get this title. Charisma, determination and pure spirit Kyokushin, reach the pages of Budo International, here comes ... Alejandro Navarro! Text and Photos: Ricardo Diez Sanchis


Alejandro Navarro Pure Kyokushinkai! Budo International: Alejandro, how did you get started in Karate Kyokushinkai? Alejandro: My first contact was at the age of 16, in a trip we made to the island of Fuerteventura, where I met the "only responsible" of there being so many schools and people who know and practice today Kyokushin in the Canary archipelago, Shihan Antonio Roca, whom I send my best greetings, as well as to every practitioner in my land. Then I resumed it at age of 20, when I moved to live in the aforementioned island. BI: What is it that "catches" you in the Kyokushin? A: Its philosophy of life, the principles and values that instills in the practitioner, such as discipline, humility, respect, and a long etcetera, so scarce while so much needed in today's society; to take out courage when you need it to get by in the different situations that exist in life, and to persevere under pressure. And, of course, its way of fighting and, no matter what happens, give your opponent a hug in the end for a few rounds; that is something magical, a mutual respect that adds value to what you do and to what you are. B.I.: How do you recall your first competition? A.: Being the first, obviously everything was new for me, I had no idea what I was going to face. Anyway, it was a pretty experience that helped me to understand what I had got into. BI: What advice would you give to those who are thinking about getting into competition? A.: I'd tell them to listen to their masters; the rewards come with hard work; to not take shortcuts in order to reach before, for they will have to go back; to work hard their basics, the position on the mat, the way to move, the team work helping always the partner, and learning from absolutely everything that happens around and that the strength is in the spirit and the faith you have in yourself. Always fight for your dreams... BI: Which is your best memory as Kyokushin practitioner and as a competitor? A.: There are so many different ones ... those hard times you share with you training partners that make friendship becomes stronger, on many occasions, through pain and sacrifice in training... It may seem strange, but through not so good results is when we have the best ideas and form there we get to grow a little more. BI: What is your best memory as Kyokushin practitioner and as a competitor? A.: There are so many different ones ... those hard times you share with your training partners that make friendship become stronger, quite often through pain and sacrifice in training. It may seem strange, but it's through not so good results that we have got our deeper reflections and from there we have grown a little more. BI: How did it feel to get off the mat after winning the world championship? A.: Mutual satisfaction, for me and for the team that had accompanied me to Japan, and also for the group that is behind us, especially the younger ones. Being there is something special, is where everything originated. BI : Tell us some story you remember from your travels? A.: Once, my partner and friend Hector lost his passport at the Tokyo airport. We turned to the police for help and instead, they started interrogating us ... Of course, we did not understand anything; Angel sensei, who accompanied us, couldn't believe it either. The highpoint was when an officer opened our luggage and found a package of roasted "gofio" (a ground cereal we have in the Canary Islands); he must have

thought it was something strange and got all too nervous asking what was "that", then Hector yanked opened the bag, got a handful on his finger (I must explain that one of Hector's fingers is like four of mine) and literally forced the stunned agent to try it, and the cop denied while retreating, a real show, we couldn't stop laughing for days. Finally the passport appeared, of course, they let us take our gofio with us.... Ha, ha, ha, ha...! There's an interview they made me in English talking about this, that they later did hung on the network. It's been five years since then and they still make fun of me in the Dojo. Transalpine humor, they call it... Crazy situation! CN: Tell us about your Master Angel Romero, without doubt, one of the architects of your sports successes. A.: My Master, sometimes father, brother and most of the times "simply" friend and brother in battle. A born dreamer who communicates his madness and fights for what he believes is right. I have learned much from him, not only in Karate. CN: Now you are living a new phase of your life in Costa Rica, how are you adjusting to life there? A.: Oh yes, I am in Costa Rica for almost eighteen months now. Everything came out from a sporadic conversation with Branch Chief Erik Golberd, and here I am, I am being treated very well, they support me throughout, but it must also be given merit to the achievements in the last 15 months. From here I want to thank both Erik Golberd and Mario Hernรกndez for the trust they put in me, as well as he team of IKO entire Kyokushinkaikan Costa Rica. C.N.: Would you like to add anything? A.: A special remembrance for Shihan Daniel Lorente, who is always there, supporting selection. I'd also like to encourage juniors who are going on the right way and the whole group Iko Spain, for their commitment. And, to the Myrmidons and my battle brothers, wherever they are, I send them a big hug from the distance.


AUTHOR: SALVATORE OLIVA

REF.: DVD/TV2

TITLE: J.K.D. STREET SAFE: REF.: DVD/SALVA • DVD/SALVA2 TITLE: KNIFE FIGHTING: • DVD/SALVA3 • DVD/SALVA4 TITLE: PROFESSIONAL • DVD/SALVA5 FIGHTING SYSTEM: • DVD/SALVA6 TITLE: PROFESSIONAL • DVD/SALVA6 FIGHTING SYSTEMKINO • DVD/SALVA7

REF.: DVD/BL

AUTHOR: B. RICHARDSON

MUTAI: TITLE: BRUCE LEE: THE MAN AND HIS LEGACY

AUTHOR: RANDY WILLIAMS

AUTHOR: JOAQUIN ALMERIA

REF.: DVD/ALM2 TITLE: JKD TRAPPLING TO GRAPPLING

REF.: DVD/ALM3 TITLE: FILIPINO MARTIAL ARTS

TITLE: HOMENAJE A BRUCE LEE AUTHOR: TED WONG & CASS MAGDA

REF.: DVD/ALM4 TITLE: STREETFIGHTING! JEET KUNE DO

REF.: DVD/RANDY1 REF.: DVD/RANDY2 TITLE: WING TITLE: WING CHUN KUNG FU: CHUN KUNG FU: SIU LIM TAO CHUM KIU English / Spanish / Italian

TITLE: JKD STREET DEFENSE TACTICS: TITLE: EXPLOSIVE DUMOG TITLE: JKD STREET TRAPPING”

English / Spanish / Italian

AUTHOR: TIM TACKETT

REF.: DVD/JKDTIM3

REF.: DVD/EFS1

TITLE: JEET KUNE DO BRUCE LEE’S YMCA BOXING

REF.: DVD/YAW2 TITLE: YAWARA KUBOTAN AUTHOR:: MASTER PEREZ CARRILLO

TITLE: JKD EFS KNIFE SURVIVAL AUTHOR: ANDREA ULITANO

REF.: DVD/DP1 TITLE: 5 EXPERTS EXTREME STREET ATTACKS AUTHOR:ES: VICTOR GUTIERREZ, SERGEANT JIM WAGNER MAJOR AVI NARDIA, J.L. ISIDRO & SALVATORE OLIVA

AUTHOR: BOB DUBLJANIN

TITLE: JEET KUNE DO ELEMENTS OF ATTACK

REF.: DVD/SILAT3

TITLE: JEET KUNE DO

DVD/RANDY4 TITLE: CONCEPTS & PRINCIPLES

English / Spanish / Italian

REF.: DVD/JKDTIM4

REF.: DVD/JKDTIM2

REF.: MUKRANDY4 REF.: MUKRANDY6

REF.: MUKRANDY5

REF.: MUKRANDY3

TITLE: JKD

REF.: DVD/RANDY3 TITLE: WING CHUN KUNG FU: BIU JEE

REF.: DVD/SILAT

ENGLISH

OTHER STYLES

REF.: DVD/JKDTIM

REF.: MUKRANDY1

REF.: MUKRANDY2

TITLE: THE WOODEN DUMMY ENGLISH / ITALIAN

TITLE: PENTJAK SILAT

REF.: DVD/SILAT4

REF.: DVD/BURTON REF.: DVD/BURTON2 TITLE: JEET KUNE DO TITLE: JEET KUNE UNLIMITED DO UNLIMITED

TITLE: TITLE: ESPADA & DAGA BUKA JALAN SILAT


Event Announcement and Calendar Listing September Arnold Sports Festival 2014 Presents 50 Sports & Events COLUMBUS, Ohio – The Arnold Sports Festival and the worldrenowned Ar nold Classic bodybuilding championships will celebrate its 26th Anniversary in 2014 when the health and fitness celebration grows to a record 50 sports and events. The 2014 Arnold Sports Festival will be held Feb. 27-March 2 in Columbus, Ohio. The Arnold Sports Festival will again attract 175,000 sports and fitness fans to watch 18,000 athletes compete in 50 sports and events, including 13 Olympic events. Gov. Arnold Schwarzenegger and Jim Lorimer have co-produced the Arnold Sports Festival since 1989, when it debuted as a one-day bodybuilding competition known as the Ar nold Classic. The Ar nold Sports Festival has steadily grown over the years and is now a four-day festival that features a variety of sports, including professional and amateur bodybuilding, weightlifting, powerlifting and Strongman. Also featured is a lineup of youth sports that includes gymnastics, cheerleading and dance, fencing, martial arts and many others. The three-day Ar nold Fitness EXPO features 700 booths of the latest in sports equipment, apparel and nutrition and two stages that host unique, non-stop competitions and entertainment. The Ar nold Fitness EXPO will be held Feb. 28March 2, 2014 at the Greater Columbus Convention Center. New events in 2014 include Tennis and Swimming, Arnold Classic 212 (lighter weight class for professional bodybuilders) and Pole Sport (an elegant display of strength with top competitors holding their bodies

completely horizontal with only their arms like a human flag). Olympic sports in which youth compete and Olympians or Olympic hopefuls appear include archery, boxing, fencing, gymnastics, judo, running, swimming, table tennis, tae kwon do, tennis, track & field, weightlifting and wrestling. Europa Sports Products is the presenting sponsor of the Arnold Sports Festival.

2014 Arnold Sports Festiva l Dates: Feb. 27-March 2, 2013. Locations: Most events are held at the Greater Columbus Convention Center (400 N. High St.), Veterans


Events Memorial (300 W. Broad St.) and Lifestyle Communities Pavilion (405 Neil Ave.). Visit: www.arnoldsportsfestival.com for specifics. Hours: Thursday 5-10 p.m.; FridaySaturday 8 a.m.-10 p.m.; Sunday 8 a.m.-6 p.m. EXPO hours: Friday 9:30 a.m.-5:30 p.m.; Saturday 9 a.m.-5:30 p.m.;

Sunday 10 a.m.-4 p.m. Admission: A daily EXPO ticket ($10 in advance plus service charges, $15 at door) includes admission to most events and the Arnold Fitness EXPO. Professional and amateur bodybuilding events; Arnold Sunday Showcase at the Hilton Columbus; Amateur MMA Festival at the Lifestyle Communities Pavilions; Arnold Party With The Pros at the

Hollywood Casino require a separate ticket. Arnold VIP Ticket Packages are available for $350 and $600 and include a variety of exclusive benefits and premium seating to many events. Web: www.arnoldsportsfestival.com Tickets: www.ticketmaster.com/arnold or 800-745-3000.


n this issue, I would like to discuss what it takes to be a good instructor, as well as the proper mindset for being effective as a teacher. Needless to say, my point of view is purely based on my experience as an Aikido instructor. I have also watched some of my own students become teachers and it is through them and my own years as a Sensei that I made certain observations. One of the most pertinent facts is that there are more important aspects than just technical skill to be successful in the art of teaching. I have noticed that it is not necessarily always the most talented Aikidoist who can actually impart what he or she knows about the art. For example, an excellent ballplayer is not automatically an effective coach. This concept shows us that it often takes something more than physical ability. A teacher needs to be

I

“If you surround yourself with people who are going to put you on a pedestal, you are setting yourself up for the illusion that you are superior to other people�

respected and beloved by his or her students. Speaking of respect, I often hear teachers complaining that their students do not offer them the proper respect. In my opinion, respect is not something that is owed to you, nor can you force it upon anyone. It is to be earned, mostly through experience, self-confidence, and respect for others. To be a good instructor, your student needs to sense your years of committed experience and confidence in what you are doing. Unfortunately, in my case, I always regretted that I became an Aikido teacher so young, immature and relatively inexperienced in the ways of the world. Aikido headquarters had no other options, as Aikido was a new art and there were not many practitioners dedicated to spreading Aikido at that time. I was sincere, but without the requisite people skills to be as effective as I could have been. While being


Aikido

young, one’s technique might be strong because of their physical prowess. However, one might lack other factors which help to become a leader. For example, social experience, how to deal with people or how to act like a human being are traits that one learns through time. One thing I always have in my mind when I teach is that among my student body, there are many different kinds of people from different fields, already established and mature in their own professions, such as myself. Interestingly enough, I truly started feeling comfortable as a teacher as I approached my fifties. As I have said before, in addition to time and experience, it is also crucial to have confidence in order to be a good instructor. Quite often, I come upon an instructor who does not allow their student any freedom by stopping them from going to other seminars given by other instructors. They might even go so far as to say that staying with them is enough and they need not expose themselves to other influences. To me, it shows a lack of confidence on the part of the instructor. Letting your students see other worlds keeps them free to use their own judgment. That kind of self-assurance is an important way to improve oneself as a leader. I remember distinctly one time when at a large seminar of different Aikido Shihan, there was a group from a particular dojo, who instead of training with the rest of the attendees, which is the essence of the “seminar experience”, they only trained amongst themselves. Their teacher, who was not one of the

“To be a good instructor, your student needs to sense your years of committed experience and confidence in what you are doing” Shihan, who also attended the seminar, forbade them from branching out, so as to not “corrupt” their Aikido. In addition, instead of attempting to do what was being demonstrated, they continued training as they always did. How sad that is, for the students who could have benefited from feeling different styles, as well as for the teacher, who did not have enough confidence in his students to trust that their students could develop their own style through other influences and still be devoted to him. In the end, they didn’t take full advantage of the possibilities for growth. Needless to say, a good instructor need not feel as though he or she needs to prove themselves to their students. Nor do they have to show them how strong they are. Presumably, the students already know that. It does not serve a teacher well to see a student’s physical skill on the same level as theirs. In other words, to

avoid comparing themselves to their students, the teacher needs to realize that ten different people have ten different abilities and physical conditions. A valuable mentor exhibits caring, generosity and patience as they deal with each student accordingly and individually. One last piece of advice is to not make your students your “Yes Men.” If you surround yourself with people who are going to put you on a pedestal, you are setting yourself up for the illusion that you are superior to other people. One has to understand that off the mat, you are a human being like they are. However, once you get on the mat, you show them “who’s the boss”. When I lead a class, I feel like I am the conductor of a symphony orchestra, in that each one of my students is playing a different instrument, whereas my responsibility is to create nice harmony among them. Sometimes, I feel like I am a chef of a big restaurant who through my daily recipes brings variety and tastefulness to my students, so that they don’t get tired or bored, always seeking to bring them inspiration. As an Aikido Sensei, I am always looking for ways to be a better teacher. It is an evolving process that helps me express my humanity and to lear n to be a better human being. After all, it is the success of your students that makes you a good teacher, while a good teacher creates strong, future practitioners. Teaching is a relationship of mutual respect and understanding. In that way, your student always has someone to look up to and visa versa. To me that is respect earned.


S

ince the beginning of Kyusho's public release, people have always asked us why we never do competitions, spar or freestyle fight with Kyusho. Well the answer is we do and have for decades, but not publicly. Just as Kyusho's secrets were kept within families and clans or with certain trusted individuals during ancient times, so too has it in modern times and practices. What is shown publicly is only a small portion of what is known or practiced in private. The reason for this is to gain the skill, test it, refine it and then validate it prior to public release. What was accomplished through the initial books, articles and videos developed for Budo International was simply to explain, document, demonstrate and qualify Kyusho basics. This was done so that people would train slower and therefore safer until they had a grasp and skill with the vital points. We also waited until we had enough qualified instructors ready to help people really learn Kyusho correctly. Since those educational tools were first published 10 years ago, Kyusho has spread into

“As a matter of fact most points taught in typical Kyusho seminars will have little to no worth in actual combative application” over 100 countries and has developed some highly skilled and safe instructors as well as practices. A solid and proven curriculum as well as professional instructor course and protocols was also set in place to maintain quality standards. This time in preparation and practice has also served to develop our instructors' skills and pedagogy in this aspect of training so that when we did move to make this secondary educational process public, there were those that were actually qualified. And even more importantly what was needed was the proper instruction for safe and effective (usable outside the Dojo or seminar tricks) perpetuation of Kyusho globally. We are still in our infancy with this movement and growth, but have attained much success and refinements. As Kyusho is not style specific, you will one day see it as the most widespread m a r t i a l enhancement practice in the world. Currently it is Brazilian Jujitsu… but even that can be enhanced with Kyusho and the use of it's vital targets and their effects on the human physiology. All instructors will eventually begin to incorporate it into their style and teachings as it reaches the mainstream. And as we see now it is already mentioned in movies, TV shows and most recently even Dan Browns new best-selling novel “Inferno”. So now it is time to again release more vital information and training

with this knowledge as we are ready with qualified instructors and the new dynamic. In fact since February of 2013 it has become an integral part of the open courses, just not released on DVD or in books until now. We have always taken this approach as a means of field testing first in private to validate the possibility, then publicly to validate the probabilities and universal adaptability. Using this method our instructors first worked the concept with their peers in the art (privately), they then worked with personal students, now we are branching out to work it with new people from various styles and training backgrounds in open courses. This helps us synthesize it into more of a generic process much like the UFC and MMA evolved as opposed to style specific. If you remember when MMA first began everyone used their style, but with time only the best methods were kept and those that failed were discarded. Now all MMA fighters work basically the same and have increased their potential and effectiveness. So it is with Kyusho. Working over multiple decades on this aspect has also revealed what will not work, what works only a small percentage of the time and therefore not worth the study and also what is the most effective (in times of high stress and adrenaline) to utilize and refine. As a matter of fact most points taught in typical Kyusho seminars will have little to no worth in actual combative application. But let it be clear now that Kyusho Sparring is not Kyusho fighting, there is a huge difference so the readers do not fool themselves into another false belief (the first being you can practice statically and be effective in a dynamic and urgent situation). Take for example the GB-20 target (pictured here) which is so often taught in typical Kyusho classes and a favorite of most typical Kyusho practitioners. In Sparring this target is not obtainable and is recessed due to the fighting stance. Yet we have seen almost all try this point (far more than any other target) to no avail. They are taken by surprise as it always worked in their stationary techniques, yet has no availability in a sparring type of training. However it is not only possible and usable in Kyusho fighting (the next evolution), it becomes readily available, knowing this distinction and joining it with the correct training is vital to the fighters' success. Another reason why sparring is the next logical step in the Kyusho practitioner's journey is that static technique will not create the stress, adrenaline limitations and physiological


Vital Points changes that faster more urgent training will. In sparring you need to spontaneously recognize an available target and access it instantaneously before it is moved or recessed. This will increase your skill and ability to use it in a severe or life threatening attack but more importantly it removes you from technique and into the realm of target acquisition, which is a far more reliable practice. You will learn to cope more with gross motor skills as opposed to fine motor skill application or techniques that your body will resort to in increasing limiting possibility when adrenaline rushes through your body under real stress. This changes your positioning, movement, angles and so many other attributes. If you do not train this way you will never be assured you can handle a real situation well let alone deploy Kyusho. Another benefit is that you will also develop a new skill that static training will never reveal, that being the ability to know where your partner (or assailant) is also targeting (or not), so that you can use protective measures to counter more assuredly. That could be through the use of the concepts taught in the Iron Shirt or attacking the attack as taught in the basic training levels of dynamic Kyusho. An additional and valuable component to this training is that you will learn to deal with the occasional dazed affect and fight through it. So many people during a real encounter are surprised, shocked and incapable of dealing with pain or dysfunction. In a more dynamic Kyusho training and especially Sparring, your body, mind and spirit learn to cope and continue rather than freeze or give up. Think of the mental as well as spiritual and physical benefits this added component brings to the Kyusho practitioner. As an example say your opponent takes your wind away, can you deal with the temporary dysfunction as you correct yourself with a “Kyusho First Aid” method, can you undaze yourself in a slip second to carry on the fight… more importantly however, can your opponent? Yes all the prior levels of basic training in Kyusho are cumulative and brought to reality in his stage of development, but far from the end. There is so much more but again small sure steps will build far better skills and bring so much more worth. Too many people rush their studies, rush their training, rush their development that key components are missing or only in their minds, not their hands. Many instructors in our own organization wish I would not

bring this public, they wish to remain private and gain only from within, but we have other training that will remain private for them. And it is true many will copy what we do as they have from the beginning, some will join to gain the inside information and break away when they believe they have it… as they have in the past. But again they miss the vital point as they do not have the whole picture, where it leads or more importantly why. Most never saw the full application from all the basics released publicly or synthesized them into a single concept or direction that fully unleashes the Kyusho to the correct practitioner. And it is because of this that we can release this information; we are presently so far ahead in the training concepts other Kyusho groups will not catch up as we are working and training in the direction of the whole process as opposed to copying ideas or aspects in parts. And let us not forget that if the others do copy and mimic, it will at the least raise Kyusho higher in understanding, skills and acceptance around the world, quality can only get better… as will Kyusho for future generations.


What You Need to Know About... The future of martial arts lies in our kids. Children and youngsters are the ones who will grow up and carry on our martial tradition, thus they need to be nurtured and taught in the best manner possible. But most instructors have only a vague understanding of kids' natural development, motor capabilities and psychosocial skills. With this in mind, here is a basic guide to what you need to know about teaching martial arts to kids: Text & Photos: Jesse Enkamp


Teaching Martial Arts to Kids 7-9 Years Old Physical: Kids of 7-9 years of age have a huge physical need for moving around. Because, at this age, physical movements are starting to automatize in their bodies - meaning they will naturally feel inclined to

move around as much as possible in all different ways. However, kids at this age still have a very minor amount of muscle growth, and their capability to tense their muscles is quite limited. The same goes for their anaerobic capacity. Gender

differences too are almost nonexistent at this age. Mental: When it comes to the psychosocial development of kids age 7-9 (Some kids might appear younger or older depending on their growth rate), their social capacity is


What You Need to Know About... not yet fully developed, which means they have a hard time seeing themselves as a part of a group of d i ff e re n t p e o p l e w i t h d i ff e re n t needs. In other words, they are pretty much egotistical and crave the feeling of personal security and trust. Still, their sense of right and w ro n g i s s t a r t i n g t o d e v e l o p strongly at this age, along with the ability to follow rules and instructions, even though their auditory skill (trying to follow spoken instructions) is at a low level. Advice: When you teach kids 7-9 years old, try to focus on play. Have great variety in exercises, movements and lesson content - and try to be as clear and non-confusing as possible by always giving brief and short instructions. It is more effective to clearly show (visually) exercises than speaking (verbally) to the kids. At this phase it is also important to emphasize teamwork, without sparking a competitive mindset. Make sure to lay down the ground rules and establish what's right and wrong, how to behave in the dojo, when martial arts can/can't be used etc.

10-12 Years Old Physical: Kids at the age of 10-12 have a greatly improved coordination. This means you can teach them harder cognitive tasks, along with more demanding physical movements as their respiratory function now develops to a greater extent. At this age, differences in gender also start to show, although still not fully developed. Mental: At the age of 10-12, besides improved coordination, the ability to think abstractly as well as logically starts to develop greatly. This means you can place more demands on these abilities in exercises, in order to take advantage of their improvements in these areas. Plus, at this age, the will to cooperate increases along with a greater hunger for more training and competition. In other words, the “tribe” mentality is now gradually taking the place of the former “self” mentality, although both still exist in the individual. Advice: Again, as you teach this group, make sure to have great variety in your lessons (as in the case of 7-9 year olds) but without being confusing. Kids at this age generally trying many different sports, so your job is to make them stick to martial arts. Also, try to incorporate more technical training at this stage, with more details in technique, along with lighter tactical training and scenario-

based situations. It is vital to be consistent in your actions and words as you conduct classes now, since fairness and justice are important concepts for kids of this age.

13-15 Years Old Physical: Surprisingly to most teachers, coaches and instuctors; kids at the age of 13-15 start to decline in several areas - mostly seen in coordination (which worsens) and

agility (which decreases). At this point, kids who might have easily won trophies before might start losing motivation, so it's important that instructors understand that at this stage it's natural for kids to change a lot, especially in their physical composition as they now get taller and weigh more. Maximum oxygen uptage (VO2), more commonly known as aerobic capacity, now increases massively too, as well as gender differences.


Teaching Martial Arts to Kids M e n t a l : A d d i t i o n a l l y, a l o t happens in kids' brains when they're 13-15 years old. At this stage it is common for kids to have emotional insecurity as they're now gradually trying to identify their own “voice� (identity) in the crowd. This will be e x p re s s e d i n d i ff e re n t w a y s depending on circumstances, but the most important marker is that kids now strive to become independent - and you need to cater for this need.

Advice: The group will now become increasingly harder to keep together, since big physical and mental emerge between differences individuals. However, luckily, the ability to solve problems and have theoretical discussions improves, which means you can talk more to/with the group. As a leader, this aspect of keeping dialogue is now more important than ever, since the kids will see you as a sort of pillar of trust and safety in their dynamic lives.

So make technical exercises easier, don't add too many complex movements, and don't put too much stress on your students. However, do increase the tempo and intensity of classes, as the kids are now hitting puberty and will benefit from a nice kick in the ass.

16-18 Years Old Physical: When kids are 16-18 years old, they are on the edge of soon becoming adults. Physically, this is manifested in several ways: The lungs and respiratory systems are now on a whole new level, as well as the ability to handle increased levels of lactic acid in the muscles. At this stage, most boys (18-19 years old) and girls (15-16 years old) are generally fully grown (in height especially) and gender differences become a definitive factor. Mental: When kids become 16-18 years old, their awareness increases too, so they start questioning a lot of your teachings - more often on a deeper level than previously. Insight and acceptance of their gradually established identity is taking place too, as well as more pronounced sense of independency. Advice: At this age, it is appropriate to increase the training dose (both volume, frequency and intensity). As an instructor, you can have tougher classes now, both physically and mentally, as well as organized strength training and other supplementary training (cardio, for example) built in. Additionally, it is important to keep kids flexible as they now grow into adults by applying agility exercises and stretching. But obviously, there's a whole lot more to be said about teaching kids, and quite a few courses, videos and books have been created on the subject, but this covers the basics. Always remember that kids and youngsters love variation (but not to the point of being confusing), and as a trainer you should have this in mind to keep up motivation and interest in the long run. Also, try to see the big picture: Most kids come to training to have fun, learn cool stuff, feel seen, show off (kids love showing off), meet friends and make new ones - never deny them this possibility. In other words, kids need both seriousness and fun. As a leader, it is your job to make this distinction and keep the balance. Good luck!


Self-Defense PRINCIPLES OF SELF-DEFENSE How does self-defense begin? It is not just an attack which triggers a response of self-defense, no, realistic self-defense begins the moment we think about it. If we consider strategies for dangerous situations, we will be better prepared. Thanks to its simple basic ideas, S.D.S.-Concept is the ideal system for everyone who wants to use a tool to improve their safety. S.D.S.-Concept is particularly well fit for those who often feel vulnerable when faced with an aggressor. Times change, self-defense systems develop, therefore S.D.S.-Concept is a typical product of our times. Things change fast, not many people can spend years to learn a combat system.

2

Text: Peter Weckauf & Irmi Hanzal Photos: Mike Lehner

“Real fights come without guidelines. Rules and referees may be staples in combat sports, but not in the street. The only rule here is: "If it works, it's allowed"

As S.D.S.-Concept is not a byproduct of an existing system, it can follow its own path. Its focus is 100% on self-defense, using all kinds of tools in all kinds of surroundings. It does not make sense for anybody to learn a complete system only to then change concepts and principles to be able to use weapons or tools for selfdefense. Like any good system, S.D.S.Concept has its own individual principles and concepts. They are the conditions and basics for the understanding and the use of everyday objects for self-defense.

What are principles? Principles are basic concepts, fixed ideas which are superordinate all


other modi operandi, concepts and strategies. These principles, which the system is based upon, are the "backbone of the system".

Principles to follow when using objects for self-defense Use everything! Using all kinds of body weapons (hands, elbows, legs, knees and head) and tools will make you a respected opponent. As a rule, everything is allowed and legitimate for self-defense, be it body weapons, tools or actual self-defense weapons. Mind the structure of the object! You can use almost any object to defend yourself. Consider rigidity, length and size, shape

(pointed, round, edged), weight, state, elasticity, danger for yourself and, of course, availability. An object can only be used according to its structure. Try as many different objects as possible in your training! Use your natural reflexes! Attacks usually come as a surprise and probably unexpectedly, allowing no time for conscious action. Reality shows that individuals in extreme situations act reflexively and instinctively. This should be taken into account in training sessions when it comes to choosing appropriate techniques. Beginners in particular should not try complicated moves and sequences. Improvise! Forgot your self-defense tool at home? Well, improvise! Any object that you can use to amplify punch or pressure will make you stronger. Use other things - rocks, tables, glasses, bags, a

3


Self-Defense

“Self-protection comes first! Self-defense is not a combat sport where punches are exchanged�

In the next issue: S.D.S.-Concept for self-defense for women For more information go to www.dsd-concept.com


fistful of sand, coins - anything can help. Nothing available? Spit at your opponent! Even this might irritate the aggressor long enough to allow you to launch your defense. Deceive, mislead, give a false sense of security, then hit the bad guy when he expects it the least. Chivalry is not an option. Your life is at stake! Hit the weak points! A crucial idea in self-defense is attacking the opponent's weak points. Self-defense has to be simple, quick and useful for everyone. Knowing how to attack weak points will allow you to overcome an aggressor or even a group of aggressors. Simple, straight forward moves self-defense does not require you to study complicates sequences of moves. The street is not a dojo. Act determined and dedicated. Choose the most simple and direct way of self-defense. Especially when faced with a group of aggressors you will have no time for unrealistic forms of moves. Various options are available, there are no fixed rules. Real fights come without guidelines. Rules and referees may be staples in combat sports, but not in the street. The only rule here is: "If it works, it's allowed." If one technique does not work, switch to a different one! Improvise!

Self-protection comes first! Selfdefense is not a combat sport where punches are exchanged. No, each punch can immobilize or hurt one of the opponents. Individuals with no experience in combat tend to react inappropriately when they are hit, or even hurt. Even a small wound can be decisive, therefore avoid risks and perilous situations whenever possible. Legal background - In some countries it is illegal to use or even carry self-defense weapons. On the other hand, nobody can really forbid you to have a pen, a spoon or a flashlight, as these are normal, everyday objects. A judge will understand that you wish to own a pen. One of the most important aspects in self-defense classes is teaching strategies and tactics, prior to a conflict, in the middle of the conflict and following it.

The meaning of strategy for self-defense Strategy is the "master plan". Strategy decides about the use of force, threat of force to prevent an aggressor from attacking or deescalation. All these measures serve just one purpose, namely to prevent an attack or to keep the damage as small as possible. • Is it strategically efficient to have a conflict here and now (no escape

route, many potential attackers, are weapons available…)? • Is it strategically efficient to have a conflict in certain surroundings or not? What are my advantages? (in a vehicle, in an elevator, no witnesses…)? • Am I physically able to defend myself right now (alcohol, physical handicaps, poor fitness…)?

The meaning of tactics for self-defense Tactics can be defined as coordinated concepts and action, considering one's mental and physical abilities as well as the opponent's, surroundings, timing, purpose, available tools. "Tactics in combat" are part of the strategy. Strategy and tactics form a framework for decisions in self-defense and are therefore closely connected. Strategy defines whether we fight or not, tactics define the way we fight. Some examples: • Is it good tactics to use an object for self-defense or not? • Is it good tactics to use rough surface for my defense? • Is it good tactics to attack the aggressor even before he attacks? Strategy and tactics, together with the system's principle, are two important components of self-defense, even more so in S.D.S.-Concept.


The Column of Kenpo

EVOLUTION, INVOLUTION onestly, it could have called this chapter "Our society has gone to fry monkeys". Not that it could go, or possibly will go to hell, but rather that it's gone long ago. In those years when I was born, our education and the principles inculcated by our ancestors, parents or teachers, encouraged us in the sense of respect, citizenship, effort, sacrifice, strength to fight against the adversities and misfortune of our own destiny, and so on. We can't deny that all along human existence, evil has always been present. The Seven Capital Sins are a classification of vices mentioned in the first Christian teachings to educate its followers about Christian morality.

H

A capital vice is that which has an exceedingly desirable end so that in his desire for it, a man goes on to the commission of many sins, all of which are said to originate in that vice as their chief source. Capital sins, or capital vices, are those to which human nature is primarily inclined. Lust, Gluttony, Avarice / Greed, Sloth, Wrath, Envy and Pride are the 7 Deadly Sins. The problem with our world today is that there are fewer and fewer beings who respect nature and feel inclined to choose being "useful" to our social order. On the contrary, the very leaders of our society are those who have infringed the biggest harm on it, forgetting almost completely about the consequences brought about by the fact of living in constant sin. In our history there have been wars of various kinds; even religion itself has killed in the name of God. Our present worldwide crisis is the outcome of the global corruption of politicians, religious, monarchs, kings, rich, famous people and from there on down. Man has produced many great advances in favor of society. Unfortunately, and in contrast, idiots, incompetents, opportunists, liars and ignorant people not only contribute nothing good to our environment, but rather stain, destroy and cause social setbacks in all aspects. Sorting out the

issue of the suffering of our fellow men living in poverty, the sick and the needy, sounds easy. However, nobody really does anything for them. The obsession of power makes politicians look the other way, as if the matter had nothing to do with them. A simple look at our small family environment will be enough to make u s re a l i z e h o w m u c h w e h a v e changed our training objectives. If we have managed to get our children to study, to be responsible, to obtain a professional qualification, to be good people and to contribute somehow to our society, then we may be proud to be breadwinners. We could say that we have reasons to be happy in some way. Usually, things are not that easy. In a household with 4 children, perhaps one has got to achieved a professional college title; another may be working on some important position; and the other two are just messing around with their Smartphone, Tablet and brand clothes. And, of course, working as little as possible. I know cases of families in which, out of three children, just one, or none, has finished his elementary studies. What for? - they say - I know I won't find a job later! It is true that, in many cases, Film Directors, Architects or Engineers have failed in their chosen profession; but in reverse, there are also those who, without any title, strive and seek other ways to get a home, form a family and meet their basic needs. It is neither the time nor the country for Cinema, architects or new engineers, who are emigrating abroad, where there are more chances. But remember that this has always happened. The issue of emigrating to seek and achieve a better welfare for oneself and one's family is now a matter of history. Current Laziness is one of the major Capital Sins that are destroying our society. Greed and Envy come after. When I arrived in Spain, in 1976, there were almost no color people. However, I went to London and I found

them everywhere, as well as Hindus and people from other countries and continents. The various races of our planet have never bothered me; on the contrary, I find them very interesting. I come from an Indian people of southern Chile and in my wandering the world I have been able to live and share with many races of different continents. The problem today is not only the fact that Spain, Italy or other countries are plagued with South Americans (I'm one of them), Africans, Moroccans, Romanians, Bulgarians, Russians, Lebanese, etc., the problem is that some of them don't behave with the due respect to the host country that receives them, provides them shelter and sustenance for themselves and their families. Every being on this planet has the right to seek a better tomorrow. But to achieve this he/she should give the best of himself/herself, not the worst. Morbid obesity (and won't speak here about drugs) is another of the current problems of our society. Similarly, in the 70s in Spain there were fat people, but not obese. It was rare to see what already existed in the United States, for example. Unfortunately, with the entering in Spain of the large department stores - "Malls" -, also arrived the "fast food", in other words, processed and superfluous food. A type of food that, if eaten in excess, damages the body causing degeneration of our metabolism and turning us into beings of a scarce mobility, with a great deal of limitations of action, tiredness, lack of goals, absence of enthusiasm and the sole obsession of keeping on swallowing all that self-destructive junk food. Our current society is being devastated: morbid obesity; the incorporation of Mafias from various countries; the shortage of employment and chances for professionals, skilled persons and people willing to work; dirty politics; corruption in various sectors; avarice, greed, lust, gluttony and all the filth to which we are subject, are leading us to the end of our limits. Something should be done... I think!


“Current Laziness is one of the major capital sins that are destroying our society. Greed and envy come after.�


Why use Pressure Points as Tactical Targets? reviously we discussed what the Combat Hapkido T.P.P. program was and why it was developed for our self-defense system. In this issue and in subsequent articles, we will share detailed instruction on the tactical components of the program. We will begin with a discussion on why pressure points are in part selected as the focus of our approach to exploiting the weaknesses of the body. We select Acupoints, also commonly described as pressure points because they tend to be located between muscles, ligaments, tendons, bones, or vulnerable pathways of nerves (or major nerve junctures/plexuses). Using these points as specific targets allows us to disrupt the energy and functioning of the body both efficiently and effectively. When used in acupuncture for healing, the area of activation is within the diameter of the tip of a ball point pen. Luckily for us, they can be activated by stimulating about a “quarter or euro” (25mm diameter) sized area around them. We will focus on using the center of this coin as our intended target. Many practitioners familiar with marksmanship or weaponry will realize the benefit of our approach. Technically the target area is more like the shape of a tear drop instead of a circular shape, due to the flow of energy, however for ease of reference the “circle” image is useful and effective. For example, simply striking to the bicep to stun or numb the arm, leaves a great margin of error. Now, if we specifically aim for a “euro or quarter” sized target in the mid anterior-bicep head (pericardium 2: see chart below), we have a much smaller degree of error and while also increasing our effectiveness. This is a part of our philosophy for utilizing anatomical targeting with tactical pressure points. Pericardium 2: ( P2 Fire/Yin/Red ) Location: Two AU distal to the level of the fold of the armpit (axillary's crease) along the mid-line of the biceps. Anatomy/Redundancy: The muscular branches of the brachial artery, the medial brachial cutaneous nerve and the musculocutaneous nerve. Method: Strike towards the bone (humerous) to numb the biceps. A common claim by martial arts and self-defense practitioners is that pressure points do not work on everybody. This may be a true statement as the effect will vary from person to person; however, it is often greatly exaggerated in the realism of its scope. Think of it this way, if you could enhance your techniques to make them more effective on over ninety percent of the population, would you not incorporate this theory just because they might not work on less than ten percent (arguably five percent depending on the type of statistical analysis applied)? Nonetheless, we must address the fact that a small percentage of the population known as “nonresponders”. This small group does not feel the pain as much as the majority of the population. Every person falls on a varying pain tolerance scale from non-responsive to ultraresponsive and those who are closer to non-responsive may have a high mental or physical threshold for pain. Also we all differ anatomically to some extent, and sometimes exact nerve locations are different (this is especially true in the post-surgical/trauma population). In certain styles of martial arts, the nerves are intentionally deadened through continual abuse also known as desensitization (Imagine a Muay Thai boxer kicking a pole or tree to pulverize the nerves of the shin). Other physical factors will affect the pain tolerance of individuals, as some

P

nerves may be protected by thick fat pads or musculature that can act as armor. And lastly, as many law enforcement and security professionals can attest, drugs and alcohol can also have a significant effect on an individual's pain tolerance. Although, we should note that with advanced study into the physiological effects of chemically based influents, this knowledge can be used as an advantage to understand other anatomical and sensory weaknesses. Regardless of this, the nerve targets still work; although by the time you have exerted enough pressure to cause a response, you now may have caused serious or permanent damage. Think about this simple analogy: If you had little to no nerve receptors in your hand and you touched a hot pan, you would not feel the heat to withdraw your hand until after a severe burn. Being further on the responsive side of pain sensitivity would be beneficial in the above example. The more “sensitive” we are, the quicker our autonomic withdrawal reflexes (unconscious reaction before conscious perception) to protect us from injury. As good self-defense practitioners, we learn to utilize this to our advantage. It is also worth noting that many non-responders are sometimes more sensitive in other areas on their body. Our bodies always seek homeostasis or balance for health and proper functioning. For example, if a target located on the arm does not provide the response expected due to the attacker's high pain threshold, try to attack a target located on the leg. Often times, this has a greater effect than on those with a low pain threshold. Our body will often compensate for a less receptive area with another more receptive area. (We will cover this more in our discussion of Yin/Yang in a future article.) It is important to emphasize that redundancy is our number one defining principle. With this in mind, we focus on utilizing the pressure points, which also act as portals of access directly to the body's nervous system. This is primarily, though not exclusively, why we use them as our tactical targets. In future issues, we will describe the crucial component of understanding how to correctly activate our tactical pressure points. This component is often one of the most misunderstood secrets of how to apply the knowledge of vital points effectively in self-defense. Of course, you don't have to wait; all of this information is available through the T.P.P. DVD instructional series, which you can order directly from Defensive Services International HQ at www.dsihq.com and Budo International at www.budointernational.net. Please train safe, live with honor, and be well. For certification information, seminars, or questions, please contact: staff@dsihq.com .


Wing Tsun WingTsun and fashion... I started practicing Martial Arts 35 years ago. I have met different Martial Art systems and some Contact Sports and, of course... I've lived the passing of fashions. I imagine that those who have spent many years in this business know what I am talking about. It's not something exclusively related to the world of Martial Arts but with society itself, always willing and looking for "new things", new sensations... My diligent interest to know in depth the Martial Arts world has led me to meet a myriad of different systems. Being always looking askance at the Martial Arts ecosystem provided me with a broad perspective on the different styles that kept coming to Europe. Years ago, the World of Martial Arts turned into an endless arrival of fashionable styles and their irremediable passing... At some point in that unceasing bursting of styles, systems, revolutions and new creations which were incorporated gradually in a world that, as a "mixed bag", would admit almost anything coming from the "East", it was produced a mix nothing at all positive: Martial Arts and Contact Sports. Consequently, and for reasons that I still haven't come to fully understand (I think it has to do with the entrance of Martial Arts in the Gyms), we witnessed the beginning of a rather strange trend that eventually would bring about the mixture of Martial Art styles and Contact Sports in the same pot. This blend of "water and oil" is especially curious. If we observe and discuss in depth both worlds, we will discover that although they may have similar aesthetics (which seems obvious, being techniques related to fights among humans), they are quite different. I don't consider necessary to go into great detail to explain that Contact Sports are more or less successful developments of the War Arts applied to the sports world, or put in another way, soft or sweetened methods in order to face fighting opponents, without the risk of killing or dying. In a reflection of a Kendo teacher, with whom I keep a good friendship and for whom I feel a deep respect, he explained to me how the old "Ken-jutsu" had become "Kendo", by transforming a war technique into a war art, whose main consequence was the changing of roles in practitioners: the sword was changed for a shinai (typical sword cane in Kendo practice). That "small change" brought about a much larger modification in the nature of our disciplines. It's a BIG change, because it turns an enemy into an opponent (in the worst case); or even

“Almost in any social gathering among practitioners, it is discussed if WingTsun, or any other system of Traditional Martial Arts, are really that effective, because they don't prove it within the "cage" of MMA.� an enemy into a practice partner; but mostly, it "ALLOWS YOU TO DIE A THOUSAND TIMES" in the course of a training session. Isn't it wonderful? A real transformation from a small change... I'm using all this reflection to offer you, dear reader, a logical starting point for the reasoning that I'd like to transmit to the WingTsun practitioners, as well as Martial Art practitioners in general, in this month's column. T h e re a s o n i s t h e c u r re n t comparison between Martial Art styles and Contact Sports, or, in this case, the increasing fashion of MMA (Mixed Martial Arts). Almost in any social gathering among practitioners, it is discussed if WingTsun, or any other system of Traditional Martial Arts, are really that effective, because they don't prove it within the "cage" of MMA. It's a recurring theme for which I am often asked in many of the places where I impart courses and seminars. It's actually a dispute as old as stupid, because it aims to mix and terms concepts that have little or nothing to do. As I said at the beginning of today's column, fashions in this world have been changing and what is now the comparison with MMA, twenty years


Wing Tsun ago it was with Gracie family BJJ, and even before with boxers, wrestlers, etc. I remember that, when I was a child and I was practicing Judo and Sambo, I was very interested in the answer to the old question: Who would ever win in a fight, a judoka or a karateka‌? Well, that innocent question is quite similar to what we propose today. While the eyes of people who know little about the Martial Arts background (or simply are fond of them, just watching from outside the training halls) can see that there are similarities in aesthetics between Contact Sports and classical Martial Arts, the fact is that is that there is a gulf between them. We could say that the current Contact Sports are, in many cases and with some exceptions (classical Boxing, Greco-Roman Wrestling, etc., disciplines even older than the oldest Martial Arts), evolutions of Martial Arts that have undergone a "sweetening" process (similar to that suffered in its day by Kendo against Ken Jutsu in Japan), by which the practice is intended to allow us enjoying a "friendly match", an encounter where we won't cause irreparable damage to our opponent nor to ourselves. For this purpose, it was designed a set of rules, conditions and, above all, a division by gender and weight categories, which aims to protect the practitioner. In my book "Alto Nivel" (High Level), that I wrote for Budo International, I attempt to explain some of these concepts and why there are weight divisions in Contact Sports like Boxing. I think that is the key to understand this sterile discussion, and especially to understand a much more important concept that we will explain later in this article. Imagine a fight between Lennox Lewis (246 lb.) and Sergio "the Wonder" Martinez (158 l b . ) . . . We a g re e t h a t d e s p i t e t h e b i g g e r mobility and speed of "the Wonder", he would have a lot of problems to reach Lewis with powerful blows; or, in other words, to hurt him with his blows... On the contrary, any blow that Lewis connected to Sergio "the Wonder" would get a devastating effect on the "short" Argentine boxer. Undoubtedly, the lighter boxer would get to connect a great deal of blows because of his enormous moving capacity and extraordinary agility, but with his fists sheathed in a boxing glove, on an opponent 88 pounds heavier than him, his punches wouldn't be too effective . Now imagine the same combat but this time with gloves removed, in which Sergio could use attacks of fingers to the eyes, knife hand strikes to the neck area, etc. (final blows), and other type of techniques that would complete his already huge range of motion, distance control, etc. We agree that all that capacity, together with Sergio's ability, would make possible that any person of a lower weight could face an opponent of a higher potential. I think it is a very graphic example of the huge difference between Contact Sports and Martial Arts.


“While the eyes of people who know little about the Martial Arts background can see that there are similarities in aesthetics between Contact Sports and classical Martial Arts, the fact is that is that there is a gulf between them.�


Wing Tsun Reflection on this fiction combat is that of trying to make see those who know little about the Martial Art, that it's very difficult to knock someone out using punches, when your opponent is superior in weight. Those who claim that WingTsun and other traditional Martial Arts have never proved anything in the world of MMA or Contact Sports are saying something totally inconsistent. It's a "toast to the sun"; it's like claiming that the Remington Magnum has never proven its efficacy in the MMA! We are talking about completely and utterly different things, however much they all deal with combat. When I carried out the research and documentation for the series of books that I am currently writing for the Budo International magazine, one of the things that struck me most was the reflections of an old master of OkinawaTe, who claimed that fist attacks are very rarely used in Karate ... ¿¿What?? (I wondered in a loud voice). The teacher justified it explaining to me that when Karate first started to be taught to children in schools in Japan, they were forced to "make a fist" to not harm their fellow practitioners. That is, they sheathed the dangerous hand edge strikes, finger attacks to the eyes and palm strikes, so that children wouldn't harm each other. And how did they holster open hand strikes? In a fist. Don't tell me it's not a curious topic!!! This thought always seemed very interesting to me and made me think about WingTsun and the forms of our system (which are like the books of wisdom or formulary of our system). My surprise increased when I became aware of the small number of punches that exist in the forms. If we look in depth any of them, we see that there are hits or hitting ways of using fists, but if we try to totalize the punches we in the forms, we can see they represent no more than 10 or 15% of the whole technical arsenal of WingTsun style. And what about the rest? Well... It consists of finger strikes, edges, palms, elbows and knees. Or, said in a different way, is shaped up by the so called definitive blows. Although my thoughts today have no interest in fanning this unproductive argument between Martial Arts and sports practitioners, on the contrary, nevertheless I'd like to make a reflection in another direction. I'd like to keep the good side of things. Even of unintelligent discussions such as this... From my point of view, it would be highly convenient to mull over Classical Martial Arts and especially ours... Because although they belong to different and ABSOLUTELY NONCOMPARABLE worlds, it's very curious that a practitioner of any of the Contact Sports that make up what now is known as Mixed Martial Arts, can be able to spar and defend with the arguments of these systems a conflict with other adversaries, despite the rules and sporting regulations that impose a logical limitation. How is it possible that today Contact Sports or Mixed Martial Arts seem far more effective than Traditional Martial Arts systems?

“The fashion of MMA will pass, as others passed before, but that shouldn't make us forget what we were and what we are.”


Wing Tsun In my opinion, the vast majority of Traditional Martial Arts have focused on cultural, historical, folkloric aspects... on the Art! neglecting downright the Martial aspect. If we observe the way to move or make a combat exercise, is easy to see how problematic it would be to apply these "definitive" techniques to an opponent of a certain entity. In the system I practice there are cases where practitioners almost come to do things that would only work in a video game or in a bad action movie. Generally, they are also the champions and guides of tradition; those who often mask what they do in an aura of mystery or secrecy and declared themselves owners of the only and real truth; the guardians of the style or styles (this is true for many fighting systems). At this point, I consider absolutely positive the emergence of MMA today. The reason? I'm convinced that MMA have made many serious practitioners of Martial Arts put their feet on the ground and workout in a more logical and structured way, with very clear ideas and goals. It seems logical to think that War Arts, forged in the battlefield, designed by and for the battle, must remain effective in a confrontation. What happened then? Well ... we'll go into that in successive articles in which we will try to solve this dilemma. Needless to say I am particularly interested in the system I practice, and it's the one I'd like to give a point of view that improves the current situation. It seems obvious to assert that the current situation of our society does not allow the development and practice of definitive techniques nor the way they used to train in China two hundred years ago, but I will propose a balance between the Art and the Martial. That search of the right balance will bring the WingTsun style to the place where it belongs.

Where to begin? Simple. Let's practice WingTsun! Let's review the basics of WingTsun, its structures, its forms. Let's practice displacements, Chi Sao, exercises, strategies. Let's design different training systems, different points of view (all of them can be interesting), but most important: let's never forget that WingTsun was a Chinese boxing style designed by and for combat. Developed so that small men or women could beat big men. But finally, a style of combat. Let's never forget this, because otherwise ... we will be giving more and more reasons to those who insist on comparing things that are non-comparable! The fashion of MMA will pass as others passed before, but that shouldn't make us forget what we were and what we are. We must convey the seed of knowledge of an art that came to us and that we must pass on to future generations. It's a very delicate obligation in which we can't afford to forget the why, the what and the how ... We would be disrespectful to those who devoted their lives, before us, to the art we practice.


News

Worldwide agreement between WKA-WTKA and SUPERKOMBAT Eduard Irimia, CEO of SUPERKOMBAT®, the industry leader in fight production throughout Europe, and Michele Panfietti, CEO of Wka - Wtka - Orient Festival signed a worldwide agreement for the 2013 Edition of the biggest oriental show from Europe, scheduled on October 31st November 3rd in Carrara (Tuscany), Italy. Mr Irimia will be the TV producer of the event and, in the last day of the festival, a SUPERKOMBAT® New Heroes “Asia vs Rest of the world” will close the martial arts world championship, where will attend 5.000 fighters from 113 countries and 5.000 martial artists for 120 martial seminaries. “Festival dell'Oriente is a challenge for me" - said Mr Irimia. - "At SUPERKOMBAT® events we had even 20.000 spectators, but here we will have a 100,000 audience and this is huge. As I said before , as a mainstream promotion, we always create a mix between artial marts, culture and history. The event will be broadcasted via SUPERKOMBAT® TV media partners in more than 100 countries.” “During the festival, we will also have a Unified World Championship with a lot of associations on the stage. At the end of the amateur competitions, before the closing ceremony, there will be the only event rules, with professional SUPERKOMBAT® New Heroes, and to keep them, it will be called Asia vs Rest of the world. I can also reveal that the best fighters from Unified World Championships will be selected for next events due to the agreement made with WKA-WTKA. There, we will have every day SUPERKOMBAT® stands with Superkombat heroes and seminars with SUPERKOMBAT® coaches” - said Eduard Irimia, CEO of SUPERKOMBAT®. “We know SUPERKOMBAT, is the industry leader in Europe so is an honour to work with them. It is just the

beginning of our global cooperation”, said Mr Michele Panfietti . “We are very glad, we will have a New Heroes event at Festival Dell'Oriente . An incredibile event is announced. Amateur and professional events for the first time in a huge festival of martial arts” - added Mr. Panfietti, WKA-WTKA World president.

ABOUT Orient Festival From October 31st to November 3rd 2013 in Tuscany at the exhibition complex “CarraraFiere”, close to the seaside where the port of the marble's city is located, the fourth edition of an exclusive event will take place. After the huge success of the previous edition, 50.000 square meteers of covered space will be completely at your disposal to discover East: photographic exhibitions, bazaars, market stalls, local cuisine-food, traditional ceremonies, natural medicines, concerts, dances and martial arts will take turns on four stages and in many areas dedicated to various countries. You will experience traditional therapies for free, you can also visit the areas dedicated to health and wellness (Yoga, Ayurveda, Bach flowers, Theta healing, Meditation, Vegan space, Reiki, Chi Kung, Thai Chi Chuan, Shiatsu, TuiNA, Organic music, Rebirthing, Holistic therapies, Postural Integration, massages, and many

others). Let yourselves transported into the magic of the East: India, China, Japan, Thailand, Indonesia, Morocco, Philippines, Vietnam, Tibet, Mongolia, Nepal, Burma, Korea, Malaysia, Cambodia.

Organization Overview SUPERKOMBAT® is a martial arts championship with fights at various weight divisions and also includes an elimination tour nament for the heavyweight division. All the events are based on fights at stand-up rules between fighters from all around the world, coming from different fight disciplines as boxing, kickboxing, mixed martial arts, judo, karate, muay thai, and wrestling.The difference from other similar concepts is that SUPERKOMBAT® focuses on the mainstream promotion and creates various stories in touch with the local media around the world, thus creating a global synergy with the general public. In its events, SUPERKOMBAT® uses fighters from all around the world. In the last two years the specialized martial arts media has begun to consider SUPERKOMBAT® to be the European fighting championship leader on stand-up rules broadcasted worldwide due to its 6 live events and another 6 events in replay. SUPERKOMBAT® is covered in more then 70 countries from 5 continents.


Korea Sib Pal Ki is a Korean style of combat with a lot of popularity these days in its country of origin. It incorporates a great number of techniques, the use of all kinds of weapons, spears, knives, etc., and it came seem very much like Chinese Kung Fu at first glance. However, it has its own personality and idiosyncrasies. Despite the difficulty of its practice, its success during the past years seems to be tied up with the search for new horizons among the students of Taekwondo. What do they look for in Sib Pal Ki? Undoubtedly, a style that comes more from their martial origins, a style that leaves competition aside, that centers around martial work. Perhaps, too, and why not say so, because of that esotericism, that mystery and beauty that is always involved in the handling of weapons. It is in the cities of Taegu and Seoul where one finds the principle concentrations of Sib Pal Ki practitioners. There are many demonstrations and exhibitions throughout Korea to promote this Martial Art and in each one of them, the color and force of its forms captivates the young ones and convinces a new generation of young parents coming from a time where tradition has stopped being a hindrance to get over, rather it has become a highly efficient educational resource to recover. The Korean society is already quite competitive and the traditional values are now being considered with another perspective. Beautiful in its fluidity and the richness of its movements, Sib Pal Ki immediately seduces the neophyte spectator but it also interests the expert. Today, we want to bring you an article that allows you to get to know this style and we have asked Master Bok Kyu Choi, one of the most outstanding practitioners of this traditional Art and one who teaches it at the University of Korea. He has done an instructional video for us, always in our line of giving to those who want it the opportunity to go beyond the photographs and the texts, going deeper into traditions and knowledge that in any other another way would remain very difficult for students to access. Text: Jose M. Pujadas Photos: Bok Kyu Choi Š Budo International Publ. Co.


Traditional


of these techniques was that of Kung Fu. It was this adaptation of Kung Fu to Korean military techniques that gave rise to Kung Fu Sib Pal Ki. The influence of Japanese Martial Arts are also reflected in Sib Pal Ki, given that after centuries of continuous and hard confrontations with that country, the contribution of some techniques from the opposite side comes naturally. Officially, Sib Pal Ki came to be known in the history of Korea in the year 1759, when Korea was divided into three regions (GO-GU LEON, PEK-JE, and SIL-LA). The three together formed the nation SAM-GUK. A soldier was the creator and advocator of SIB PAL KI as a result of his exchanges with Chinese Kung Fu masters. His name was SHADO CHE CHAN, known as GO CHO. The first step he took was to write a book recompiling 11 weapons:

orea, due to its geographical situation near Japan, and sharing a border with China, has always found itself exposed to the possibility of a Japanese invasion. Other countries, like China itself, feared that if Japan invaded Korea in its eagerness for power, they could continue conquering other countries, and perhaps even theirs. For that reason, the relations between China and Korea were very close, to the point of Korean and Chinese military personnel exchanging fighting experiences. One

K

- (NANGSUN): a 6 meter sword - (KICHANG): spear with flag - (WEAGEUM): double-edged sword - (SSANGSUDO): sword - (BONKUKGEUM): traditional Korean sword - (JUKJANGCHANG): - (JEDOKGUM): - (GYOJEUN): single-edged sword - (SSANGGEUM): double sword - (BONG): staff - (KWENBEUP): empty hand - (YEADO): sword used with two hands - (WEULDO): halberd - (DEUNGPEA): sword and shield - (JANGCHANG): spear - (DANGPA): trident - (HYEUPDO): edge of the sable in the form of spear (similar to the halberd)


Traditional


- (PYEUNKNON): long staff with chain extension It also includes movements without weapons of defense and attack with arms and legs, 112 all together. He gave it the name of MUYE SIM BO, “Book of Weapons”. A few years after, he completed his legacy writing another book with 6 more weapons with the title GUAM BO. Joining them together in one book, he gave it the title MUE SIB PAL KI BAN, where the style of KUNG FU SIB PAL KI comes from, which, translated, means, 18 techniques, 17 with weapons and one of empty hands, referring to the two books written by GO CHO. This system was only known by the soldiers of GO CHO who guarded the royal palace, but little by little the way was opened, fruit of the contact the soldiers had with the local people. The time of the style’s maximum popularity was during the reins of YONG CHO and CHUN CHO, being converted by both into the official art of the royal army. As the centuries went on, this, an exclusive art of the warrior class, ended, or shall we say it was “demilitarised” until it reached the

model practiced today. Even so, the Grand Master Kim Kwang Suk, president of the international federation of Sib Pal Ki and the maximum representative of the style, continues teaching the knowledge of Sib Pal Ki in its purest warrior essence. Sib Pal Ki, being a Martial Art with some 10,000 practitioners around the world (especially in countries like Spain, Argentina, Brazil, Saudi Arabia, England, and, of course, Korea), has remained a relatively unknown Martial Art to the majority of the public and with a high degree of secretiveness. Thanks to the decision of Grand Master Kim Kwang Suk, Master Choy Bok Kyu has visited the studios at Budo Inter national to record an instructional video. In this way, Sib Pal Ki, from the hands of this Grand Master of the style, opens its warrior techniques to all those interested in receiving the purest Korean martial tradition. One of its pioneers in the West is Master Sung Seol, who has been teaching his knowledge of Sib Pal Ki for twenty years. Master Sung Seol, one of the first students of Grand Master Kim Kwang Suk, is the European representative of Sib Pal Ki

and holder of the maximum grade conferred on one in the style. His level as a Martial Artist can only be compared to the quality of his person. For Master Seol, “Kung Fu is life itself”. After years of studying with Master Seol, one understands this affirmation; and one really notices that Sung Seol is a Master of Kung Fu and a Master of life. His participation has been essential for the continual progress of this project of opening up. These Grand Masters of the style, as much in their schools as in those of their students, teach their students to traditional moral code of the Martial Artist that teaches one to never use what is learned negatively. As in all the traditional Oriental forms, there is no sportive orientation in the study. The mentality facing a combat situation is not that of a simple combatant confronting a dilemma of winning or losing. It is the true warrior mentality that is taught, just like in ancient times, and life and death are what is at stake. From the first moment in which one enters into combat to “live or die” instead of “win or lose” the genuine warrior has already placed himself above his adversary.


News: Foundation of the International Society of Bugei

F

inally, after a major global expansion, it has been recently created the International Bugei Society, headquartered in Spain, a regulating body for all the Bugei Societies of each area, ensuring the consistency of teaching and learning quality for students, regardless of country to which they belong. The extensive Bugei syllabus, covering 77 subjects devoted to both physical and mental/spiritual planes, makes it necessary a suitable supervision so that quality in teaching and learning becomes the primary factor in every school. Being an art of a military character, Bugei pursues through its subjects helping human beings to improve their physical (body) and mental (spiritual) development. In each field, Bugei strives for teaching the individual to cultivate values such as honesty, compassion, altruism, and moral rectitude. The spread of this philosophy in the wider community is of an extreme importance for the building of a fair and just society. The efforts of the International Bugei Society to achieve this goal take shape through the provision of services ranging from the promotion of courses and lectures to the collaboration on projects from other organizations that are in line with the philosophy of Bugei. The explanation for such an extensive syllabus is given through its own structure. The 18 disciplines of the Bugei Juhappan inspired their own introduction in the system on depending of cultural aspects, deepening into intellectual knowledge, since Ogawa Sensei dreamed of building a kind of a "university" that could teach traditional Japanese culture as a whole, with a lot of theoretical courses, such as philosophy, meditation, Ki studies, painting, theater, tea, etc. In addition, having a religious bond that continues to this day, known as E-bunto, many of these topics belong to that culture, as are mythology, prayers and traditional songs, which, inevitably,

enlarge the number of subjects to be studied. Therefore, it can be easily understood that in order to expand and improve the study of the ancient arts, many disciplines were added throughout time, and, which is more, some of them even reached their excellence in Brazil, through our lineage. Much has been invested along this time in courses and seminars with professors of the respective matters, expressly arrived from Japan, for this project to render its fruits. That work has led us to a meticulous care in order to keep these arts. Therefore, the IBS is the highest organism regulating schools and teachers of the Kaze no Ryu Bugei in the world, with the aim of normalizing and verifying the didactics and teaching methodology adopted by these. It's the IBS's purpose to not only validate the educational activities and methods applied in the Kaze no Ryu Bugei schools worldwide, but also to promote and authorize the formation of schools and teachers; to standardize and update its curriculum; to hold training courses for teachers and instructors; to promote conventions, chats with professionals from various fields that can contribute to the enrich the cultural background (whether medical, philosophical or martial), seminars, perfecting courses and study tours; to direct and regularly evaluate schools, teachers and students; to set up a court of examination to carry out graduation tests and issue Diplomas, Certificates and Identification Cards to Affiliates. Written materials are developed, adapted and reviewed by qualified teachers of the respective disciplines, who, through meetings and detailed analysis, strive to offer Bugei students a didactic material at the same time intelligible, comprehensible and perfectly

framed in the patter n quality of the methodology of the Institution. The same applies to didactic video materials or other types of media, always looking for the best technology to facilitate the students understanding. The IBS will centralize the process of preparation for higher rankings, and will hold the power to issue international certificates, and will organize special training courses for teachers and trainers, as well as Intensive Technical Improvement Courses and International Meetings. The board of directors of the departments of Culture and Tradition, and of Military Arts, will take care of their respective areas, activating the agenda of Conferences and Events and personalizing the attention to students who choose specific studies. Another major aspect in IBS will be the integration between coordinators and presidents of the other societies, to facilitate communication and friendship and fellowship bonds among the leaders of each region - primary factor for the inner harmony of schools and organizations. According to the management, everyone who has ever been part of any of the schools will be able to contact the Institution and find out about the necessary documentation, such as specific courses, improvements and other activities. This measure seeks to ensure the correctness and reliability in the activities of all Bugei Societies in each area. With the creation of the High School of the Kaze no Ryu Ogawa Ha, we are heading toward the academic formation recognized by European governments. New materials are in production, with increasingly professional and avant-guard systems, so that teaching can be as deep and concrete as possible.


“Every Martial Artist who wants to become a complete fighter should learn to master the knife, only when you know how to handle a knife will you be able to defend against a knife”

About knife fighting Holland, home to about 16.8 million people, is a relatively small country. The Philippines are about seven times as large. There are approximately 103 million people living in The Philippines. This year 2013 there were 400 stabbings in Holland, 4,094 robberies, 421 shootings and in 905 cases, other weapons were used. In 2013 there were, 4,892 violent assaults in the Netherlands and the year is not over yet. In comparison, The Philippines recorded 34,825 violent incidents this year. Additionally, there were 26,988 registered robberies. What do these figures mean? I think it is this: Holland does not appear to be safer than the Philippines. Maybe The Philippines are even safer than Holland. According to the s t a t i s t i c s , robberies and violent crimes in the Philippines are relatively rare. Important is this; in the western world, violence is e v e r y d a y practice and often a variety of weapons are used. In many case knives are involved. And as you may know, the knife is an extremely violent and

“ In knife fighting you create a mind-set that you cannot develop in unarmed combat” dangerous weapon, easy to carry, easy to conceal, quick to use and cheap to buy. Its use often leads to serious injuries. You have the right to selfdefence but you have to know how. Knife fighting is dirty and real street fighters know the dirty tricks. Moreover, these criminals apparently are not afraid to use a knife.

Awareness I grew up in one of the poorest neighbourhoods of Utrecht. Utrecht is one of the larger cities of Holland. Violence was and still is a common occurrence. In the neighbourhood where I grew up, street culture ruled. Many young people carried weapons. Brass knuckles, bicycle chains, knives of all shapes and sizes. This afternoon (when writing this column) there was a severe stabbing incident in the neighbourhood where I grew up, an ambulance had to come.

Aggression My youth greatly affected the way I look at violence. Street violence is a very direct form of violence and can happen to anyone. Even without a clearly identifiable reason, you can be a victim of robberies, getting into fights, or worse: be injured. The street culture is in my genes. I remember my father took me to the gypsies and listened to their stories. You can't fool these guys. They are not afraid to use extreme violence. They could end up in jail but they couldn't care less.

They showed me the dirty street tricks of street fighting, how they used a knife. I remember an old man with a hat who entrusted my father in a somewhat mysterious way: "Do you know Frans (my father has the same name as I have), how we fought before? He struggled to his feet out of his rocking chair, and suddenly grabbed his hat from his head and pushed the hat in the face of my father. At the same time he pushed his stiletto against my father's belly. The old man turned out to be pretty fast. His age did not seem to matter. This incident made a deep impression on me, since I was only a little boy. Later my father told me that the old gypsy lived half of his life behind bars. This kind of street tricks, I incorporated into my style .

Complete fighter Every Martial Artist who wants to become a complete fighter should learn to master the knife, only when you know how to handle a knife will you be able to defend against a knife. Knife fighting is an indispensable factor in realistic self-defence. In knife fighting you create a mind-set that you cannot develop in unarmed combat. Only one error with a knife can have fatal consequences. Mentally and psychologically the knife fight is important. Blood will flow during the fight. This can also be your own blood and you will have to accept that.

Philippines On one of my trips to the Philippines, a bodyguard accompanied me. They advised me to not travel alone to the more dangerous parts of Cebu. The bodyguard didn't fit the image of a bodyguard. We barely spoke. Until, of course, we came to talk about Eskrima


“Defence is not an option in my style. Defence is attack and attack is defence. Short actions associated with aggressive energy, functional footwork, realistic drills and using the blind spot of the opponent and obviously a right mind-set, can make a good knife fighter” And knife fighting. The man was armed with a pistol and housed a knife in his leg holster. He told me that he used a gun for long distance combat and for short distances a knife. But with knife he only defended himself, he told me. For me this was an interesting comment because in reality everything you do with the knife is actually an attack. So I asked him why he did not use his knife to attack. His answer was simple: “if the opponent attacks with punches or kicks, I'll use my knife”, he said. He continued explaining: “I do not attack because the chance of being disarmed is much greater”. It is true that chances to be disarmed when your arm is stretched are increasing and you are also less likely to be able to place multiple counterattacks. In my style we are trying to tempt the opponent to stretch his arm. Then we counter with a stab to the abdomen at the time of the attack, in 9 out of 10 cases your opponent's head automatically goes down. The next attack is to the head. Of course disarmament is not always possible and necessary. A sting to the eyes or a kick to the groin can do the job as well. I immediately think of the words of a grandmaster in the Philippines, he spoke:

need to learn different weapons as they are already well trained in the use of a stick and knife, and the techniques they mastered are suitable for use of different weapons. Through the understanding and mastering of Eskrima principles, you are able to use any weapon: chair, ashtray, belt, paper, pen, bottle, table, book or even a hat. Basically it means you can use anything to you disposal. Really everything is available. In my style, it means that if you do not have a knife or you lose it during the fight then you go on to Pangamot (Total Fight).

“I promote knife fighting in a positive way and hope that my students do so as well. I refuse to teach people with bad intentions and disapprove if people carry knives on the streets”

Run! ! Hide! ! Or FLY! ! These words, told to me by a grandmaster in the Philippines are in my way of thinking incorrect. In my opinion it should be: 'run! ! hide or fight'. To avoid a knife fight is of course is the best way to act because you could end up wounded or will not survive at all. Moreover, I am assuming that you do not go looking for a knife fight. Most people fortunately wear no weapons. But if you have no choice only one road remains open. Fight for your life and use every weapon that is available. This way of thinking suits a good Eskrimador. An Eskrima fighter does not

Everything is permitted and only one thing is key: Survival! ! Knife fighting in WKFS My style is built on more than 30 years' of experience. I am still working to perfect it because you never stop learning. Defence is not an option in my style. Defence is attack and attack is defence. Short actions associated with aggressive energy, functional footwork, realistic drills and using the blind spot of the opponent and obviously a right mind-set, can make a good knife fighter.

Important I promote knife fighting in a positive way and hope that my students do so as well. I refuse to teach people with bad intentions and disapprove if people carry knives on the streets. I want you to know that taking a life is easy but giving a life back is impossible. Do you want to learn my way knife fighting? Feel welcome in my world, the world of Eskrima! Sekan@ziggo.nl www.knifefightsytem.com


Shaolin Hun Gar Kung Fu

The Crane Techniques in Shaolin Hung Gar Kung Fu

Crane The crane's techniques train the tendons, ligaments and promote flexibility. Its techniques are based on the philosophy of the element wood. The crane avoids its opponent's attacks, as opposed to the tiger. Furthermore, it avails its opponent's force for its own attacks, which are selective. The large wings enable the crane to block and knock at the same time. It is as flexible as a tree in the wind. The techniques of the crane style are said to have belonged to the traditional fighting styles of the legendary Southern Shaolin Kung Fu for a very long time. At least that is what has been bequeathed. According to the legend, the crane style was one part of the basic trainings in the monastery. Each student had to learn the five styles, otherwise the basic training did not count as completed. Only then, a student could possibly devote himself to specialize in a certain style. The classic 5 animals were the same as in today's Hung Gar Kung Fu; tiger, crane, snake, leopard and dragon.

doing so and tried to chase the crane away with a long stick. However, all her attempts were in vain. The crane avoided Wing Chun's blows skillfully. No matter how hard she stabbed, she did not manage to chase the crane away or even strike him at all. The Chinese declare that the crane was a god, who revealed Wing Chun the principles of her Kung Fu that way. However, this incident was significantly conducive to Wing Chun's understanding of how her Kung Fu works. She shared her newly acquired knowledge with her husband, Hung Hee Gung. Thus he enhanced his own crane Kung Fu. “Faht Ging” of the Crane Kung Fu Now, I am going to describe the 4 powers of the crane (Ging). It may seem abstract to read in a text about this, therefore it is certainly advisable to let an experienced master guide and teach you these principles. 1. “Jung Hok Ging” Basic Ging The easiest way to describe the nature of the power “Ging” is to compare it with the shaking of a wet dog.

Fong Wing Chun The name's similarity with the well-known Kung Fu style Wing Chun is no accident. Fong Wing Chun was the niece of Fong Sai Yuk, whose name is certainly well recognized by Eastern Movie fans, as several movies have been produced in which Fong Sai Yuk is either mentioned or even the main character himself. Fong Sai Yuk was a fellow Kung Fu brother of Hung Hee Gung, the namesake of the Shaolin Hung Gar Kung Fu. Fong Sai Yuk used to teach Kung Fu to his niece Fong Wing Chun. The tradition passed on in an anecdote, which I would like to recap:

2. Vocal Sound In combination with the right sound, the Qi is being transmitted to the right place in the body. The crane saves its Qi. It opens and closes its wings and awaits its opponent's next attack to avail his force instead.

The young Wing Chun was just about to sow seeds. A white crane saw this and started to pick the sown seeds out of the earth with his beak. Wing Chun spotted him

4. “Fei Hok Ging” flying crane Within this power, the Hung Gar student finds the entire wing techniques of the crane style.

3. “Sik Hok Ging” eating Ging The breathing technique is brief and fast. Calm, fast, courageous, safe and solid are the associated characteristics. In this context, it is possible that the “Mo Dap But Sun Toi” (Boxing Sutra) is being put into action.


Kung Fu

Applications


s we dig deeper into the study of Kyusho, not only in moder n adaptation and science, but in the ancient ways and writings, we conclusively keep coming to the same conclusion. We took the old idea out of myth and legend and brought it to life. No longer do we see these old referrals to this obscure body of knowledge from the movies, old texts and stories passed done as a continuing myth but as stark reality. Our studies are still moving toward fu t u re f i n d i n g s a s w e a re c u r re n t l y re a d i n g t h e b r a i n w a v e s w i t h 3 dimensional mapping technologies. We are still adapting actual human testing to increase our ability to dysfunction and restore with deeper neurological and anatomical understanding. We are still fo rg i n g i t i n t o a l l s t y l e s o n a n international basis to prove and validate it's real worth to all martial artists, but we also continue to dig deeper into history to unearth the origins and the manner in which Kyusho developed. Throughout history there has been few among millions that have stood out from t h e re s t i n t h e i r p i o n e e r i n g a n d incredible skills. Most thought they simply started a new method, style or process by which they attained such great skills, but at the core of so many of them is the undeniable truth that they knew Kyusho. It is in their writings, their quotes and stories; it is in their actions and “funny” ways they move as “Old Men”, thought by most to be just that aging process. Ueshiba stated “Atemi is 80% of Aikido”, Funakoshi wrote about it in one of his books as have numerous others. In 1921, Choki Motobu was living in Osaka at about fifty-two years of age, he defeated a Russian professional prize-boxer by the name John Kentelu in a open-to-all fighting competition at the Okinawa Butokuden, which made him the most famous fighter in Japan. The foreign boxer was six feet tall and nobody dared to challenge him. Motobu knocked him down with one strike to his temple and it happened so f a s t t h a t n o o n e re a l l y k n e w h o w i t happened. There are many more of these Kyusho practitioners, but our focus for this writing is Seiko Fujita.

A

From Wikipedia: Seiko Fujita (1898 - 4 January 1966), born Isamu Fujita, was a Japanese martial artist who was 14th Headmaster or Soke of Köga-ryö Ninjutsu and considered by some to be the last true ninja. Isamu Fujita was born in Tokyo, and studied Köga-ryö Wada Ha (Köga-ryö Ninjutsu) with his grandfather Fujita Shintazaemon, 13th Soke of the Köga-ryö. He studied at Waseda and Meiji Universities, and after leaving school, worked at a newspaper company. He went on to study several other martial arts and was also noted as an author,

researcher and collector of ancient scrolls. According to some references, "opinions are divided if he was a real ninja or a mere budö researcher." During World War II, Fujita taught Nanban Sattö-ryö Kenpö in the Army Academy of Nakano (Rikugun Nakano Gakkö). Fujita later worked as a government security specialist, and continued the tradition of teaching Köga-ryö Wada Ha style, among other martial arts. Notable students include Motokatsu Inoue, Mabuni Kenwa, Fujitani Masatoshi, actor Tomisaburo Wakayama and Manzo Iwata, who became heir to some of his styles. Fujita left no heir for Köga-ryö Wada Ha. Fujita Seiko published Zukai Torinawajutsu showing hundreds of Hojöjutsu ties from many different schools, and several other texts on ninjutsu and martial arts. He died of cirrhosis of the liver at about the age of 68 and likely suffered from hereditary angioedema (which can preclude the practice of martial arts, although Fujita may have demonstrated the ability to overcome some disease symptoms). His collection, the Fujita Seiko Bunko, is housed at Iga-Ueno Museum, Odawara Castle. A b i t m o re h i s t o r i c a l re s e a rc h shows, Seiko Fujita was a well-known M a r t i a l A r t i s t i n t h e t i m e s b e f o re Wo r l d Wa r 2 . He also had a connection to another legend in the arts, Kenwa Mabuni. One of Mabuni's students, Manzo Iwata, was also a student of Fujita. Seiko Fujita also had a friendship with Ghioda Gonzo, the son of Ueshiba as well as Konishi Yasuhiro and Taira Shinken and many others. There are some dark parts in his Life, where not much was documented or known, one thing that was known is that he was an instructor of the Nagano-school and as he was in Burma during 1941 for secret operations (only 14 men ever came back fromthose operations). Inoue Motokatsu was one of them and was the one who obtained the menkyo kaide (Menkyo kaiden ( ñ ∆ ã ñ ä F ì ` ? ) , ( Ç fl Ç Ò Ç ´ Ç Â Ç © Ç ¢ Ç ≈ Ç Ò ) i s a Japanese term meaning "license of total transmission." It is a license that is used by a school, koryö meaning that the student has learned everything and pass on all aspects of his/her training within the Koryö). In the menkyo system of licenses, the menkyo kaiden is the highest level of license that exists under the menkyo system. Advancement of license is not determined by years spent learning, but how well one masters the discipline. However,


the transition from menkyo to kaiden required usually at least thirty years of specific experience. A holder of menkyo kaiden is often, but not always, the de facto su c c e s s o r t o t he S ö k e o f t h e K o r y ö ) . M a n z o I wata received this Menkyo Kaiden from Fujita. There is not much more information about these two men. Fujita although a great legend in the Martial Arts, was more of an obscure individual and most of what was written about him is very controversial. It is not the intent here to debate or discuss the lineage or career of this man, but to look at his literary achievement; “The secret of martial arts” THE MANUAL OF "ATEMI" KILLING AND REVIVING STYLE” and its relevance to the art / science of Kyusho. Much has been written in moder n times about this information and in some cases not presented correctly. Many have mistakenly chosen to use Traditional Chinese Medical terms and theories even though we have shown this to be a false paradigm. But as it still persists, this article will be a short expose of an old manual of the art as practiced decades ago by this man. Just like the ancient “Bubishi” and Hohan Sokens (reputed) “Secret Notes”, the Kyusho is broken down into very western medical terms, depicting the target structures and the consequences of attacking them. Here is an actual page with translation from the text: “This book shows the right places of most effective vital organ parts in anatomical diagrams , which based on the result of a long-term human body anatomical research for the secrets of killing and reviving way inherited by each traditional style's. And this book also shows the effective way of hitting for those places and the reasons of suspended animation and faint from the medical view. Therefore, if you learn the places of vital organ points and the effective way of hitting them, you will obtain the way of knocking down enemies with one stroke or reviving them of your own will”. The head of Japanese martial arts research institute Fujita Seiko

And take this drawing from Fujita, with text translated: These were not statements of conjecture, but rather actual observations from the field of battle and actual experience in the life and death struggle. This is not the paradigm Traditional Chinese Medical application or theory being explained as so many “Kyusho Instructors” relate, this was real anatomy, real affect and real observation. This is not a comment on TCM for healing in Acupuncture, Shiatsu, Tui Na, etc., but rather to say that it is NOT Kyusho. Even the term Kyusho ( AB ) is depicted in Kanji many times throughout the book: These were men of the battlefield where life and death hinged on their knowledge and developed skills. They needed tried and true methods of incapacitation and to be blunt ways to quickly kill their opponents so they would not need to fight them again. Nobody knows what they did in Burma (and if you know a bit about Japanese history, everything is possible even tests with Prisoners of war). Involvement in such things during wartimes, few ever talked about. We need to realize that there used to be a more profound knowledge of the body and functionality than was passed down once Martial Arts became a sport and or business. And we are striving to get back to that simplicity and experiential information that were the foundation of the older Martial Arts. These important books and notes from the old masters that are surfacing are testament to this past knowledge, it is time we embrace the reality of it and work to find how it fits into the styles we do.


WING CHUN GUNG GUNG FU: FU: The Explosive Art of Close Range Combat

Five brand new Wing Chun DVDs 1 DVD: “Bot” Jom Doh Basics Complete “Bot” Jom Doh Form, 108 Motions, Historical Information about the Wing Chun Broadswords, Detailed Knife Blocking and Striking Techniques, “Bot” Jom Doh Footwork, Details of the footwork orientation of the form, One-man “Bot” Jom Doh Drills 2 DVD set: “Bot” Jom Doh, Applications, Drills, Concepts & Principles Applications of the motions from the “Bot” Jom Doh form, Knife vs. Knife, Knife vs. Pole, Drills, Concepts and Principles, Specially created Knife drills for the Wooden Dummy, Detailed Knife Blocking and Striking, Knife techniques as compared to their empty-hand counterparts, Cutting Principles

Sifu Randy Williams’ extensive collection of books on Wing Chun in 6 volumes, the series contains the history of Wing Chun, the theory and description of all Wing Chun forms in detail, Volume 6 is focused on instructing the system and provides additional information about Wing Chun Combat Theory from A to Z! This great work, originally written in 1988 and newly revised and updated is a must for the library of any serious student of the art. You can order the entire series as a set of 6 books, or by individual volume, and the new DVDs can also be ordered individually or in sets directly from us through our website:

1 DVD: CRCA Wing Chun “Biu Jitsu” Groundfighting Contents: The concept of “Reverse Engineering,” Chokes; Rear, Front Standing, “Guillotine,” Head-and-Arm, Side-Mount Shoulder Choke, and many other Groundfighting drills and techniques.

2 DVD set: “Look Deem Boon” Gwun Volume 1 ( 55 min. ) Content: Pole Details, Pole Drills, Pole Footwork, Form Overview, “Look Deem Boon” Gwun Form, 6 ½ Strikes of the Pole, Applications: Pole vs. Pole

www.shop.crca.de One Volume SingleWeapon DVD Biu Jitsu DVD DVD Set (all 5)

€ 49,90 € 39,90 € 25,90 € 149,90

The shipping & handling costs are not included for more information please contact us: Copyright © 1989 CRCA Enterprises Publisher CRCA-Lopez / Mario Lopez, Atroper Str. 56, 47226 Duisburg, Germany E-Mail: info@crca.de

“Look Deem Boon” Gwun Volume 2 (60 min.) Heavybag Drills, Dummy Drills, Two Man Drills, Form overview, Pole vs. Knife



Martial arts magazine budo international november 2013