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In this new DVD of Vovinam, Patrick Levet has wanted to show the facets of the use and handling of the Vietnamese Stick. Although little known, the Vietnamese long stick is, without a doubt, the most important weapon among all the weapons of the traditional Martial Arts of Vietnam. The Vovinam school, in its official program, only proposes the Stick Form (Tu Tuong Con Phap) and the counterattacks of stick vs. stick (Phan The Con), without explaining the intermediate movements. But the Vietnamese stick goes far beyond these two facets and Master Levet offers us 2 detailed DVDs on all the applications of the numerous intermediate movements of the Stick Quyen. This first volume includes a series of specific stick warming up and bodybuilding exercises, the guard, fundamental principles, stylistic handling of the weapon, defense against disarmament, blocking and dodging, displacements, as well as combat techniques. An original work that shows for the first time the Vietnamese stick in a complete and exhaustive way.

REF.: • DVD/VIET7 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com


“What you get with violence can only be maintained with violence.” Mahatma Gandhi

rying not to be repetitive (something we are all, in one way or another, and we always express ourselves from what we are), I have avoided returning to this subject in recent years. However, we all mature and modulate our speech, hopefully we deepen it and the proposal here is to contribute. On the other hand, the readers of the magazine are not a closed and fixed group. The magazine is a variable transmission belt which is constantly enriched with new additions, many young people who (I don't want to be presumptuous) could obtain advantages to enlarge or qualify their panoramic view of the subject that frames this title. Mars, the god of war, the “super macho”, curiously is born in mythology without intervention of any male principle, since Jupiter, warned that a son would dethrone him, avoids those births by eating or canceling the results of his multiple human and divine contacts. His wife, Hera, fed up with her husband's attitude and his sterility, decides to fecundate herself and from such magic Mars is born. Therefore, the pure masculine principle is, paradoxically, the son of an exclusively feminine end. As a symbol, it's interesting to observe how the medium, throughout history, transformed the term when it tried to transcend its own nature, by placing the word "Arts", before "Martial. From a mythological perspective, we no longer speak here of Mars, but of Athena, born from the head of Jupiter, mediating a singular midwife, the brutal Vulcan, who busted Jupiter's head to allow the birth of Athena (Minerva). She is a warrior, but she's wise (she is born from the head of the god of gods!), therefore she wears the golden armor; temperate (her mother is prudence), she is the goddess of commerce, knowledge and the Arts. We see here two well-differentiated archetypes. While Mars is the god of war, Minerva is the goddess of Martial Arts. The first is a primary force of definite nature; capricious, angry, violent and aggressive. The second is temperate, wise, dissuasive rather than violent, but warlike at last. Ultimately, two very different ways from facing the same fact: the confrontation and domination of others. War is the result of the most elementary of dissociations. In many cultures it is represented as the number two, because once the difference is generated, once a line is marked on the ground, war exists in potency. Is differentiation what generates dissension. In Greek mythology, the primary forces of creation were two: Eros and Eris, the two brothers and sons of Chaos. Eros is the force of Universal attraction. Eris is the force of repulsion. Its appearance is what generates the order in the Universe. Eros and Eris are opposites and complementary: one gathers the other divides; in their

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“We become aware of things when we stop to look at behaviors and events with greater distance than when we were fully involved in them. Through that reflection, our state of wisdom increases." Jean Shinoda Bolen infinite combinations, these forces in mythology create the Uni-versus (the "One in movement"). The first temple that Romans usually built when they arrived at a new place had its invocation dedicated to Mars, but once it was conquered and integrated in the empire, the cult to Minerva was imposed. However much both forces speak about the same thing, they do it in completely different tones. We haven't evolved that much since the times of Rome, or maybe we have, but its Universal principles are still as valid today as they were then. Archetypes are eternal forces that do not change or evolve, energies that have always existed and will exist, frameworks that allow those most intelligent and wise among men to analyze their lives and environments to understand beyond the forms, the reality In which we are all inserted and of which we are part. I see the images of the war in Syria and I see the troops of Attila devastating the lands through which they passed. I see a policeman stopping a thief, and I imagine the soldiers, once conquered the lands, maintaining the new order. I see the modern MMA fights and I see the gladiators. I see a Martial sport competition and I see the image of the ancient Olympic Games, a representation of the war to be sublimated. I see a Master performing a Kata and I visualize a monk looking for answers to the eternal questions. All of them participate in one same Universe, but they do it from uneven positions, with very different objectives, weapons and techniques of their own, different styles and attitudes. They are ultimately underworlds, within an eclectic Universe, but dissimilar, although they participate in a same ground, they're all located at very different heights. In this magazine they all have their site, but don't get confused; what is on top can't be on the bottom and vice versa. The mature and tempered warrior is wise and he avoids discord, confusion and impetuosity. It is normal that with our 30 years of life, our inclinations as a magazine are made visible in content and forms. But it was always like that. "The conscious warrior," the title of one of my earliest books, defined my position on the subject and with it that of the magazine I am directing. You see, it turns out that the conscious warrior has always been one step beyond the violent and contumacious warrior. That is why today, as before, I say: Watch out, you impetuous young men! The strategist surpasses the man of action and the wise beats the impetuous and aggressive, because one is placed above, and the other will naturally fall below. The order of the Universe is merciless and places each and every person in their own place; he who lives by the sword dies by the sword. To remain in appearances and not transcend the forms is but a form of imprisonment.


“The mature and tempered warrior is wise and he avoids discord, confusion and impetuosity.�

Who sees the martial without approaching Minerva, will be stuck in a dark world, where blood and violence are everything. When the moment - your moment - comes, be brave and make a jump, make the primary transgression of the warrior to the wise; in the meantime, try to pass through that stage without the scars being so serious that the consequences cannot be overcome. Look out for violent passions! The consequences can be immeasurable! The inexorable step, when the direction is forward and upward, the transgression and transcendence of every warrior is to become a man of knowledge. Not everyone will achieve it, but it wouldn't hurt to try, because stagnation leads to rotting and because more of the same is not better ... it's simply... more. My grandmother used to say: "He who does not run with his head will have to run with his feet!" And feet get tired ...


Chin Na techniques require a thorough study not only of the body joints, but also of Anatomy in general. Chin means "catch, capture" and Na means "control." Then we can say that Chin Na are those techniques of gripping, pressure and dislocation, by which we can control our opponent in a defense situation. The Shaolin Chin Na techniques are used to neutralize or interrupt an attack. Although its origins date back practically to the foundation of the Shaolin Temple itself, it is well known that already during the last Chinese dynasty, Chin Na techniques were most popular among the population in general, so in that time the techniques of capture and control lived their moment of boom and expansion. Chin-na practice should be done placing a greater emphasis on the development of the control and sensitivity needed to leave an attacker defenseless by any of the 5 principles of Chin Na: Muscle or tendon tearing, Incorrect bone placement, Blocking or cutting off respiration, Blocking a vein or artery, Pulsing a channel of Qi.

REF.: • DVD/YANTI2 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com


Martial Arts W ith an impressive martial record, Grandmaster RUI RIBEIRO - (ROY "The Hand") - is 9th DAN, Hanshi, in Karate & Tatami System's. His extensive knowledge of medicine and anatomy has allowed him to elaborate a work based on the structure and bio-dynamics of the human body, especially useful in the application of Karate techniques, which other Masters have lacked. This fact is especially evident in the video he has recorded for Budo International, in which he frequently explains the reason for adopting the appr opriate positions, within a logical sense of body dynamics, that allow the practitioner develop a greater speed and versatility of the responses in combat. A man of tradition, spiritual sensitivity and respect, he nevertheless has been capable of adapting the essence of what he has received to pass it on to a new generation, trying to improve, by virtue of his huge knowledge, what he has received from his Masters, of whom he always speaks with affection and veneration. He holds the 6th Dan, received from the following systems and Masters:


Martial Arts

“It is necessary to know the body to promote all the actions, independently of the practice and of the technique. The body is Universal and Mathematical.�


Great Masters HIROO MOCHIZUKI HANSHI, Founder of Yoseikan Budo. MASAYUKI HISATAKA - KENSEI 10th DAN, Founder of Koshiki Karatedo, Successor of the Founder Shorinji Ryu Kenkokan. SHIZUYA SATO - HANSHI 10th DAN and Founding Member of the Kokusai Budoin IMAF Japan. He also received graduations from many other renowned Masters, such as: TETSUJI MURAKAMI HANSHI - 5º DAN, the maximum graduation in Shotokai, as Introducer of the Karate-do Nihon Shotokan in Europe. AT S U O H I R U M A H A N S H I - 5 t h D A N . Maximum graduation Shotokai and Director for Europe. KEIJI TOSE HANSHI - 10th DAN of the Eishin Ryu Iaido. TADANORI NOBETSU HANSHI - 9th DAN, Karatedo and Kobudo. In 1998, he received the title of KYOSHI JAPAN and the subsequent graduation of 7th Dan, delivered by Master SHIZUYA SATO. In his background he has many other masters with whom he trained and of whom he is a debtor, especially with KAZUTA KIMURA, as well as RICHARD LEE - HANSHI 9th DAN. He also carried out significant studies with other wellknown Masters, such as YOSHINAO NANBU Founder of Nanbudo -, or TOSHIAKI HIGASHIO Karate-do and Aikido - and of course, HIROMICHI KOHATA of the GENSEY RYU Alfredo Tucci

“The multidisciplinary practice of Martial Arts and Combat Sports must have a transversal knowledge of exigency and versatility, to really achieve skills, with training sessions focused especially in the preparation for sports competition or protection.”


Martial Arts

WIND WARRIORS XXI

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DOJO / CAMP FIGHTERS

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“Self-knowledge, attitude and effective intelligence to achieve peace of mind.�


Martial Arts

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Great Masters “Timing is a part of the execution in combat, which for all purposes exists, but whose intervention cannot be seen, felt or thought, because it would be delayed.”

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The objectives are simple:

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TIME

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TRAINING

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oÉÖ~êÇäÉëë=çÑ=É~ÅÜ=çåÉDë=âåçïäÉÇÖÉI=óçì=ãìëí=~ÇÇ=~åÇ ~Çàìëí= åÉï= áÇÉ~ë= ~åÇ= éÉêëéÉÅíáîÉë= íç= óçìê= íÉÅÜåáèìÉ= áå çêÇÉê=íç=áãéêçîÉ=ÉÑÑáÅáÉåÅóK iáâÉïáëÉI=ÇÉîÉäçé=íÜÉ=Ä~ëáÅ=~åÇ=íÜÉ=ÉëëÉåíá~äI=ëìÅÜ=~ëW J= _êÉ~íÜáåÖ= íç= ÑÉÉä= íÜÉ= áåÑäìÉåÅÉ= çÑ= íÜÉ= ëãÉääáåÖ= ~åÇ= íç âåçï=ãáåáã~ääó=ëçãÉ=çÑ=íÜÉ=ãìäíáéäÉ=ï~óë=íç=áåëéáêÉ=~åÇ=íç ÉñéÉä=íÜÉ=~áêI=~åÇ=íÜÉ=ÅçåëÉÅìíáîÉ=áåíÉêå~ä=éêçÅÉëëÉë=çÑ=íÜÉ ~áê=ÅáêÅìä~íáçåK J= sáëì~äáòáåÖ= ~åÇ= ÉñÉÅìíáåÖ= ïáíÜçìí= ëÜçïáåÖ= áåíÉåíáçå ~åÇ= L= çê= ã~âÉ= îáëáÄäÉ= íÜÉ= ãçîÉãÉåíI= íÜìë= ~îçáÇáåÖ= íÜ~í= áí Å~å=ÄÉ=~åíáÅáé~íÉÇ=çê=ÅçåíêçääÉÇK J= fÇÉåíáÑóáåÖ= ëçìåÇëI= áåíÉêå~ä= ~åÇ= ÉñíÉêå~ä= ÉÅÜçÉëI ã~áåäó=áå=íÜÉ=áãé~Åíë=~åÇ=íÜÉ=éêçîçâÉÇ=ëÜçÅâ=ï~îÉëI=ÄçíÜ áå=Ñ~îçê=~åÇ=~Ö~áåëíK J= q~ëíÉI= ÇÉÇáÅ~íáçå= ~åÇ= áåíê~åëáÖÉåÅÉ= áå= çÄí~áåáåÖ çÄàÉÅíáîÉ=~åÇ=ÅçåÅäìëáîÉ=êÉëìäíëK qÜÉ= êÉ~ëçå= ïÜó= áíDë= ÑìåÇ~ãÉåí~ä= Ü~îáåÖ= ~ë= çÄàÉÅíáîÉ= ~ éêçÅÉëë= çÑ= ~Åíáçå= ÑçÅìëÉÇ= çå= íÜÉ= ÑìíìêÉI= áë= ÄÉÅ~ìëÉ= ~åó éêÉëÉåí= ÅçåÑäáÅíI= áå= íÜÉ= áåíÉêãÉÇá~íÉ= éçáåíI= êÉëìäíë= Ñêçã= ~å ~ÅíáîÉI=áåíÉê~ÅíáîÉ=çê=êÉ~ÅíáîÉ=é~ëíI=íç=ïÜáÅÜ=áíDë=åÉÅÉëë~êó íç=ÅçêêÉëéçåÇ=áå=ÅçåÑçêãáíóK håçïáåÖ= íÜÉ= ÄçÇó= ~åÇ= íÜÉ= ÅçãéäÉãÉåí~êó= ìëÉ= çÑ åÉìêçéÜóëáçäçÖóI= ~ÇÇë= ïáëÇçã= ~åÇ= Å~äã= áå= íÜÉ= Ñ~ÅÉ= çÑ ~ÖÖêÉëëáîÉåÉëëK

VIBRATION

t~îÉ= ãçíáçå= ïáíÜ= íÜÉ= áåíÉåíáçå= çÑ= ã~âáåÖ= îáÄê~íÉ= íÜÉ éçáåí=çê=éçáåíë=çÑ=Åçåí~ÅíK qç= ÉñÉêÅáëÉ= íÜÉ= ÑäìÉåÅóI= ÑçääçïáåÖ= ~= íê~áåáåÖ= éê~ÅíáÅÉ= áå ïÜáÅÜ= ãÉåí~ä= ~åÇ= éÜóëáçäçÖáÅ~ä= ãÉÅÜ~åáëãëI= ïáíÜ= éêçéÉê


ÅççêÇáå~íáçå=~åÇ=~ÅÅìê~ÅóI=ÄÉÅçãÉ=ëìéÉêáçê=íç=íÜÉ ëíìÇó=çÑ=ãÉíÜçÇë=~åÇ=ÑçêãëK qç= ÉñÉÅìíÉ= ~å= ~Åíáçå= áå= íÜÉ= ëé~ÅÉ= ÄÉíïÉÉå= íÜÉ çÄàÉÅíáîÉ= ~åÇ= áåíÉåíáçå~ä= ã~ííÉê= Ñçê= íÜÉ= ÑáåáëÜáåÖ= çÑ íÜÉ=ãçîÉãÉåíI=ïáíÜçìí=ÄÉáåÖ=îáëáÄäÉ=çê=ÉñéÉÅíÉÇI=áå ïÜáÅÜ=íÜÉ=êÉëìäí=~ÅÜáÉîÉÇ=áå=íÜÉ=çééçåÉåí=ãìëí=ÄÉ ëÉÉå=~åÇ=åçí=íÜÉ=~Åíáçå=áíëÉäÑK sáÄê~íáçå= ~ÇÇë= ~Çî~åÅÉ= î~äìÉ= íç= íáãáåÖI= ÅêÉ~íáåÖ ~=ãçãÉåí~êó=íáãÉ=ä~éëÉ=áå=íÜÉ=çééçåÉåíK båíÉêáåÖ= íÜÉ= çééçåÉåíDë= áåíÉêå~ä= ÑáÉäÇI= ïáíÜ= ~ ëÜçÅâ= ï~îÉI= Å~ìëÉë= ~= ÄêÉ~âÇçïå= çê= ëäáÖÜí= êÉÅçáäI ~ääçïáåÖ= ~= èìáÅâ= ÅçãéäÉíáçåI= Ü~îáåÖ= íÜÉ= åçíáçå= çÑ íÜÉ=ÅÉåíÉê=çÑ=íÜÉ=ÄçÇóI=íÜÉ=çéÉåáåÖ=çÑ=ëé~ÅÉë=~åÇ íÜÉ=ÅçãéäÉíÉ=Ä~ä~åÅÉ=áå=~íí~ÅâK lå= íÜÉ= çìíëáÇÉI= íÜÉ= ~Åíáçå= ãìëí= åçí= çåäó= îáÄê~íÉ Äìí= ~äëç= Å~ìëÉ= íÜÉ= çééçåÉåíDë= äçëë= çÑ= Ä~ä~åÅÉI Å~ìëÉÇ= íçï~êÇë= íÜÉ= ëáÇÉ= ï~ääI= ÄÉíïÉÉå= íÜÉ= äáåÉ= çÑ íÜÉ= íïç= ëÜçìäÇÉêë= çê= íÜÉ= íïç= ÜáéëI= Ñçêï~êÇ= çê Ä~Åâï~êÇI= çìíëáÇÉ= íÜÉ= ~ñáë= çÑ= ëìééçêí= ~åÇ ëìëí~áå~ÄáäáíóK qÜáë= ãÉíÜçÇ= ãìëí= ~äï~óë= ÄÉ= Å~êêáÉÇ= çìíI= Äó íê~åëáíáçå=ÑáÉäÇë=~åÇ=íÜÉ=êÉëéÉÅíáîÉ=íÉÅÜåáÅ~ä=ëÉêáÉëI ïáíÜ=íÜÉ=ìíãçëí=éêÉÅáëáçåK

IMPACT

e~îáåÖ=íÜÉ=åçíáçå=çÑ=íáãÉ=~åÇ=áãé~ÅíI=~ääçïë=óçì íç= ~ÄëçêÄ= ~åÇ= Åçåíêçä= íÜÉ= åÉÖ~íáîÉ= ~åÇ= ÉåÜ~åÅÉ íÜÉ=éçëáíáîÉK _ÉíïÉÉå= Ñ~ëí= ~åÇ= ëäçïI= êÉÑäÉñÉë= ~åÇ= çÄàÉÅíáîÉëI íÜÉêÉ= ãìëí= ÄÉ= ~= ï~ó= çÑ= êÉÅçîÉêáåÖ= Ä~ä~åÅÉI= íÜÉ ë~ãÉ=íÜáåÖ=íç=~Çî~åÅÉ=~åÇ=íç=ãçîÉ=Ä~ÅâI=áå=çêÇÉê íç=áåÜáÄáí=íÜÉ=çééçëáíÉ=~ÅíáçåI=~ëëìãáåÖ=~=ãáåáãìã êáëâ= áå= íÜÉ= Ñ~ÅÉ= çÑ= íÜÉ= ã~ñáãìã= éçïÉê= íÜ~í= ëÉÉâë íç=êÉ~ÅÜ=ìëI=ìëáåÖ=ãçÄáäáíó=áå=~å=~ëëÉêíáîÉ=ï~óK qÜÉ= ëâÉäÉíçå= áë= äáâÉ= ~= ÜçìëÉ= íÜ~í= âÉÉéë= ìëI= áíDë ÅçãéäÉíÉäó= îÉêë~íáäÉ= íç= ~êíáÅìä~íÉ= ïáíÜ= íÜÉ ëÉèìÉåíá~ä= çéíáçåë= çÑ= ãçîÉãÉåíI= Äìí= ÇÉéÉåÇë çå=íÜÉ=Éñ~Åí=ìëÉ=çÑ=éêçÅÉëëÉë=çÑ=ÅçãéÉåë~íáçå çÑ=àçáåíëI=åÉêîÉë=~åÇ=ãìëÅäÉëK qç= ÑáÖÜí= é~áå= ~åÇ= ~ÇîÉêëáíóI= ëÉåë~íáçå= ~åÇ ëìëéáÅáçåI=áíDë=åÉÅÉëë~êó=íç=êÉÇìÅÉ=íÜÉ=áãé~Åíë íÜ~í= çìê= çêÖ~åáëã= êÉÅÉáîÉëI= íç= ëíêÉåÖíÜÉå= íÜÉ åÉìêçäçÖáÅ~ä= é~êí= ~åÇ= íç= éêçàÉÅí= éçëáíáîÉ íÜáåâáåÖK cçê=~å=áãé~Åí=íç=ÄÉ=Éèì~ä=íç=òÉêçI=íÜÉ=ÉåÉêÖó ÇÉéÉåÇë= çå= íÜÉ= çêÖ~åáÅ= ÅäÉ~åáåÖ= ~åÇ= ~ääçïáåÖ íÜÉ=ÄçÇó=íç=éêçÅÉÉÇ=íç=íÜÉ=ÅÉääìä~ê=êÉåÉï~äK cêçã= ?çìê= ÜçìëÉ?I= ïÉ= Åêçëë= íÜÉ= ë~ãÉ ÇççêI= Ñêçã= íÜÉ= áåëáÇÉ= çìí= ~åÇ= Ñêçã= íÜÉ


Martial Arts “Resistance arises from the basis of the interaction between heart beats and brain waves.�


çìíëáÇÉ= áåK= pç= ãìëí= ÄÉ= çìê= ãáåÇ= áå= íÜÉ êÉä~íáçåëÜáé=çÑ=íÜÉ=áåíÉêáçê=ïáíÜ=íÜÉ=ÉñíÉêáçê ~åÇ=îáÅÉ=îÉêë~K

OBJECTIVES

`çåëÅáçìëåÉëë= çÑ= ëÉäÑI= ÉÑÑáÅáÉåÅó= íÜ~í ~îçáÇë=ïÉ~ê=~åÇ=íÉ~ê=~åÇ=éêçãçíÉë=ÜÉ~äíÜ ~åÇ=ëâáääë=Ñçê=éÉêëçå~ä=éêçíÉÅíáçåK qÜÉ= ìëÉ= çÑ= âåçïäÉÇÖÉ= áë= åçí= àìëí= ~ éçëëáÄáäáíó=Äìí=ÉñíÉåÇÉÇ=íç=~ää=éçëëáÄáäáíáÉëK fí=ëÜçìäÇ=åçí=ÄÉ=~ÇÉèì~íÉ=Äìí=éêÉé~êÉÇ Ñçê=ÇáîÉêëáíóK få= Ñêçåí= çÑ= íÜÉ= ìåâåçïå= ÅçåÑêçåí~íáçå íÜÉêÉ= áë= åçíÜáåÖ= ÄÉííÉê= íÜ~å= íÜÉ= ~Äáäáíó= íç Ñ~ÅÉK qÜÉêÉ= áë= åç= ï~ó= Ä~ÅâI= áí= áë= ~ÅèìáêÉÇK jÉ~åáåÖ=áë=ïÜ~í=ïÉ=ëÉÉâ=íÜêçìÖÜ=áíK cêçã=íÜÉ=äáÖÜí=ÅçãÉë=íÜÉ=ëÜ~ÇçïI=Ñêçã íÜÉ= ãçîÉãÉåí= íÜÉ= ÑçêãK= lå= ~å= ~ñáë ÄÉíïÉÉå= äáÖÜí= ~åÇ= ëÜ~ÇçïI= íÜÉ= ëÜ~Ççï íê~åëä~íÉë=~ë=íÜÉ=ÇáêÉÅíáçå=çÑ=íÜÉ=í~êÖÉíK qÜÉ= éÉêëéÉÅíáîÉ= çÑ= çÄëÉêî~íáçå éêçÇìÅÉë= ÉÑÑÉÅíëI= Äìí= íÜÉ= ÉëëÉåÅÉ= áë= áå êÉîÉä~íáçåK

CHALLENGES

c~ÅáåÖ= ~= ëóëíÉãáÅ= ìåáîÉêë~äáëãI= ïÜáÅÜ Å~ìëÉë= ~= ÇÉÅêÉ~ëÉ= áå= Äê~áå= êÉ~Åíáçå Å~é~Åáíó= ~åÇ= êÉÑäÉñÉë= Äó= áåÜáÄáíáçå= çÑ ~Åíáîáíó= ëóëíÉãëI= áí= áë= ÉëëÉåíá~ä= áãéêçîáåÖ çìê= éÜóëáÅ~ä= ÄÉÜ~îáçê= ~åÇ= éçíÉåíá~ä

ÉåÉêÖó=òçåÉë=çÑ=ak^=ïáíÜçìí=áåíÉêÑÉêÉåÅÉK ^= éê~ÅíáÅÉ= ïáíÜ= ÖìáÇáåÖ= éêáåÅáéäÉë= çÑ ÑìåÅíáçå~ä=ÉñÉÅìíáçåK oÉëáëí~åÅÉ= ~êáëÉë= Ñêçã= íÜÉ= Ä~ëáë= çÑ= íÜÉ áåíÉê~Åíáçå=ÄÉíïÉÉå=ÜÉ~êí=ÄÉ~íë=~åÇ=Äê~áå ï~îÉëK q~ÅíáÅë= ~åÇ= çêáÉåí~íáçå= ÇÉéÉåÇ= çå= Üçï ïÉ= ~Åí= ~åÇ= ìëÉ= íÜÉ= íÉêãë= çÑ= Üçï= ïÉ= ~êÉ ~åÇ= ïÜ~í= ïÉ= ~êÉI= ÇÉéÉåÇáåÖ= çå= íÜÉ Üìã~å=ÉëëÉåÅÉK kìãÄÉêë= ~åÇ= ëóãÄçäë= ÅÜ~åÖÉ= ïáíÜçìí ëìêéêáëÉI=Äìí=íÜÉ=ëçìåÇ=~åÇ=íÜÉ çÄàÉÅíáîÉ= ëé~ÅÉ= ~åÇ= êÉä~íáîÉ= ëé~ÅÉ= ~êÉ Åçããçå= áå= íÜÉ= ã~áå= ãçíáÑI= ïÜáÅÜ= áë= íÜÉ ëÉåëÉ=çÑ=ãçîÉãÉåíK tÉ= Å~ååçí= ëéÉ~â= çÑ= ÉñáëíÉåÅÉ= ïáíÜçìí ~ííêáÄìíáåÖ= ~= ãÉ~åáåÖ= íç= áí= íç= Ñ~ÅÉ= íÜÉ ÅÜ~ääÉåÖÉëK

LEVEL

fãéêçîáåÖ= íÜÉ= áåëéáê~íáçå= ~åÇ= íÜÉ ÉñÜ~ä~íáçå cêçã=ãó=?j~ëíÉêDë=qÉñíë?

fåëéáêáåÖ= Äó= ~= åçëíêáäI= äÉÑí= çê= êáÖÜíI áåÅêÉ~ëÉë=íÜÉ=ä~íÉê~ä=éçïÉê=áåÜÉêÉåí=áå=íÜÉ ìééÉê= ÄçÇó= ~åÇ= ÉñéÉääáåÖ= íÜÉ= ~áê= íÜêçìÖÜ íÜÉ=ë~ãÉ=åçëíêáä=ÉåÅçìê~ÖÉë=Éèì~ä=éçïÉê Ñçê=íÜÉ=çééçëáíÉ=ëáÇÉK bñÜ~äáåÖ= íÜÉ= ~áê= íÜêçìÖÜ= íÜÉ= ãçìíÜ íçï~êÇë= íÜÉ= Çá~Öçå~ä= çÑ= íÜÉ= ~íí~ÅâáåÖ ãçîÉãÉåíI= ïáíÜ= ê~éáÇ= áåëéáê~íáçå= íÜêçìÖÜ


“The level of practice defines the labyrinth of body and mind.�


Martial Arts íÜÉ= åçëÉI= áåÅêÉ~ëÉë= íÜÉ= ÉñÉÅìíáçå= Å~é~ÄáäáíáÉë= çÑ= íÜÉ= äçïÉê äáãÄëK kÉîÉê=éêçàÉÅí=ÉñÜ~ä~íáçå=íçï~êÇë=íÜÉ=çééçåÉåíDë=äáåÉK

Basic methods:

J=fåëéáêáåÖ=íçï~êÇë=íÜÉ=íçé=EÜÉ~ÇF=J=íç=ÉëÅ~éÉ J=bñÜ~äáåÖ=Ñêçã=íÜÉ=íçé=J=íç=ÅçåÅÉåíê~íÉ J=fåëéáêáåÖ=ïáíÜ=äìåÖ=ÄêÉ~íÜáåÖ=J=íç=ÑçÅìë=~åÇ=áåíÉê~Åí J=bñÜ~äáåÖ=ïáíÜ=äìåÖ=ÄêÉ~íÜáåÖ=J=íç=êÉä~ñ J=fåëéáêáåÖ=ïáíÜ=îÉåíê~ä=ÄêÉ~íÜáåÖ=J=íç=~íí~Åâ J= bñÜ~äáåÖ= ïáíÜ= îÉåíê~ä= ÄêÉ~íÜáåÖ= J= íç= Åçåíêçä= L áãé~Åí lîÉêÅçãáåÖ= êÉëìäíë= Ñêçã= íÜÉ= ëÉêáÉë= ~åÇ= íÜÉ áåíÉêå~ä=ÅáêÅìä~íáçå=çÑ=íÜÉ=~áêK

péÉ~âáåÖ= ïáíÜ= dê~åÇ= j~ëíÉê= cìãáíç pìÖìáãçíçI=ÜÉ=íçäÇ=ìëW

J= ?j~êíá~ä= ^êíë= Ü~îÉ= ~ë= éêáåÅáéäÉ= Ü~êãçåó= ~åÇ êÉëéÉÅíI= Äìí= íÜÉó= ~êÉ= `çãÄ~í= jÉíÜçÇë= íç= háää= ~åÇ åçí=íç=ÖÉí=âáääÉÇK=tÉ=Å~ååçí=ë~ó=íÜ~í=íÜÉ=ìäíáã~íÉ=Öç~ä çÑ= j~êíá~ä= ^êíë= áë= äÉ~êåáåÖ= íç= ÄêÉ~íÜÉI= ÄÉÅ~ìëÉ= åç= çåÉ ïçìäÇ=ìåÇÉêëí~åÇK? qÜÉ=äÉîÉä=çÑ=éê~ÅíáÅÉ=ÇÉÑáåÉë=íÜÉ=ä~ÄóêáåíÜ=çÑ=ÄçÇó=~åÇ ãáåÇK

COMBAT

j~å=áë=ã~ÇÉ=íç=ÑáÖÜíI=ÄÉÅ~ìëÉ=áå=~ää=íÜÉ=ãçîÉãÉåíë ~åÇ= Ñê~ãÉë= çÑ= çìê= ÄçÇó= ïáíÜ= íÜÉ= çíÜÉêI= ïÉ= ÑáåÇ çÄàÉÅíáîÉ= íìåáåÖ= ~åÇ= áåíÉêÅçååÉÅíáçåI= ïÜáÅÜ= çåäó= áå íÜáë= ï~ó= áë= ìëÉÑìä= íç= ÑÉÉä= íÜ~í= ïÉ= ~êÉ= ~äáîÉI= áå= ~= êÉ~ä ÅçãÄ~íK _ìí=ÑÉï=Ü~îÉ=íÜÉ=çêáÖáå~ä=~Äáäáíó=íç=ÑáÖÜíK eìã~å= ÄÉáåÖëI= ê~íÜÉê= íÜ~å= ~åáã~ä= ÄÉÜ~îáçêI= éçëëÉëë ÇáÑÑÉêÉåÅÉë= çÑ= ÄçÇáäó= éçïÉêI= áåíÉêÅçååÉÅíÉÇ= ïáíÜ= ãáåÇ= ~åÇ

“The eyes express the ability to see or to look. When you look and you do not see, you lose what you are looking for.”


Great Masters

ëçìäI=íç=ÇÉÑÉåÇ=~åÇ=éêçíÉÅí=íÜÉãëÉäîÉë=Ñêçã íÜÉ= ~ÇîÉêëáíáÉë= çÑ= íÜÉ= éä~åÉí= ~åÇ= íÜÉ ìåáîÉêëÉK _ìí=ÜÉ=ÄÉÅ~ãÉ=ìêÄ~åK qÜÉ=Üìã~å=ëíêìÅíìêÉ=Ü~ë=ãÉ~ëìêÉë=íÜ~í=åç ~åáã~ä= éçëëÉëëÉëI= Ñçê= áåëí~åÅÉI= íÜÉ= é~äã= çÑ íÜÉ=Ü~åÇ=áë=ëáãáä~ê=íç=íÜÉ=äÉåÖíÜ=çÑ=íÜÉ=ÑççíK få= ÅçãÄ~í= ~åÇ= áå= çíÜÉê= Éñ~ãéäÉëI= íÜêÉÉ ëé~åë= çê= íÜêÉÉ= ÑÉÉí= çÑ= ëÉé~ê~íáçå= ÄÉíïÉÉå çìê=ÑÉÉíI=~êÉ=íÜÉ=Ä~ëÉ=çÑ=çìê=Öì~êÇK lÑ= íÜÉ= ÑáîÉ= ÉäÉãÉåíëI= íÜêÉÉ= çÑ= íÜÉã= Ü~îÉ ÄÉÉå=ÖáîÉå=íç=ã~å=íç=ïçêâW=ãÉí~äI=ïççÇ=~åÇ ÑáêÉK= ^áê= ~åÇ= ï~íÉê= ÇÉÑáåÉ= íÜÉ= íáãÉ= çÑ= áíë ÉñáëíÉåÅÉK= vçì= çåäó= äáîÉ= ~= ÑÉï= ëÉÅçåÇë ïáíÜçìí=~áê=~åÇ=~=ÑÉï=Ç~óë=ïáíÜçìí=ï~íÉêK lìê=ÄçÇó=áë=ÅçãéçëÉÇ=Ñçê=íÜÉ=ãçëí=é~êí=çÑ ï~íÉêI= ïáíÜçìí= ÄÉáåÖ= ~ï~êÉ= çÑ= áíI= ëçI= ~ë íÜçìÖÜí= ~åÇ= ëçìä= ÇÉéÉåÇ= çå= íÜÉ= ~áê= ~åÇ= íÜÉ ïáåÇë=íÜ~í=~êÉ=åçí=ëÉÉåK=^ää=íÜáë=áë=é~êí=çÑ=çìê àçìêåÉóK qáãÉ= ~åÇ= êÉ~äáíóI= ÖáîÉ= ~åÇ= í~âÉI= Ü~îÉ ~äï~óë= ÄÉÉå= ~= Ö~ãÉ= çÑ= íÜÉ= råáîÉêëÉ= ïáíÜ ã~åK lìê=áåíÉêáçê=ÇÉéÉåÇë=çå=íÜÉ=ÉñíÉêáçêK=tÜÉå íÜÉ=ÉñíÉêáçê=ÅÜ~åÖÉëI=çìê=áåíÉêáçê=ãìëí=~Ç~éíI Äìí=åÉîÉê=~Ä~åÇçå=íÜÉ=ÅçãÄ~íK


REAL

oÉ~ä=áë=~=êÉ~äáíó=ÜáíK `Ü~åÖÉ=çÑ=ëÉèìÉåÅÉë=~åÇ=ÅçåëÉèìÉåÅÉëK _ÉóçåÇ=ÑáÖÜíáåÖ=áíDë=åÉÅÉëë~êó=íç=Ü~îÉ=íÜÉ=ÅçåîáÅíáçå=íç Ñ~ÅÉI=ïáíÜçìí=äáãáíë=~åÇ=ìåíáä=íÜÉ=ÉåÇI=Ñêçã=íÜÉ=ëáãéäÉ=ï~äâ íç= ïÜ~í= ã~âÉë= ìë= äÉ~Ç= ~åÇ= ÄÉ= ïÜÉêÉ= ïÉ= ~êÉI= ïáíÜ= íÜÉ ÇÉëáêÉ=íç=âåçïK cìíìêÉ= ãÉãçêó= áë= ~äï~óë= ~= ÅÜ~ääÉåÖÉI= ~å= ~Åíáçå= ~í= ~ ÇáÑÑÉêÉåí= íáãÉ= íç= êÉîÉêëÉ= ÉñéÉêáÉåÅÉë= ~åÇ= íê~åëÑçêã ãÉ~åáåÖëK páãéäÉ=èìÉëíáçåë=~êÉ=åçí=íÜÉ=ë~ãÉ=íÜáåÖ=~ë=íÜÉ=ÇÉëáêÉ=íç âåçïK fääìëçêó= èìÉëíáçåë= Çç= åçí= ÇÉëÉêîÉ= ~åó= êÉëéçåëÉI= Äìí ïÜ~í= êÉÑÉêë= íç= íÜÉ= íê~åëáíáçå= ~åÇ= ~ìíÜÉåíáÅáíó= Çç= åÉÉÇ ~åëïÉêëK tÉ= ëíêìÖÖäÉ= íÜÉ= ï~ó= ïÉ= ãçîÉI= ~åÇ= íÜÉ= ï~ó= çìê= ÑÉÉí ãçîÉ=ëÜçï=çìê=ÅÜ~ê~ÅíÉê=~åÇ=ÜÉ~äíÜK qÜÉ=ÉóÉë=ÉñéêÉëë=íÜÉ=~Äáäáíó=íç=ëÉÉ=çê=íç=äççâK=tÜÉå=óçì äççâ=~åÇ=óçì=Çç=åçí=ëÉÉI=óçì=äçëÉ=ïÜ~í=óçì=~êÉ=äççâáåÖ=ÑçêK

IMPULSE

bñíÉåëáçå=çÑ=íÜÉ=êÉ~Åíáçå=ëÉÉâáåÖ=íç=áåíÉêêìéí=íÜÉ=ÅóÅäÉë çÑ=çêÇÉêë=çÑ=íÜÉ=çééçåÉåíDë=Äê~áåK qÜÉêÉ=~êÉ=íïç=ÅóÅäÉëI=áå=ïÜáÅÜ=ïÉ=Å~å=íê~åëÑÉê=íÜÉ=åçíáçå çÑ= ÉåÉêÖóI= éçëáíáîÉ= çê= åÉÖ~íáîÉI= Äìí= áå= ëóåíÜÉëáëI= íÜÉó= ~êÉ íÜÉ=êÉëìäí=çÑ=íÜÉ=çêáÖáå=çÑ=íÜÉ=áãéìäëÉW J=cçê=~=éä~ååÉÇ=áåáíá~ä=~Åí J=lêáÖáå~äI=Äìí=åçí=éä~ååÉÇI=ÑçÅìëÉÇ=çå=íÜÉ=Ñáå~ä=~ÅíáçåK _ÉóçåÇ=íÜÉ=ÑçÅìë=çÑ=~íí~ÅâI=íÉÅÜåáèìÉë=~êÉ=åÉÉÇÉÇ=Ñçê=~ ÑáåáëÜáåÖ=íÜ~í=ÉñÅÉÉÇë=íÜÉ=í~êÖÉíK få= ÅçãÄ~íI= ~= å~íìê~ä= ~Åí= Å~ååçí= ÄÉ= íê~åëÑçêãÉÇI= Ü~êÇäó ~äíÉêÉÇ=Äó=íÜÉ=ÄÉÜ~îáçê=ÇÉÅáëáçåK

^= ëáãéäÉ= íçìÅÜ= áå= ~å= ~ííÉãéíÉÇ= ï~ó= çÑ= íÜÉ= ~ÇîÉêë~êóI ÇçÉë= åçí= éêçîçâÉ= ~åçíÜÉê= Ü~êÇ= ~ííÉãéí= ~åÇ= ãçëí= çÑ= íÜÉ íáãÉI=áí=ã~âÉë=íÜÉ=~Åíáçå=êÉîÉêëáÄäÉ=çê=ÉñéÉÅí~åíK jçêÉ=íÜ~å=íÜÉ=éÜóëáÅ~ä=é~êíI=áí=áë=åÉÅÉëë~êó=íç=ìåÇÉêëí~åÇ íÜÉ= ãÉåí~ä= ~ÅíI= áå= íÜÉ= éÉêëéÉÅíáîÉ= çÑ= ëíìÇóáåÖ= íÜÉ= Ñäçï= çÑ ~ÅíáçåI=çê=~åíáÅáé~íáåÖ=ïÜ~í=áë=êÉä~íÉÇ=íç=íÜÉ=áãéìäëÉK

BASIC

bñé~åÇ= íÜÉ= åçíáçå= çÑ= Éãéíó= Ü~åÇë= Ñçê= ÉñéêÉëëáçå= çÑ ëìééçêí=~åÇ=êÉä~ñ~íáçåK bîÉêó= ãçîÉãÉåí= Äó= íÜÉ= áåíÉêáçê= ~åÇ= íÜÉ= ÉñíÉêáçê= áë ÉÑÑáÅáÉåí=áÑ=áíDë=ÇçåÉ=áå=íêá~åÖäÉI=Ñê~ãÉÇ=ïáíÜ=íÜÉ=~ÇîÉêë~êóK qÜÉ=í~êÖÉí=~åÇ=íÜÉ=ÇáêÉÅíáçå=çÑ=íÜÉ=íÉÅÜåáèìÉë=ãìëí=Ü~îÉ ~= ëí~Äáäáíó= Ä~ëÉ= ïáíÜ= ~= ãìëÅìä~êJëâÉäÉí~ä= ~äáÖåãÉåí= ïÜáÅÜ êÉäÉ~ëÉë=íÜÉ=ëìééçêíë=~åÇ=íê~åëÑÉêë=íÜÉ=ïÉáÖÜí=ÇáêÉÅíÉÇ=íç íÜÉ=éçëëáÄäÉ=~ÅíáçåI=áå=~ää=ÇáêÉÅíáçåëK qÜÉ= áåíÉêå~ä= ~Åíáçå= çÑ= íÜÉ= ÄçÇó= ëÜçìäÇ= éêçãçíÉ= íÜÉ ~ééäáÅ~íáçå= çÑ= íÜÉ= ã~ñáãìã= Å~é~Åáíó= çÑ= ÉñíÉåëáçå= ~åÇ éçïÉê= çÑ= íÜÉ= ìééÉê= ~åÇ= äçïÉê= ÉñíêÉãáíáÉëI= ÑáääáåÖ= íÜÉ= ~Åíë ïáíÜ=~ÇÉèì~íÉ=ÄêÉ~íÜáåÖK bñÜ~äÉ= íÜÉ= ~áê= ÉîÉêó= íáãÉ= óçì= êÉíêÉ~íI= íç= áåëéáêÉ= ~Ö~áå= áå íÜÉ=åÉñí=ëí~êíáåÖ=éçáåí=çÑ=íÜÉ=~ÅíáçåK få=~ää=áåáíá~ä=éçëáíáçåëI=íÜÉ=íáãÉ=ãÉ~ëìêÉãÉåí=áë=êÉä~íÉÇ=íç íÜÉ=~ï~êÉåÉëë=çÑ=íÜÉ=Ü~åÇë=~åÇ=ÑÉÉíI=~ë=áÑ=íÜÉó=ïÉêÉ=àçáåÉÇ Äó=Éä~ëíáÅ=Ä~åÇë=íÜêçìÖÜ=íÜÉ=ÄçÇóK qÜÉ=äáãÄë=ãçîÉ=~ë=áÑ=íÜÉó=ïÉêÉ=~Åíì~íÉÇ=Äó=~=Äìííçå=íÜ~í ëïáíÅÜÉë=çå=~=ã~ÅÜáåÉK qÜÉ=Ü~åÇë=~åÇ=ÑÉÉí=ëÜçìäÇ=ÉñéêÉëë=ïÜ~í=áë=ÉãéçïÉêÉÇ Äó= íÜÉ= éêáã~êó= ~Åíáçå= çÑ= íÜÉ= ÉäÄçïë= ~åÇ= âåÉÉëI= ~ääçïáåÖ íÜÉ=áåíÉêå~ä=êçí~íáçå=Ä~ëÉë=çÑ=íÜÉ=ëÜçìäÇÉêë=~åÇ=Üáéë=íç=ÄÉ ìåäçÅâÉÇ=ïáíÜçìí=íÜáë=éêÉé~ê~íáçå=ÄÉáåÖ=îáëì~äáòÉÇK lìê= ÄçÇó= Ü~ë= ÉîÉêó= ÅÜ~åÅÉ= íç= ÇÉÑÉåÇ= áíëÉäÑ= ~åÇ= ëí~ó ÜÉ~äíÜóK


Great Masters j~å=áë=ÜáãëÉäÑ=~=ìåáîÉêëÉK bîÉêóíÜáåÖ= íÜ~í= ã~âÉë= Üáã= ~= Üìã~å= ÄÉáåÖ= êÉëìäíë= Ñêçã= Üáë= ëíÉéë= ~åÇ= Ñêçã= Üáë ~íí~ÅâáåÖ=çê=ÇÉÑÉåëáîÉ=Ü~åÇK få= íÜÉ= Ü~åÇI= íÜÉ= äáííäÉ= ÑáåÖÉê= áë= íÜÉ= çåÉ= íÜ~í= äÉ~Çë= íç= íÜÉ= áåÇÉñ= ~åÇ= éêçîáÇÉë= áíë ã~ñáãìã= ÉñíÉåëáçå= ~åÇ= ~ãéäáíìÇÉK= qÜÉ= íÜìãÄI= ïÜáÅÜ= ~ëëìãÉë= íÜÉ= ëíêÉåÖíÜ= ~åÇ Åçåíêçä= çÑ= íÜÉ= ÅäçëáåÖ= çÑ= íÜÉ= Ü~åÇK= lÑ= ~ää= çÑ= íÜÉãI= áë= íÜÉ= çåÉ= íÜ~íI= áåÇáîáÇì~ääóI= Ü~ë äÉëë=í~Åí=~åÇ=áë=åçí=~å=~íí~ÅâÉêK eçéÉÑìääóI=íÜÉ=ÑìåÇ~ãÉåí~ä=ÉäÉãÉåíë=çÑ=íÜÉ=ÄçÇó=íÜ~í=ïÉ=ìëÉ=~ë=~=ãÉ~åë=Å~å=ÄÉ Éñéä~áåÉÇ=~åÇ=âåçïå=íÜêçìÖÜ=j~êíá~ä=^êíë=~åÇ=`çãÄ~í=péçêíëK= qÜÉ=íêìÉ=ëéáêáí=íÜ~í=ÅçååÉÅíë=ã~å=ïáíÜ=íÜÉ=éÉêëçå~ä=~åÇ=ìåáîÉêë~ä=íçí~äáíó=ÇÉéÉåÇë çå=áåÅêÉ~ëáåÖ=çìê=Å~é~ÅáíáÉëI=íç=éêÉëÉêîÉ=äçåÖÉîáíóK

RECOGNIZING

bñáëíÉåÅÉ= áë= ëáãáä~ê= Ñçê= ÉîÉêóçåÉX= Äó= áíë= ~ÖÉ= ~åÇ= Äó= áíë= áã~ÖÉI= íÜÉ= ÄçÇó= Ü~ë ~ëëìãÉÇ=ÅóÅäÉë=çÑ=~ÖÉI=ïçêâI=Üìã~å=êÉä~íáçåëÜáéI=êÉä~íáçåëÜáé=ïáíÜ=íÜÉ=ÉåîáêçåãÉåíI ëçÅá~ä=ëí~íìëI=éÜóëáÅ~ä=~åÇ=ãÉåí~ä=éêçÅÉëëÉëK qÜÉêÉ= ëÜçìäÇ= ÄÉ= åç= åÉÖäáÖÉåÅÉ= áå= ïÜ~í= áåíÉêÑÉêÉë= ïáíÜ= áíë= å~íìêÉI= ÄÉÅ~ìëÉ= áíDë Åçåíê~êó=íç=ÜÉ~äíÜ=~åÇ=Ü~êãçåóK qÜÉ= Ç~áäó= ëáÖå~äë= ~êÉ= íÜÉ= êÉëìäí= çÑ= íÜÉ= êÉ~Åíáçåë= çÑ= íÜÉ= åÉêîçìë= ëóëíÉã= ~åÇ= íÜÉ ÄáçäçÖáÅ~ä=êÉëéçåëÉë=íÜ~í=ÅçåíêáÄìíÉ=íç=íÜÉ=ãÉåí~ä=ëí~íÉK fí=áë=åÉÅÉëë~êó=íç=ÄÉ=éêìÇÉåí=~åÇ=íç=ÄÉ=áåíÉêÉëíÉÇ=áå=íÜÉ=ï~óëI=âÉÉéáåÖ=çìêëÉäîÉë áå=~äÉêíI=~ï~ó=Ñêçã=ã~åáéìä~íáçåK pçãÉíáãÉëI=äáÑÉ=áë=äáâÉ=ÅäçÅâïçêâ=ïÜáÅÜ=ÇáëíìêÄë=íÜÉ=éÉêëçå=~í=~=ÅÉêí~áå=ãçãÉåí ïáíÜ=áääåÉëëI=ïáíÜ=éêçÄäÉãëI=Å~ìëáåÖ=ìë=é~áå=~åÇ=~åñáÉíóK=lìê=ÑáÖÜíáåÖ=ëÜçìäÇ=ã~êâ=~ éêçÑçìåÇ=ÇáÑÑÉêÉåÅÉ=çÑ=çÄàÉÅíáîÉëI=ëíçééáåÖ=íÜáë=ëÉèìÉåÅÉI=âÉÉéáåÖ=íÜÉ=Çççêë=çéÉå ëç=íÜ~í=íÜÉ=ãáåÇ=~Çî~åÅÉë=ïáíÜçìí=~åó=éêÉÇÉíÉêãáåÉÇ=ÇÉëíáåó=çê=éêÉîáçìë=ëìÑÑÉêáåÖK qÜÉ=éÜóëáÅ~ä=é~êí=åÉÉÇë=ãçêÉ=íáãÉ=íç=ÖÉí=íç=íÜÉ=ë~ãÉ=éä~ÅÉI=Äìí=íÜÉ=éÉêëçå=ãìëí íêìëí=Üáë=áåíÉêå~ä=êÉÅçêÇI=Å~äã=~åÇ=Ü~ééó=ïáíÜ=ÖççÇ=ãÉãçêáÉëK tÜÉêÉ=~åÇ=ïÜÉå=ïÉ=êÉ~ÅÜ=íÜÉ=ÇÉéíÜ=çÑ=çìê=ïÜçäÉ=Äê~áåI=ïÉ=ïáää=ìåÇÉêëí~åÇ=ïÜ~í áë=~åÅáÉåíI=~Äëíê~Åí=~åÇ=ÇÉÉéI=ïáíÜçìí=çÄëíêìÅíáçåK qÜÉ=ã~ëíÉêó=~åÇ=ï~ó=çÑ=äáÑÉ=éêçîáÇÉ=ìë=ïáíÜ=íê~îÉäë=~åÇ=ÑêáÉåÇëI=íÜçëÉ=ïÜç=ÑáÖÜí=Ñçê íÜÉ=éÉ~ÅÉ=~åÇ=íÜÉ=îá~ÄáäáíóI=áå=íÜÉ=ëÉåëÉ=çÑ=~Çî~åÅáåÖ=áå=íÜÉ=ÉñáëíÉåÅÉK

WARRIOR

^=ï~êêáçê=ÇçÉë=åçí=Éñáëí=ïáíÜçìí=íÜÉ=å~íìêÉ=çÑ=íïç=ëçìäëI=íÜ~í=çÑ=ÉñáëíÉåÅÉ=~åÇ=íÜ~í çÑ=åçåJÉñáëíÉåÅÉK bîÉêóíÜáåÖ= Ü~ééÉåë= áå= íÜÉ= áåÅçêéçê~íáçå= çÑ= íÜÉ= Üìã~å= ÄÉáåÖ= íç= ïÜ~í= áë= ã~íÉêá~ä ~åÇ=ïÜ~í=áë=áãã~íÉêá~äK få=ÇìÉ=íáãÉI=áë=ÇÉ~íÜ=ïÜ~í=ÖáîÉë=Üáã=äáÑÉ=íç=ÑìäÑáää=íÜÉ=å~íìêÉ=çÑ=Üáë=é~íÜW=íç=ÜÉäé=íÜÉ åÉÉÇóI=íç=ÅäÉ~åëÉ=~åÇ=íç=êÉÇÉÉã=~ää=éÉå~äíáÉëK

CONCLUSION

qÜÉ=íê~åëãáëëáçå=çÑ=âåçïäÉÇÖÉ=ëìééçêíë=íÜÉ=é~íÜ=çÑ=íÜçëÉ=ïÜç=Ü~îÉ=~å=~ííáíìÇÉ ~åÇ=ãçíáî~íáçå=íç=ãçîÉ=Ñçêï~êÇK qÜÉ=ïáåÇ=Ääçïë=~êçìåÇI=Ñ~ê=çê=åÉ~êK lpp


Martial Arts

“Hopefully, the fundamental elements of the body that we use as a means can be explained and known through Martial Arts and Combat Sports.�


Martial Arts


Krav Maga Israeli Survival System: the new Krav Maga frontier. After the success of his first DVD, Grandmaster Marco Morabito appears unprecedented in Budo International with a DVD dedicated to weapons: Morabito knowledge in both civil and military defense fields intertwines in an explosive mixture of technology and innovation. Nothing is left to chance and there are no secrets: with "experimentalis cognitio", the most common armed attacks are carefully examined paying utmost attention to every single detail. Diverse techniques with the most common weapons are analyzed, always bearing in mind that there is no such thing as a "universal pattern of aggression": the kinds of attacks are unlimited and so are the means of defense. Technique is only the basis of study to acquire and develop fluency and conscience of the movement, but the aim is that of making our defense instinctive thus shortening the time of reaction. As on the ring, we will never have the mathematical certainty of winning the bout, but we can greatly increase our chances of emerging victorious: "He who fights risks to lose, he who doesn't fight has already lost." Morabito, with his Israeli Krav Maga Survival System wants to break with the patterns and show the public something totally new, far from the regular old-fashioned techniques, emulated for decades. On this DVD, technique melts with experience and everything acquires clear and definite contours. Nothing is left at random and the most common mistakes are unmasked and analyzed. In the Israeli Krav Maga Survival System you will find an exceptional and authentic new method of self-defense.

REF.: • DVD/KMISS 2

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

ORDERS: Budo international.com


And again, an eventful year begins for the Wing Tsun Universe (WTU). In 2016, we released our 1st DVD “Siu Nim Tao Nine Ways”, with the end of the year, our first WTU book „Gedankenfragmente Begegnung mit dem Unbekannten”. We saw new places and met new people who are interested in our movement. The flower of the WTU Wing Tsun unfolded further in space and time – so to speak in our vocabulary.


WT Universe


WT Universe

“Again and again you hear the question nowadays: Which style is better? What is the most effective type of combat?”

cçê=OMNTI=ïÉ=~êÉ=éä~ååáåÖ=çìê=ëÉÅçåÇ=tqr=asa=?`Ü~ã háì= J= Q= t~îÉë?= ~åÇ= íÜÉ= Äççâ= ?tqr= dìáÇÉ= J= tqr= táåÖ qëìå?=~ë=ïÉää=~ë=~=íê~åëä~íáçåK tÉ= ïçìäÇ= ~äëç= äáâÉ= íç= íÜ~åâ= ^äÑêÉÇç= qìÅÅá= ~åÇ= _ìÇç fåíÉêå~íáçå~ä=Ñçê=íÜÉáê=Åçää~Äçê~íáçå=WJF tÉ=ïáëÜ=~ää=êÉ~ÇÉêë=çÑ=_ìÇç=fåíÉêå~íáçå~ä=~ää=íÜÉ=ÄÉëí=Ñçê OMNTK Alfred Johannes Neudorfer & Rosa Ferrante Bannera

No styles, no opinions just understanding "Moving is life" "Need creates organs“

^Ö~áå=~åÇ=~Ö~áå=óçì=ÜÉ~ê=íÜÉ=èìÉëíáçå=åçï~Ç~óëW=tÜáÅÜ ëíóäÉ=áë=ÄÉííÉê\=tÜ~í=áë=íÜÉ=ãçëí=ÉÑÑÉÅíáîÉ=íóéÉ=çÑ=ÅçãÄ~í\ bíÅK= vçì= ~êÉ= äççâáåÖ= Ñçê= Å~íÉÖçêáÉë= íÜ~í= ã~íÅÜ= óçìê= çïå ÅçåÇáíáçåáåÖI=ëç=óçì=Å~å=?Åçãé~êÉ?K qÜÉêÉ=áë=íÜÉ=çäÇ=ë~óáåÖW=tÜÉå=óçì=~êÉ=êÉ~ÇóI=íÜÉ=íÉ~ÅÜÉê ~ééÉ~êëK= vçì= ÅçìäÇ= ~äëç= ë~óW= fÑ= óçì= Å~å= ~ëâ= íÜÉ= êáÖÜí èìÉëíáçåI=óçì=~êÉ=êÉ~Çó=Ñçê=íÜÉ=~åëïÉêK råÑçêíìå~íÉäóI= íÜáë= áë= åçí= ëç= É~ëó= íÜêçìÖÜ= íÜÉ= ïÉÄ= çÑ


WT Universe

“We are dependent on external authorities, forgetting that these are just human beings and we forget that the real interface to life and knowledge is only ourselves.”

ÅçåÇáíáçåáåÖ=~åÇ=áÇÉåíáÑáÅ~íáçå=~í=~ää=äÉîÉäë=çÑ=Üìã~å=ÉñáëíÉåÅÉK tÉ= ãçîÉ= äáâÉ= êçÄçíë= ~åÇ= íÜìë= ÅêÉ~íÉ= ~= ÄçÇó= ëíêìÅíìêÉI= ïÜáÅÜ éê~ÅíáÅ~ääó=çåäó=ã~âÉë=ëìÅÜ=~=ãçîáåÖ=éçëëáÄäÉK iáÑÉ= áë= çåäó= ÜÉäÇ= Äó= ëíáãìäá= Ñêçã= çìíëáÇÉ= ~= ãçîÉãÉåíK= fÑ= çåÉ êÉãçîÉë=~ää=íÜÉëÉ=ëíáãìäá=Ñêçã=íÜÉ=Üìã~å=ÄÉáåÖI=íÜÉêÉ=áë=ìëì~ääó åçíÜáåÖ=äÉÑíK=eÉ=Åçää~éëÉë=áåíç=ÜáãëÉäÑK=`çåÇÉãåÉÇ=íç=é~ëëáîáíó ~åÇ=ÇÉéÉåÇÉåÅÉ=çå=íÜÉ=ëóëíÉã=çê=éÉçéäÉ=ïÜç=ëÉí=~åÇ=éêÉíÉåÇ íÜÉ=ëíáãìäáK tÉ= íÜáåâ= áå= éêÉÑ~ÄêáÅ~íÉÇ= ÅçåÇáíáçåÉÇ= é~ííÉêåë= çÑ= íÜçìÖÜíI ~åÇ=íÜÉå=ÄÉÖáå=íç=êÉëéçåÇ=íç=ÉñíÉêå~ä=ëíáãìäìëK=qÜáë=áë=íÜÉ=ÑççÇ ïáíÜ=ïÜáÅÜ=ïÉ=ìåÑçäÇ=çìê=íÜáåâáåÖW=ã~Ö~òáåÉëI=íÉäÉîáëáçåI=ÉíÅK=J Ñêçã= íÜÉ= çìíëáÇÉI= éêÉé~êÉÇ= áåÑçêã~íáçåK= tÉ= éêÉé~êÉ= çìê íÜáåâáåÖ= ~éé~ê~íìë= éêÉÅáëÉäó= íç= íÜÉ= ÇÉëáêÉÇ= ~åÇ= ìëì~ä ÉñéêÉëëáçå= é~ííÉêåë= ~åÇ= ÅçåëáÇÉê= íÜáë= ëíáãìäìë= L= êÉ~Åíáçå ã~ÅÜáåÉ=~ë=~=ã~ííÉê=çÑ=íÜáåâáåÖK=rëì~ääó=íÜÉêÉ=áë=åç=äçåÖÉê=~åó íÜçìÖÜíK tÜ~í= áë= íÜÉ= ÑÉÉäáåÖI= íÜÉ= Éãçíáçåë\= qÜáë= áë= íÜÉ= ÑìÉä= Ñçê= çìê ~ÅíáçåëK=eÉêÉI=íççI=åçíÜáåÖ=Äìí=ÅçåÇáíáçåáåÖK=_É=~í=íÜÉ=ãÉêÅó=çÑ óçìê= çïå= ÅçåÇáíáçåÉÇ= Éãçíáçå~ä= êÉëéçåëÉëK= ^ííê~Åíáçå= ~åÇ êÉéìäëáçå= ~êÉ= íÜÉå= ìëì~ääó= ÜÉäÇ= Ñçê= ~= ÇÉÉé= ÑÉÉäáåÖK= låÉ= ÅçìäÇ ~äëç=ë~ó=íÜ~í=íÜÉ=Éãçíáçåë=ÅÉåíÉê=áë=ÄêçâÉK=kç=ìåÇÉêëí~åÇáåÖ=çÑ ëÉñì~äáíóI= ~Åèì~áåí~åÅÉI= ÑêáÉåÇëÜáéI= êÉä~íáçåëÜáéI= ÉíÅK= J= çåäó éêÉÑ~ÄêáÅ~íÉÇ= Éñéä~å~íçêó= ãçÇÉäë= ~åÇ= äáÑÉ= ãçÇÉäëI= ïÜáÅÜ= íÜÉå Ñ~áä=áå=íÜÉ=Éãçíáçå~ä=êÉ~äáíóK ^åÇ= óÉí= ïÉ= Éñáëí= áå= íÜÉ= ë~ãÉ= Ñê~ãÉïçêâK= qÜÉ= Üìã~å= ÄçÇó


WT Universe

“Everything changes continuously, whether we perceive it or not. For this reason, we must find the solutions for us here and now. Do not look in the past, do not expect in the future.”

~åÇ= Üìã~å= íÜáåâáåÖ= ~åÇ= íÜÉ= Üìã~å= ÑÉÉäáåÖ= ìåÇÉê= íÜÉ ÅçåÇáíáçåë=çÑ=íÜÉ=É~êíÜK tÉ= Ü~îÉ= ~= ãçîÉãÉåí= ïÜáÅÜ= åç= äçåÖÉê= Ü~ë= íÜÉ= ëäáÖÜíÉëí ìåÇÉêëí~åÇáåÖ= çÑ= íÜÉ= áãéçêí~åÅÉ= çÑ= Öê~îáí~íáçåK= kçí íÜÉçêÉíáÅ~ääó=~åÇ=åçí=~í=~ää=éê~ÅíáÅ~äK=tÉ=~êÉ=äáâÉ=ÑáëÜÉë=íÜ~í=Çç åçí= éÉêÅÉáîÉ= íÜÉ= ï~íÉê= J= çê= ïçêëÉå= J= Åê~ïäáåÖ= äáâÉ= ïçêãë= ~í íÜÉ=Äçííçã=çÑ=íÜÉ=ëÉ~=ÄÉÅ~ìëÉ=íÜÉó=Ü~îÉ=ÑçêÖçííÉå=Üçï=íç=ÄÉ Å~êêáÉÇ=~åÇ=Ñäç~í=Ñêçã=íÜÉ=ï~íÉêK ^åÇ= ÉîÉå= ïçêëÉI= ÅêÉÉéáåÖ= ~êçìåÇ= íÜÉ= Ñäççê= Ü~ë= Å~ìëÉÇ= ~ ÄçÇó= ëíêìÅíìêÉ= íÜ~í= ã~âÉë= íÜÉ= ëïáããáåÖ= çÑ= íÜÉ= ÑáëÜ éê~ÅíáÅ~ääó= áãéçëëáÄäÉK= qç= íÜáë= ÉåÇI= ïÉ= Ü~îÉ= ~= ä~åÖì~ÖÉ= íÜ~í ÇÉëÅêáÄÉë= Åê~ïäáåÖ= çå= íÜÉ= ÖêçìåÇ= ~åÇ= áÇÉåíáÑáÉë= ìë= ~ë êÉéíáäÉëK= ^åÇ= íÜÉêÉ= ~êÉ= ã~åó= ?ÉñéÉêíë?= ïÜç= ã~å~ÖÉ= íÜáë ëí~íÉK tÉ= ~êÉ= ÇÉéÉåÇÉåí= çå= ÉñíÉêå~ä= ~ìíÜçêáíáÉëI= ÑçêÖÉííáåÖ= íÜ~í íÜÉëÉ= ~êÉ= àìëí= Üìã~å= ÄÉáåÖë= ~åÇ= ïÉ= ÑçêÖÉí= íÜ~í= íÜÉ= êÉ~ä áåíÉêÑ~ÅÉ=íç=äáÑÉ=~åÇ=âåçïäÉÇÖÉ=áë=çåäó=çìêëÉäîÉëK ^ìíÜçêáíáÉë= íÜ~í= ~äï~óë= éêÉíÉåÇ= íç= ìë= ïÜ~í= áë= ÖççÇ= Ñçê= ìë ~åÇ= Ñçê= íÜÉ= ïçêäÇ= äÉ~Ç= ìë= áå= íÜÉ= ïêçåÖ= ÇáêÉÅíáçåW= ~ï~ó= Ñêçã ìëK=cçê=ïÜ~í=êÉ~ëçåI=ÅçåëÅáçìëäó=çê=ìåÅçåëÅáçìëäóI=íÜÉó=ãìëí ÄÉ=êÉëéçåëáÄäÉ=Ñçê=íÜÉãëÉäîÉëK=_ìí=ïÜ~í=ãó=äáÑÉ=áë=~Äçìí=ãÉI=f ãìëí= ÄÉ= êÉëéçåëáÄäÉK= fíDë= ãó= äáÑÉK= tÜÉå= çåÉ= ~ëâë= éÉçéäÉI ïÜÉíÜÉê=?áãéçêí~åí?=çê=?åçêã~ä?=íç=íÜÉ=èìÉëíáçåë=çÑ=äáÑÉW=qÜÉó Ü~îÉ= åç= ~åëïÉêëI= åçí= Ñçê= íÜÉãëÉäîÉëI= åç= ä~åÇã~êâë= Ñçê çíÜÉêëK=låäó=ÇÉ~Ç=í~äâI=çåäó=ÅçåÇáíáçåÉÇ=ïçêäÇîáÉïëK


WT Universe

“We have lost the wise men who have their own insight into life. We have only experts in collective management and administrative structures, or world interpretations, which, from their views, want to make a valid dogma for all.�


WT Universe tÉ= Ü~îÉ= äçëí= íÜÉ= ïáëÉ= ãÉå= ïÜç= Ü~îÉ= íÜÉáê çïå= áåëáÖÜí= áåíç= äáÑÉK= tÉ= Ü~îÉ= çåäó= ÉñéÉêíë= áå ÅçääÉÅíáîÉ= ã~å~ÖÉãÉåí= ~åÇ= ~Çãáåáëíê~íáîÉ ëíêìÅíìêÉëI= çê= ïçêäÇ= áåíÉêéêÉí~íáçåëI= ïÜáÅÜI Ñêçã=íÜÉáê=îáÉïëI=ï~åí=íç=ã~âÉ=~=î~äáÇ=ÇçÖã~ Ñçê=~ääK tÜ~í= ÇçÉë= ~ää= íÜáë= Ü~îÉ= íç= Çç= ïáíÜ= ã~êíá~ä ~êíë\= få= ãó= îáÉïI= íÜÉêÉ= ~êÉ= åç= ëíóäÉëK= tÉ= ~ää ÇÉ~ä= ïáíÜ= íÜÉ= ë~ãÉ= íÜáåÖI= ~åÇ= íÜÉêÉ= ~êÉ= çåäó ÇáÑÑÉêÉåí= áã~ÖÉëI= é~ííÉêåë= çÑ= íÜçìÖÜíI= çåÉDë çïå=ìåÇÉêëí~åÇáåÖK fíDë= åçí= ~Äçìí= íÉÅÜåáèìÉëI= áíDë= åçí= ~Äçìí ëéÉÉÇI=áíDë=åçí=~Äçìí=éçïÉêK=_ìí=áí=áë=~Äçìí=~ ëçîÉêÉáÖå= ÇÉ~äáåÖë= ïáíÜ= íÜÉ= ãìäíáJä~óÉêÉÇ áåíÉê~Åíáçåë= íÜ~í= ïÉ= ÉåÅçìåíÉê= çå= çìê= ï~ó ~åÇ= áí= áë= íÜ~í= ïÉ= éêçîáÇÉ= çìê= ÄÉáåÖ= EÄçÇóJ íÜáåâáåÖJÑÉÉäáåÖF=ïáíÜ=íÜÉ=êáÖÜí=ÑççÇ=ëç=íÜ~í=ïÉ Ü~îÉ= ~= ëíêìÅíìêÉ= íÜ~í= ~äëç= Ü~ë= íÜÉ= éçíÉåíá~äë çÑ=Üìã~å=å~íìêÉ=ìåÑçäÇÉÇ=~åÇ=åçí=ÄìáäíK For our image in the WTU, the following coordinates and landmarks are to be described and made tangible: `çåÇáíáçåáåÖ=L=~ííÉåíáçå=L=áÇÉåíáÑáÅ~íáçå ^ííÉåíáçåI= bä~ëíáÅáíóI= _~ä~åÅÉI= pÉåëáíáîáíóI ^ÖáäáíóI=qáãáåÖI=fåíÉåíáçå J=~å=ìåÇÉêëí~åÇáåÖ=çÑ=íÜáë=áë=íÜÉ=ÑçìåÇ~íáçå çÑ=ÉîÉêóíÜáåÖ> J= T= H= O= nì~äáíáÉë= Ñçê= íÜÉ= Ü~êãçåáò~íáçå= çÑ Üìã~å=ÄÉáåÖë ^ääçï= Åçåí~Åí= Ó= Öç= ïáíÜ= íÜÉ= ãçîÉãÉåí= J ~îçáÇ=Çáëí~åÅÉ dê~îáí~íáçå~ä= áåíÉê~ÅíáçåI= tÉ~â= áåíÉê~ÅíáçåI píêçåÖ=áåíÉê~ÅíáçåI=j~ÖåÉíáÅ=áåíÉê~Åíáçå t~îÉI=ëéáê~ä J=íÜêÉÉ=éêáåÅáéäÉë=çÑ=~Åíáçå=~í=~ää=äÉîÉäë J= Q= áåíÉê~ÅíáçåëJ= O= äÉîÉäë= çÑ= ~Åíáîáíó= íÜ~í çéÉå=ìé=íÜÉ=ÑìåÅíáçå

bîÉêóíÜáåÖ= ÑäçïëK= bîÉêóíÜáåÖ= ÅÜ~åÖÉë ÅçåíáåìçìëäóI= ïÜÉíÜÉê= ïÉ= éÉêÅÉáîÉ= áí= çê= åçíK cçê=íÜáë=êÉ~ëçåI=ïÉ=ãìëí=ÑáåÇ=íÜÉ=ëçäìíáçåë=Ñçê ìë=ÜÉêÉ=~åÇ=åçïK=aç=åçí=äççâ=áå=íÜÉ=é~ëíI=Çç åçí=ÉñéÉÅí=áå=íÜÉ=ÑìíìêÉK ?oáÖÜí=éÉçéäÉI=oáÖÜí=íáãÉI=oáÖÜí=éä~ÅÉ?K


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Kajukenbo

THE BASIS OF KAJUKENBO KAJUKENBO KOSHO RYU What makes Kajukenbo different? The most important from this point of view is its base, focused on survival in the increasingly violent streets of our days. Since its beginnings back in the 1940s, our Art was created keeping in mind this idea, the effectiveness in the techniques and the hard training, that is, direct techniques, without excessive acrobatic or senseless movements in the confrontation with an aggressor with or without weapons. How do you r each those stringency levels in your daily training? Let's remember the maxim in Kajukenbo: "train har d to be har d"... What does this mean?


I

í= ãÉ~åë= íÜ~í= êçìíáåÉë= ãìëí= ÄÉ= êÉ~äáòÉÇ= ïáíÜ= íÜÉ ã~ñáãìã=éçëëáÄäÉ=êÉ~äáíóI=çÑ=ÅçìêëÉ=ïáíÜçìí=Ç~ã~ÖáåÖ çìê= íê~áåáåÖ= é~êíåÉêI= ìëáåÖ= íçÇ~óDë= ~î~áä~ÄäÉ= ãÉ~åë ~åÇ=éêçíÉÅíáçåë=åçí=íç=áåàìêÉ=çìê=râÉ qÜÉ= É~êäó= óÉ~êë= çÑ= íÜÉ= ~êíI= äÉëëçåë= ïÉêÉ= îÉêó= Ü~êÇW ÄêçâÉå= ~êãëI= ÄäççÇ= ~ää= çîÉê= íÜÉ= açàç= ~åÇ= íÜÉ= Çççêë

ïÉêÉ= ÅäçëÉÇ= ëç= íÜ~í= åçÄçÇó= ÅçìäÇ= äÉ~îÉ= ìåíáä= íÜÉ= íê~áåáåÖ ï~ë=çîÉêK=qçÇ~ó=~ää=íÜáë=Å~å=ÄÉ=~îçáÇÉÇI=Äìí=áí=ÇçÉëåDí=ãÉ~å íÜ~í= ïçêâçìíë= ëÜçìäÇåÛí= ÄÉ= Ü~êÇI= äÉíÛë= êÉãÉãÄÉê= íÜ~í= ïÉ êÉ~ÅÜÉÇ=çìê=ãÉåí~ä=çîÉêÅçãáåÖ=Äó=ëìÑÑÉêáåÖI=~åÇ=~í=íÜÉ=íáãÉ çÑ=~=ÅçåÑêçåí~íáçå=áå=íÜÉ=ëíêÉÉíëI=ïÉ=ïáää=ÄÉ=ÄÉííÉê=éêÉé~êÉÇ éÜóëáÅ~ääó=~åÇI=ïÜ~í=áë=ãçêÉ=áãéçêí~åíI=éëóÅÜçäçÖáÅ~ääóK


Kajukenbo låÉ= çÑ= íÜÉ= ÄáÖÖÉëí= éêçÄäÉãë= ïÉ= Ü~îÉ= áå= íÜÉ= Ñ~ÅÉ= çÑ= ~å ~ÖÖêÉëëáçå=áë=çìê=mëóÅÜÉI=íÜÉ=ÑÉ~ê=çÑ=é~áåI=çÑ=Ç~ã~ÖÉ=~åÇI ÉëéÉÅá~ääó= áå= çìê= Ç~óëI= íÜÉ= éçëëáÄäÉ= äÉÖ~ä= êÉéÉêÅìëëáçåK= tÉ åÉÉÇ=íç=~ëëÉë=áå=ëÉÅçåÇë=íÜÉ=~ÄçîÉ=~åÇ=ëçãÉíÜáåÖ=íÜ~í=ïÉ ãìëí=åçí=ÑçêÖÉíW=çìê=ëóëíÉã=çÑ=ÑáÖÜíáåÖ=çê=ÉëÅ~éáåÖ=éêÉëÉåí áå= çìêëÉäîÉë= Ñêçã= íÜÉ= Ç~ïå= çÑ= Üáëíçêó= ~ë= ~= ãÉíÜçÇ= çÑ

ëìêîáî~ä=~ë=ÇÉëÅêáÄÉÇ=Äó=t~äíÉê=_ê~ÇÑçêÇ=`~ååçåI=áåÇáÅ~íáåÖ íÜ~í= ~åáã~äë= êÉ~Åí= ïáíÜ= ~= ÖÉåÉê~ä= ÇáëÅÜ~êÖÉ= çÑ= íÜÉ ëóãé~íÜÉíáÅ= åÉêîçìë= ëóëíÉãI= éêÉé~êáåÖ= íÜÉã= íç= ÑáÖÜí= çê ÉëÅ~éÉK= jçêÉ= ëéÉÅáÑáÅ~ääóI= íÜÉ= ~ÇêÉå~ä= ãÉÇìää~= éêçÇìÅÉë= ~ ÇáëÅÜ~êÖÉ= çÑ= ÜçêãçåÉë= êÉëìäíáåÖ= áå= íÜÉ= ëÉÅêÉíáçå= çÑ Å~íÉÅÜçä~ãáåÉK


Kajukenbo

qÜáë= êÉ~Åíáçå= áë= êÉÅçÖåáòÉÇ= ~ë= íÜÉ= Ñáêëí= ëí~ÖÉ= çÑ= ~= ÖÉåÉê~ä= ~Ç~éí~íáçå ëóåÇêçãÉ= íÜ~í= êÉÖìä~íÉë= íÜÉ= ëíêÉëë= êÉëéçåëÉë= çÑ= îÉêíÉÄê~íÉë= ~åÇ= çíÜÉê çêÖ~åáëãëK qÜ~í= áë= ëçãÉíÜáåÖ= íÜ~í= ïÉ= áå= h~àìâÉåÄç= hçëÜç= oóì= ÅçåëáÇÉê= áå= çìê íê~áåáåÖ=ëÉëëáçåëI=ÄÉÅ~ìëÉ=íÜÉ=íÉÅÜåáèìÉë=~êÉ=ìëÉäÉëë=~í=íÜÉ=ãçãÉåí=çÑ=~ êÉ~ä= ÉåÅçìåíÉê= áÑ= ïÉ= ~êÉ= åçí= éëóÅÜçäçÖáÅ~ääó= éêÉé~êÉÇK= qÜÉêÉ= áë= ~= äçí= çÑ êÉÖáëíÉêÉÇ=áåÑçêã~íáçå=~Äçìí=ÖêÉ~í=ïçêäÇ=ÅÜ~ãéáçåëI=ïÜç=ÅçìäÇåDí=çê=ÇáÇåDí âåçï= Üçï= íç= êÉ~Åí= ÄÉÑçêÉ= ~å= ~êãÉÇ= ~ÖÖêÉëëáçå= çê= ëÉîÉê~ä= ~ëë~áä~åíëI ÄÉÅ~ìëÉ=íÜÉáê=mëóÅÜÉ=ï~ë=~ÅÅìëíçãÉÇ=íç=ëçãÉ=êìäÉë=çê=ÉíÜáÅ~ä=ëí~åÇ~êÇë íÜ~í=ëíçééÉÇ=íÜÉã=Ñêçã=êÉ~ÅíáåÖ=Ñçê=íÜÉ=êÉ~ëçåë=ãÉåíáçåÉÇ=~ÄçîÉK ^ää= íÜáë= ëÜçìäÇ= ÄÉ= êÉÖ~êÇÉÇ= áå= çìê= íê~áåáåÖ= ëÉëëáçåëI= çÑ= ÅçìêëÉI= íç= ~ ÅÉêí~áå= ÉñíÉåíK= pçãÉíÜáåÖ= áãéçêí~åí= áë= íÜÉ= Åçåíêçä= çÑ= íÜÉ= ~ÇêÉå~äáåÉ= êáëÉI ÄÉÅ~ìëÉ= áå= íÜÉ= ãçãÉåí= çÑ= íÜÉ= êÉ~ÅíáçåI= áí= Å~å= ëäçï= Ççïå= çìê= íÉÅÜåáèìÉë ~åÇ=êÉÑäÉñÉëI=~åÇ=ïÉ~âÉå=ìëI=ÇìÉ=íç=íÜÉ=ÜçêãçåÉ=çîÉêäç~Ç=áå=çìê=ÄçÇóK=fí ëÜçìäÇ= ÄÉ= ã~ñáãáòÉÇ= áå= éê~ÅíáÅÉ= ïáíÜ= éÉÉêë= ~åÇ= éìí= íÜÉ= ëíìÇÉåíë= áå ëíêÉëëÑìä= ëáíì~íáçåë= íç= íÜÉ= äáãáí= íç= ëÉÉI= äÉ~êå= íç= Åçåíêçä= íÜÉ= áåëíáåÅíëI= íÜÉ ãáåÇ=~åÇI=íÜêçìÖÜ=áíI=çìê=çêÖ~åáëãK tÜ~í=áë=íÜÉ=ìëÉ=çÑ=âåçïáåÖ=PMM=ÇáÑÑÉêÉåí=íÉÅÜåáèìÉëI=áÑ=ïÜÉå=íÜÉ=ãçãÉåí ÅçãÉë= ïÉ= Å~ååçí= ~ééäó= ~åó= çÑ= íÜÉã\= tÉ= ïçêâ= íÜÉ= êÉ~ÅíáçåI= íÜÉ= áåëíáåÅíI íÜÉ= Åçåíêçä= ~åÇI= ~ë= fDîÉ= ÉñéçëÉÇI= íÜÉ= ãáåÇ= ~åÇ= ëçãÉíÜáåÖ= íÜ~í= ïÉ= ÑçêÖÉí îÉêó=çÑíÉåW=íÜÉ=ëéáêáíK


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Kajukenbo


Kali is a very versatile and old system of fighting that includes empty hand as well as weapon training methods. It is a devastating Art unto itself, but when you add the Kyusho you become even more efficient, effective and advanced in disabling an opponent. Kali has always taught what is called "Gunting" for strikes to weaker aspects of the arms, in volume #1 the Kyusho added even greater potential and a perfect starting point for the Kyusho or Kali practitioner. Many arm destruction methods were demonstrated as well as Kyusho Knockouts using only the nerves of the arm. This second volume expands on these powerful Kyusho targets by working from the arm traps of volume #1 and demonstrating additional and even more powerful head targets for incapacitation of the opponent. This video compilation will bring you far more advanced skills, even if you do not practice Kali... the two methods were meant for each other. Several KO's are demonstrated so you can see the efficiency and affect Kyusho brings to Kali.

REF.: • DVD/KYUSHO 25 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com


What happens when two people practice Chi-Sao, what is the meaning of their practice and what the objectives? In this 3rd DVD, "Chi Sao from the base to an advanced level," Sifu Salvador SĂĄnchez addresses perhaps the most important aspect of Wing Chun: ChiSao, the soul of the system itself, which provides the practitioner with some special characteristics which are completely different from others, and gives him great virtues. This role deals with some aspects quite basic in principle, but as you delve into them, they'll be surprising to you. It is a very clear feature traditional Chinese culture; what it's very obvious at first glance, it nevertheless contains a second or third reading, which will surely change your approach, practice and understanding. We will discuss how to practice Chi Sao through our working drills and how to apply those drills, that ability in a sparring, linking certain concepts, perhaps not so much tied to traditional Kung Fu, such as biomechanics, structures, knowledge of physics, etc., in order to obtain better results in our practice.

REF.: • DVD/TAOWS3 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.

ORDERS: Budo international.com


Sifu Alfred Johannes Neudorfer and Sifu Rosa Ferrante Bannera, founders of Wing Tsun Universe - WTU, a movement which characterizes not by the use of techniques, but of qualities, exchanges, principles and concepts of movement - focus their first DVD in Siu Nim Tao (SNT) or "9 ways". The SNT is the basis of Wing Tsun, Wing Chun and WTU. The understanding thereof is the basic condition for everything that comes after, because if you observe the way people perform the sequences of this movement, you can easily deduce what they will be able to do. If something is wrong with the movement, everything the practitioner will later develop will be erroneous. WTU movements (forms) involve inherent functions from which can derive applications. The significance of the primary movements makes them derive in other movements and to generate applications based on the principles and interactions that help to their understanding. The WTU also incorporates an extra "set" its founders considered necessary due to the current circumstances. The DVD includes the Movement (form) Siu Nim Tao, its 9 sequences and applications, sequences 1 to 3 of the first movement with a training partner (Chi Sao) and a revealing interview with the founders of the WTU.

REF.: • DVD/WTU1

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

ORDERS: Budo international.com


KARATE SPIRIT & ATTITUDE The tip of the Karate iceberg is no doubt its physical part. But its reality is far from being just that tiny sample. While the "aptitude", with "p", is related to the level of skill, the Spirit of Karate has to do more with the "attitude", with "t". Today Salvador Herráiz brings us closer to some of the depths of a Karate suitable for a lifetime, whose benefits transform not only our body, but also our mind and spirit, along with our attitude. _ó=p~äî~Ççê=eÉêê•áòI=T⁄=a~å


Karate

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Opinion


Karate

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Opinion


Karate

Éîáäë=ëìÅÜ=~ë=~åÖÉêI=ÑÉ~êKKK=ëç=íÜ~í=ïÉ=~Åí=ÅçäÇäó=~åÇ ~ÇÉèì~íÉäó=áå=Ñêçåí=çÑ=~åó=ëíáãìäìë=ïáíÜ=ÖêÉ~í=ÑäìáÇáíó ~åÇ=ÅççêÇáå~íáçå=çÑ=ãçîÉãÉåíëK=tÜÉå=óçì=éê~ÅíáÅÉ ~åó= íÉÅÜåáèìÉ= êÉéÉíáíáîÉäóI= çîÉê= ~åÇ= çîÉêI= íÜÉêÉ ÅçãÉë= ~= íáãÉ= áå= ïÜáÅÜ= óçì= ~êÉ= åçí= íê~áåáåÖ= óçìê ÄçÇó=Äìí=óçìê=ãáåÇK ^= ÖççÇ= ò~åëÜáå= Eëí~íÉ= çÑ= ~äÉêíåÉëë= ~åÇ éêÉé~ê~íáçåF= ~åÇ= ÖççÇ= ÄêÉ~íÜáåÖ= ÄÉÅçãÉ= îáí~äI ~äíÜçìÖÜ= íÜÉ= ä~ííÉê= ãìëí= ÄÉ= ÅçêêÉÅíäó= éÉêÑçêãÉÇ= áå ~åó=çÑ=íÜÉ=íÜêÉÉ=é~êíë=íÜ~í=ïÉ=~êÉ=î~äìáåÖK=lÑ=ÅçìêëÉI áí=áë=ÅäçëÉäó=äáåâÉÇ=íç=íÜÉ=éÜóëáÅ~ä=çê=ÄçÇáäó=é~êíI=åç ÇçìÄíI=ëç=ÇáëÅáéäáåÉ=~åÇ=éÉêëÉîÉê~åÅÉ=ïáää=~äëç=ÜÉäé áíë=ÇÉîÉäçéãÉåíK=^í=ÅÉêí~áå=ãçãÉåíë=áíDë=êÉèìáêÉÇ=~ ãáåÇ=Éãéíó=çÑ=íÜçìÖÜíI=ëç=íÜ~í=áí=êÉ~Åíë=áåëíáåÅíáîÉäó ~åÇ=~ÇÉèì~íÉäó=íç=~åó=ëíáãìäìë=EÑìÇçÅÜá=çê=ãìëÜáåFK eáêçåçêá=lÜíëìâ~=ëÉåëÉá=ë~áÇ=íÜ~í=íÜÉ=Éîáäë=çÑ=j~êíá~ä ^êíë= ïÉêÉ= ~åÖÉêI= ÑÉ~êI= çîÉêÅçåÑáÇÉåÅÉI= ÅçåíÉãéíI= KKK ~åÇ=~ää=íÜáë=áë=íç=ÄÉ=ÑçìåÇ=áå=íÜÉ=ãÉåí~ä=~ëéÉÅí=çÑ=íÜÉ

éÉêëçåI= áå= Üáë= çê= ÜÉê= íÜçìÖÜíI= ~äíÜçìÖÜ= äçÖáÅ~ääó äáåâÉÇ=íç=íÜÉ=íÜáêÇ=é~êí=çÑ=çìê=oÉÑäÉÅíáçåëI=íÜÉ=ëéáêáíI íÜÉ=háK pefk= êÉÑÉêë= íç= íÜÉ= ëéáêáíI= îáêíìÉëI= áääìëáçåI= ãççÇI éÉêëçå~ä=ÉÑÑçêíKKK=qÜÉ=péáêáí=çÑ=h~ê~íÉ=Ü~ë=íç=Çç=ïáíÜ íÜÉ= éÜáäçëçéÜó= çÑ= äáÑÉI= íÜÉ= ï~ó= íç= ìåÇÉêëí~åÇ= çìê ÄÉÜ~îáçêK=qÜÉ=péáêáí=Ü~ë=íç=Çç=ïáíÜ=^qqfqrab=ê~íÜÉê íÜ~å=^mqfqrabI=~åÇ=íÜáë=áë=çÑíÉå=éççêäó=ìåÇÉêëíççÇ ~åÇ=ÇÉîÉäçéÉÇK qÜÉ= ëéáêáí= êÉÑÉêë= íÜÉêÉÑçêÉ= íç= íÜÉ= áåíÉåíáçå= ïáíÜ ïÜáÅÜ= ãçîÉãÉåíë= ~êÉ= ã~ÇÉI= íÜÉ= íÉÅÜåáèìÉëI= ïÜ~í ïÉ= ëÉÉâ= ïáíÜ= íÜÉ= éê~ÅíáÅÉ= çÑ= h~ê~íÉI= áå= íÜÉ= âáåÇäó ÜÉ~êí=çÑ=äçó~äíó=~åÇ=êÉëéÉÅíKKK qÜÉ=ïçêÇë=?íê~áåáåÖ?=~åÇ=?éê~ÅíáÅÉ?=Å~å=çÑÑÉêI=~åÇ áå= Ñ~Åí= íÜÉó= çÑÑÉêI= ÇáÑÑÉêÉåí= ëÉåë~íáçåë= çÑ= íÜÉ= ë~ãÉ ~Åíáîáíó= çê= íÜÉ= ï~ó= çÑ= Å~êêóáåÖ= çìí= íÜ~í= ~ÅíáîáíóK ?qê~áåáåÖ?=êÉÑÉêë=íç=~å=~Åíáîáíó=ÑçÅìëÉÇ=çå=áãéêçîáåÖ éÜóëáÅ~ääóK= ?mê~ÅíáÅÉ?= êÉÑÉêë= íç= íÜÉ= ÇÉîÉäçéãÉåí= çÑ


ëâáääë= ~åÇ= ~Åèìáëáíáçå= çÑ= âåçïäÉÇÖÉK= tçìäÇ= ïÉ ìåÇÉêëí~åÇ= íÜ~í= ~= ÅÜÉëë= éä~óÉê= ë~áÇ= ?fDã= ÖçáåÖ= íç íê~áå=ÅÜÉëë?\=kçI=êáÖÜí\=fí=ëÉÉãë=ãçêÉ=~ééêçéêá~íÉ=íç ë~ó= ?f= ~ã= ÖçáåÖ= íç= éê~ÅíáÅÉ= ÅÜÉëë?K= få= h~ê~íÉ ÑìêíÜÉêãçêÉI=Äó=áåÅäìÇáåÖ=ÜáëíçêáÅ~ä=~åÇ=éÜáäçëçéÜáÅ~ä âåçïäÉÇÖÉI= ÉîÉå= íÜÉ= ìëÉ= çÑ= íÜÉ= ïçêÇ= ?ëíìÇó?= ëÉÉãë ~ééêçéêá~íÉK lå= íÜÉ= çíÜÉê= Ü~åÇI= íê~áåáåÖ= áë= ~ëëçÅá~íÉÇ= ïáíÜ= íÜÉ éÉêÑçêã~åÅÉ= çÑ= íÜÉ= ~Åíáîáíó= ~ë= ~= ãÉ~åë= íç= ~ÅÜáÉîÉ= ~ ëéÉÅáÑáÅ= éìêéçëÉ= Eíç= ã~å~ÖÉ= íç= ÑáåáëÜ= ~= ã~ê~íÜçåI= íç èì~äáÑó= áå= ëìÅÜJ~åÇJëìÅÜ= ÅÜ~ãéáçåëÜáéI= íç= çÄí~áå= ~ ëéÉÅáÑáÅ= ÇÉÖêÉÉKKKFK= mê~ÅíáÅÉ= áë= ~ëëçÅá~íÉÇ åÉîÉêíÜÉäÉëë= ïáíÜ= íÜÉ= Ñ~Åí= çÑ= Å~êêóáåÖ= áí= çìí= Äó= íÜÉ ãÉêÉ= Ñ~Åí= çÑ= íÜÉ= ë~íáëÑ~Åíáçå= áí= éêçÇìÅÉë= áå= ìëK mê~ÅíáÅÉ= áë= ëçãÉíÜáåÖ= ãçêÉ= êÉÅêÉ~íáçå~äK= qÜÉ= ÉåÇ= çÑ íÜÉ= ?éê~ÅíáÅÉ?= çÑ= h~ê~íÉ= áë= íÜÉ= éê~ÅíáÅÉ= áíëÉäÑ= ~åÇ ÉåàçóãÉåí=ïáíÜ=áíK qê~áåáåÖ=áë=íç=íêó=íç=ïêáíÉ=áå=ÄäçÅâ=éêáåí=äÉííÉêëI=ïÜáäÉ éê~ÅíáÅÉ=áë=íç=ïêáíÉ=ïáíÜ=çìê=éÉêëçå~äáòÉÇ=Ü~åÇïêáíáåÖI ïáíÜçìí= áåíÉåÇáåÖ= íÜ~í= áí= áë= íÜÉ= ë~ãÉ= ~ë= ~åçíÜÉêI ïáíÜçìí= íêóáåÖ= íç= ã~âÉ= áí= éÉêÑÉÅíI= ~åÇ= J= áÑ= f= ã~ó= ÄÉ ~ääçïÉÇ=~=ëã~ää=àçâÉ=J=ïáíÜçìí=ÉîÉå=íêóáåÖ=íÜ~í=áí=Å~å ÄÉ= ìåÇÉêëíççÇ= Äó= ~åóçåÉK= tÉ= ÅçìäÇ= ë~ó= íÜ~í ?qê~áåáåÖ?=ÅçìäÇ=ÄÉ=êÉä~íÉÇ=íç=íóéÉïêáíáåÖ=Äó=áãéçêíáåÖ çåäó= íÜÉ= ÅçåíÉåíI= ïÜáäÉ= ?éê~ÅíáÅÉ?= ïçìäÇ= êÉä~íÉ= íç


Karate

Ü~åÇïêáíáåÖI= ïÜÉêÉ= ÑÉÉäáåÖ= ~åÇ= éÉêëçå~äáíó= ~êÉ= ~äëç áãéçêí~åí=~åÇ=ïÜÉêÉ=ÉîÉå=ëçãÉ=Å~ääáÖê~éÜáÅ=áãéÉêÑÉÅíáçåë ïçìäÇ= åçí= ã~ííÉê= Eåçí= íÜÉ= çêíÜçÖê~éÜáÅ= çåÉëI= ëáåÅÉ= íÜÉëÉ ïçìäÇ= ~äêÉ~Çó= ÄÉI= ã~áåí~áåáåÖ= íÜÉ= Åçãé~êáëçåI= íÉÅÜåáÅ~ä Ñ~áäìêÉëFK qÜÉ= ï~ó= çÑ= ëéÉ~âáåÖ= Eåçí= ïÜ~í= ïÉ= ë~ó= Äìí= íÜÉ= ï~ó= ïÉ ë~ó=áíI=åçí=íÜÉ=ÅçåíÉåí=Äìí=íÜÉ=ÑçêãF=~åÇ=íÜÉ=ÉñéêÉëëáçå=çÑ íÜÉ= Ñ~ÅÉI= KKK= ÇÉåçíÉ= çìê= ~ííáíìÇÉK= mêÉéçíÉåÅóI= êÉëéÉÅíI ëï~ÖÖÉêKKK==~êÉ=éÉêÅÉáîÉÇ=áå=íÜáë=íóéÉ=çÑ=Ü~ÄáíëK=^äëç=áå=íÜÉ ÄçÇáäó= ~ííáíìÇÉ= ïÜÉå= ï~äâáåÖI= ëáííáåÖ= KKK= ~åÇ= ÉîÉå= ïÜÉå éçëáåÖ=áå=éÜçíçÖê~éÜëI=ïÜÉêÉ=óçì=Å~å=~Ççéí=éçëíìêÉë=íÜ~í ~äíÜçìÖÜ= íÜÉó= ãáÖÜí= íê~åëãáí= óçìê= ëÉäÑJÅçåÑáÇÉåí= áí åÉîÉêíÜÉäÉëë= ã~ó= ~äëç= ÇÉåçíÉ= å~íìê~äåÉëë= ~åÇ= Üìãáäáíó

EÑ~ääÉå=~êãëI=ÅäçëÉÇ=ÑáëíëI=ÅçåÅÉåíê~íÉÇ=ÉñéêÉëëáçåI=KKK=íÜÉó íê~åëãáí=íê~åèìáäáíó=~åÇ=Å~äã=~äçåÖ=ïáíÜ=ëÉÅìêáíóFI=çê=çå=íÜÉ Åçåíê~êó= E~êãë= ÅêçëëÉÇ= ~í= íÜÉ= ÅÜÉëí= äÉîÉäI= ÉñéêÉëëáçå= çÑ ÉñÅÉëëáîÉ= ~åÇ= ìååÉÅÉëë~êó= ëÉêáçìëåÉëëI= KKK= íÜ~í= ëÉÉãë= íç ëÉÉâ=ÅçåÑêçåí~íáçåI=ÅÜ~ääÉåÖÉI=ìäíáã~íÉäó=íç=Å~ìëÉ=ÑÉ~êFK få= ÖÉåÉê~äI= íÜÉêÉÑçêÉI= óçì= Å~å= ä~Åâ= ëçãÉ= î~äìÉë= ~åÇ= ÄÉ ÖççÇ= áå= çíÜÉêëI= ~äíÜçìÖÜ= íÜáë= ïçìäÇ= ÄÉI= Ñêçã= íÜÉ= éçáåí= çÑ îáÉï=çÑ=~å=~ìíÜÉåíáÅ=~åÇ=ÅçãéäÉíÉ=h~ê~íÉI=äáâÉ=~=ÄáêÇ=ïáíÜ=~ ëáåÖäÉ= ïáåÖI= äáâÉ= h~í~= ïáíÜçìí= hìãáíÉ= EìåÇÉêëíççÇ= ~ë íÉÅÜåáèìÉë=áå=é~áêëF=çê=hìãáíÉ=ïáíÜçìí=h~í~K=pç=óçì=Å~å=ÄÉ ~= ÖççÇ= h~ê~íÉ= éÉêÑçêãÉê= E~ë= Ñ~ê= ~ë= íÜÉ= éÜóëáÅ~äJíÉÅÜåáÅ~ä é~êí=áë=áåîçäîÉÇF=~åÇ=óÉí=ÄÉ=~=Ä~Ç=â~ê~íÉâ~=EÑçê=íÜÉ=ä~Åâ=çÑ ~=ÅçêêÉÅí=ëéáêáíFK


Opinion


Karate

qÜÉ= ëéáêáí= êÉÑÉêë= ãçêÉ= íç= ~å= áååÉê= Öç~ä= íÜ~í ÉåêáÅÜÉë= ìë= éÉêëçå~ääó= ~åÇ= ã~âÉë= ìë= Ü~ééó= ïáíÜ ïÜ~í= ïÉ= ÇçI= ïÜáÅÜ= ïáää= ÖáîÉ= ìë= ~= íê~åèìáäáíó= ~åÇ ÉåàçóãÉåí=EeÉáÜçFK=qÜ~íDë=ïÜó=hÉåÉá=j~Äìåá=ë~óë íÜ~í=?h~ê~íÉ=áë=wÉå=áå=ãçîÉãÉåí?I=ÄÉÅ~ìëÉ=ïÜ~í=áí êÉ~ääó= ëÉÉâë= áë= íÜ~í= ëí~íÉ= çÑ= ÇÉÉé= Å~äã= ~åÇ= áååÉê Ä~ä~åÅÉK= ^åÇ= áí= Å~å= ÄÉ= ëÉÉå= áå= íÜÉ= äççâI= áå= íÜÉ ÉñéêÉëëáçå= çÑ= íÜÉ= Ñ~ÅÉKKK= lÜíëìâ~= ~äëç= ë~áÇ= íÜ~í ?íÜÉ=ÉóÉë=~êÉ=íÜÉ=ïáåÇçïë=çÑ=íÜÉ=ÜÉ~êí?K ^= h~ê~íÉâ~= ãìëí= ìåÇÉêëí~åÇ= íÜ~í= íÉÅÜåáèìÉ ÇçÉë= åçí= ëÉÉâ= ëÜçïáåÉëë= çê= ~ÉëíÜÉíáÅëK= få= ~åó Å~ëÉI= ëìÅÜ= Ñ~Åíçêë= ~êÉ= ~= ÅçåëÉèìÉåÅÉ= çÑ ãçîÉãÉåíë= éÉêÑçêãÉÇ= ïáíÜ= êÜóíÜãI= Ä~ä~åÅÉI éçïÉêI= ëéÉÉÇKKK= íÜ~í= ÖáîÉ= íÜÉã= ëçãÉ= Öê~ÅÉ= ~åÇ ÉäÉÖ~åÅÉK= _ìí= íÜ~í= áë= åÉîÉê= áíë= Öç~äK= qÜÉêÉÑçêÉI= f íÜáåâ= íÜ~í= áí= ëÜçìäÇåDí= ÄÉ= àìëíáÑáÉÇI= ãìÅÜ= äÉëë ~ééä~ìÇÉÇI= íÜÉ= éê~ÅíáÅÉ= çÑ= â~ê~íÉ= ïáíÜ= ÅäÉ~êäó ÉêêçåÉçìë= íÉÅÜåáÅ~ä= ÉñÅÉëëÉëI= ÜçïÉîÉê= ãìÅÜ íÜÉó=áåÅêÉ~ëÉ=ëçãÉÜçï=íÜÉ=ÇáÑÑáÅìäíóK=k~íìê~äåÉëëI ÉÑÑÉÅíáîÉåÉëëI= íê~ÇáíáçåI= íÉÅÜåáÅ~ä= ÑáÇÉäáíóKKK= íÜÉëÉ ~êÉ= íÜÉ= êÉ~ä= Ñ~Åíçêë= íÜ~í= ãìëí= ÄÉ= í~âÉå= áåíç ~ÅÅçìåíK= f= ~ã= çéÉåäó= ~Ö~áåëí= íÜÉ= ëçJÅ~ääÉÇ ?éÉêëçå~ä= ÇÉîÉäçéãÉåíë?= áå= h~í~I= ïÜáÅÜ= ~êÉ ëáãéäó= ~= ëçêí= çÑ= ?~åóíÜáåÖ= ÖçÉë?= íÜ~í= Çáëíçêíë éçëáíáçåë=~åÇ=ãçîÉãÉåíëK=f=ëáåÅÉêÉäó=ÄÉäáÉîÉ=íÜ~í áí=áë=íÜÉ=ïçêëí=ï~ó=íç=ë~ÑÉÖì~êÇ=íÜÉ=ÅÜ~ê~ÅíÉêáëíáÅë çÑ=~=ëíóäÉI=àìëí=~ë=óçì=Å~ååçí=ë~ÑÉÖì~êÇ=íÜÉ=çêáÖáåI ÅÜ~ê~ÅíÉêáëíáÅë=~åÇ=ê~áëçå=ÇDÆíêÉ=çÑ=~=ä~åÖì~ÖÉ=Äó ~ääçïáåÖ= íç= ïêáíÉ= ïáíÜ= ëéÉääáåÖ= ãáëí~âÉë= çê éÉêãáííáåÖ=~åÇ=~ÅÅÉéíáåÖ=åçåJÉñáëíÉåí=ïçêÇëKKK=Äó íÜÉ=ãÉêÉ=Ñ~Åí=íÜ~í=íÜÉêÉ=~êÉ=éÉçéäÉ=ïÜç=ìëÉ=íÜÉãK ^Åíì~ääó= íÜÉêÉ= Ü~îÉ= ~äï~óë= ÄÉÉå= ?éÉêëçå~ä ÇÉîÉäçéãÉåíë?I= ÜÉåÅÉ= íÜÉ= ÉñáëíÉåÅÉ= çÑ= ÇáÑÑÉêÉåí ëíóäÉë= áå= h~ê~íÉI= Äìí= áå= íÜÉ= é~ëíI= ëìÅÜ ÇÉîÉäçéãÉåíë= ïÉêÉ= ã~ÇÉ= Äó= ÖêÉ~í= ëÉåëÉá= çê ëÜáÜ~å= ïÜç= ÜÉäÇ= ~å= UíÜ= çê= ~= VíÜ= a~å= äÉîÉäI= Äìí åçï= íÜáë= áë= ÇçåÉ= Äó= ~åó= ëÉåëÉá= çÑ= ÇáëÅêÉÉí= ê~åÖÉ çê=ÉîÉå=Äó=~=ãçêÉ=çê=äÉëë=çìíëí~åÇáåÖ=éìéáäK péçêíë=ÅçãéÉíáíáçå=~åÇ=íÜ~í=èìÉëí=Ñçê=~=ÖêÉ~íÉê ~êíáÑáÅá~ä= ëÜçï= çÑÑ= ~êÉ= é~êíäó= êÉëéçåëáÄäÉ= çÑ= ~ää= íÜáë ä~Åâ= çÑ= íÉÅÜåáÅ~ä= ÅçåíêçäK= mêçÄ~Ääó= ã~åó= çÑ= ìë ïçìäÇ=~ÖêÉÉ=ïáíÜ=ëéçêíë=h~ê~íÉ=éêçîáÇÉÇ=íÜÉ=íêìÉ ëéáêáí=çÑ=j~êíá~ä=^êí=ï~ë=ã~áåí~áåÉÇK=fí=ëÉÉãë=íç=ÄÉ êáÖÜí= Äìí= KKK= f= ÑáåÇ= áí= îÉêó= ÅçãéäáÅ~íÉÇ= íç= ÖÉí= íÜ~íK= fíDë= ~äãçëí= äáâÉ= ë~óáåÖ= íÜ~í= åçíÜáåÖ Ü~ééÉåë=àìãé=çÑÑ=~=RíÜ=ÑäççêI=~ë=äçåÖ=~ë=óçì=Åçåíêçä=íÜÉ=Ñ~ää=ïÜÉå=óçì=Üáí=íÜÉ=ÖêçìåÇ>>> jçêÉçîÉêI= Éñ~ÖÖÉê~íáçåë= áå= êÜóíÜãI= ÄêÉ~íÜáåÖI= ÉíÅKI= ~êÉ= åçí= ÜÉ~äíÜó= Ñçê= íÜÉ= éÉêëçåK píìÇáÉë=ÇÉãçåëíê~íÉ=íÜ~í=ã~åó=éê~ÅíáíáçåÉêë=çÑ=ÜáÖÜJäÉîÉä=h~í~=ÅçãéÉíáíáçå=~êÉ=ãçêÉ äáâÉäó=íç=Ü~îÉ=ÅÉêí~áå=ÜÉ~êí=~áäãÉåíë=êÉä~íÉÇ=íç=íÜÉ=ëìéÉê=ÅçåÅÉåíê~íÉÇ=~åÇ=ÉñÅÉëëáîÉäó ëÜ~êé= ÄêÉ~íÜáåÖ= ìëÉÇ= áå= éÉêÑçêãáåÖ= íÜáë= íóéÉ= çÑ= ÑçêãëK= qÜÉ= íóéÉ= çÑ= h~í~= ìëÉÇ= áå íê~Çáíáçå~ä=lâáå~ï~å=h~ê~íÉ=áåëíÉ~ÇI=ã~ó=ä~Åâ=ëçãÉ=éÜóëáÅ~ä=~åÇ=~ÉëíÜÉíáÅ=ëÜçïáåÉëëI Äìí= áíDë= ãìÅÜ= ÜÉ~äíÜáÉêI= ïáíÜ= áíë= E~äëç= áå= íÜáë= Å~ëÉF= ãçêÉ= å~íìê~ä= ÄêÉ~íÜáåÖ= áå ÅçåÅÉåíê~íáçåI= êÜóíÜãKKK= bîÉå= íÜÉ= ëÜçìí= ÇìêáåÖ= h~í~= çê= hìãáíÉ= EïÜÉíÜÉê= fééçåI p~åÄçåI=háÜçåI=_ìåâ~áI=v~âìëçâìI=ÉíÅKKKF=áë=Éñ~ÖÖÉê~íÉÇ=áå=íÜÉ=ëÉ~êÅÜ=çÑ=ëÜçïáåÉëë=çê ïáíÜ=íÜÉ=áåíÉåíáçå=çÑ=éêáåíáåÖ=~=ëçêí=çÑ=~êíáÑáÅá~ä=é~ê~éÜÉêå~äá~=íç=íÜÉ=íÉÅÜåáèìÉK=fí=áë=ïÉää âåçïå= íÜ~í= íÜÉ= ëÜçìí= áåÅäìÇÉÇ= áå= há~á= EëéÉÅá~ä= áåíÉåíáçå= éìí= áå= ÅÉêí~áå= íÉÅÜåáèìÉë= íç ?ìåáíÉ=éÜóëáÅ~ä=~åÇ=ãÉåí~ä=ÉåÉêÖáÉë?FI=ïáíÜ=íÜÉ=éê~ÅíáÅÉ=çÑ=ã~åó=óÉ~êëI=ãìëí=ÇáãáåáëÜ Öê~Çì~ääó= áå= áíë= ÉñíÉêå~ä= áåíÉåëáíóI= íÉåÇáåÖ= íç= ÄÉÅçãÉ= ïÜ~í= áë= âåçïå= ~ë= jì= åç= há~á EãìíÉ= há~áFI= áå= ïÜáÅÜ= áíDë= Ä~êÉäó= éÉêÅÉéíáÄäÉ= ~å= ÉñÜ~ä~íáçå= çÑ= ~áê= çÑ= Öê~îÉ= íçåÉI= ãçêÉ áåíÉêáçê= ~åÇ= å~íìê~äK= bñ~Åíäó= áå= íÜÉ= ë~ãÉ= ï~ó= íÜ~í= çíÜÉê= _ìÇç= ^êíëI= ïÜáÅÜ= ëÉÉâ= ëìÅÜ


Opinion


Karate

áåíÉêå~äáò~íáçå= Ñêçã= íÜÉ= ÄÉÖáååáåÖ= çÑ= íÜÉáê= éê~ÅíáÅÉI= äáâÉ f~áJÇçI=ÉíÅK iÉíDë=ÅçåíáåìÉ=ïáíÜ=^ííáíìÇÉ=~åÇ=ëéçêí=ÅçãéÉíáíáçåK=qÜÉ ï~ó=çÑ=ÅÉäÉÄê~íáåÖ=~å=fééçå=áå=ÅçãéÉíáíáçå=áë=~Ö~áåëí=íÜÉ ïÜçäÉ= ëéáêáí= çÑ= h~ê~íÉK= f= êÉãÉãÄÉê= ïÜÉå= ãçêÉ= íÜ~å= QM óÉ~êë= ~Öç= ïÉ= ïÉêÉ= í~ìÖÜí= íÜ~í= íÜÉ= ÇáÑÑÉêÉåÅÉ= ÄÉíïÉÉå= ~ ã~å=çÑ=?aç?=~åÇ=~=ã~å=Ñêçã=çìíëáÇÉ=ï~ë=íÜ~í=íÜÉ=ä~ííÉê ÅÉäÉÄê~íÉÇ= íÜÉ= ~ÅÜáÉîÉãÉåí= çÑ= É~ÅÜ= ÇÉÖêÉÉ= áåÅêÉ~ëáåÖ íÜ~í= ÅÉäÉÄê~íáçå= ~ë= Üáë= ÇÉÖêÉÉë= áåÅêÉ~ëÉÇK= tÜÉå= ~= ?aç ã~å?=êÉÅÉáîÉÇ=Üáë=Nëí=a~å=ÜÉ=ÄçïÉÇ=Üáë=ÜÉ~Ç=áå=~=ëáÖå=çÑ êÉëéÉÅí= ~åÇ= Öê~íáíìÇÉ= ~åÇ= ïÉåí= ÜçãÉ= èìáÉíäóK= tÜÉå= ÜÉ êÉÅÉáîÉÇ= íÜÉ= OåÇ= a~å= ÜÉ= áåÅäáåÉÇ= íÜÉ= íêìåâ= ~åÇ= ïÉåí ÜçãÉ= ïáíÜçìí= ~åó= ÅÉäÉÄê~íáçåI= ~åÇ= ëç= çå= ïáíÜ= ÖêÉ~íÉê Öê~íáíìÇÉ= ~åÇ= ÇáëÅêÉíáçå= íç= ~= ÖêÉ~íÉê= ÇÉÖêÉÉK= qÜÉ çééçëáíÉ=áë=~å=~ííáíìÇÉ=åçí=áå=~ÅÅçêÇ~åÅÉ=ïáíÜ=íÜÉ=açK qÉÅÜåáÅ~ä= Ççë~ÖÉ= áë= îÉêó= áãéçêí~åí= áå= äÉ~êåáåÖ= h~ê~íÉ ïÜÉå= áí= áë= ìåÇÉêëíççÇ= ~ë= ~= ?åç= êìëÜ?= éê~ÅíáÅÉ= ~åÇ= Ñçê= ~ äáÑÉíáãÉK= fí= áë= íÜÉ= ÄÉëí= ï~ó= íç= ~ëëáãáä~íÉ= éêçéÉêäó= ~ää= íÜÉ âåçïäÉÇÖÉ=~åÇ=ëíêÉåÖíÜÉå=áíë=éê~ÅíáÅÉ=Äó=~ìíçã~íáåÖ=áí=áå çìê=Äê~áå=~åÇ=áå=çìê=ÄçÇóX=~äëç=áíDë=~=ï~ó=íç=ï~êÇ=çÑÑ=íÜÉ éçëëáÄäÉ= ÄçêÉÇçã= íÜ~í= Å~å= äìêâ= áå= ~åó= ~Åíáîáíó= ~ÑíÉê ëÉîÉê~ä= óÉ~êë= çÑ= éê~ÅíáÅÉK= açë~ÖÉ= êÉèìáêÉë= íÜÉ= Åçåëí~åí ~åÇ=Öê~Çì~ä=áåíêçÇìÅíáçå=çÑ=åÉï=íÉ~ÅÜáåÖë=~åÇ=éê~ÅíáÅÉëX çÑ=ÅçìêëÉI=çåäó=ïÜÉå=íÜÉ=éêÉîáçìë=çåÉë=Ü~îÉ=ÄÉÉå=ëçäáÇäó ëÉííäÉÇ= ÇçïåK= _ìí= áë= åçí= çåäó= íÜÉ= ~ãçìåí= çÑ= âåçïäÉÇÖÉ ïÜ~í= ã~ííÉêëI= Äìí= ~äëç= íÜÉ= çêÇÉê= áå= ïÜáÅÜ= íÜÉó= ~êÉ êÉÅÉáîÉÇI=íÜ~í=áëI=íÜÉ=éêçéÉê=éêçÖêÉëëáçåK qÜÉ= çêÇÉê= çÑ= äÉ~êåáåÖ= áë= ~äëç= áãéçêí~åíI= ëáåÅÉ= h~í~ ÑçêãëI= Ñçê= Éñ~ãéäÉI= ÇÉîÉäçé= ëéÉÅáÑáÅ= ëâáääëI= ëç= áÇÉ~ääóI íÜÉó= ëÜçìäÇ= ÄÉ= äÉ~êåí= ~åÇ= éê~ÅíáÅÉÇ= ïÜÉå= éçëáíáçåëI ëÜáÑíáåÖ= ãçîÉãÉåíë= çêI= áå= ÖÉåÉê~äI= íÜÉ= ÉëëÉåÅÉ= çÑ= É~ÅÜ h~í~= áå= ÉîÉêó= Å~ëÉ= Ü~ë= ~äêÉ~Çó= ÄÉÉå= éêÉÇáëéçëÉÇ= áå= íÜÉ éêÉîáçìë= ÑçêãëK= líÜÉêïáëÉ= íÜÉ= ïÜçäÉ= éê~ÅíáÅÉ= ã~ó= Öç= íç ï~ëíÉ= ÄÉÅ~ìëÉ= çÑ= íÜÉáê= ä~Åâ= çÑ= ìåÇÉêëí~åÇáåÖ= çê= ä~Åâ= çÑ Ä~ëáëK= b~ÅÜ= âåçïäÉÇÖÉ= ~åÇ= éê~ÅíáÅÉ= ãìëí= ëÉííäÉ= çå= íÜÉ éêÉîáçìë=çåÉ=áå=áíë=äçÖáÅ~ä=çêÇÉêI=ëç=íÜ~í=íÜÉó=Ñçêã=~=ëçäáÇ ï~ääK=páãéäó=áã~ÖáåÉ=íÜ~í=ïÜÉå=ïÉ=~êÉ=ÄìáäÇáåÖ=~=ï~ää=çÑ ÄêáÅâ= ~åÇ= ÅÉãÉåíI= ïÉ= âÉÉé= ëìééçêíáåÖ= åÉï= éáÉÅÉë= çå íÜçëÉ= íÜ~í= ~êÉ= ëíáää= ëçÑí= ~åÇ= íÜÉêÉÑçêÉ= Ñê~ÖáäÉK= tÜ~í= ïáää= áí Ü~ééÉå\=tÉääI=áí=ïáää=Ü~ééÉå=íÜ~í=ÄêáÅâë=ïçåDí=ëÉííäÉ=Ççïå éêçéÉêäó=~åÇ=íÜÉ=ï~ää=ïáää=ëí~êí=íïáëíáåÖI=ÅêìãÄäáåÖ=çê=ÉîÉå Ñ~ääáåÖ=ÇÉÑáåáíáîÉäó=ÇçïåK=få=íÜÉ=ë~ãÉ=ï~óI=íÜÉ=äÉ~êåáåÖ=çÑ h~ê~íÉ= ãìëí= ÄÉ= ÇçëÉÇ= ~åÇ= áå= ÅçêêÉÅí= éêçÖêÉëëáçåK bîÉêóíÜáåÖ=Ü~ë=~å=çêÇÉê=~åÇ=~=ãçíáîÉK


Opinion


Kung Fu

MEGA Event 2016 The calendar of the KUNG FU SCHULE MARTIN SEWER has been for years filled with memorable seminars, events and competitions which take place around the world. A special event comes back over the years: "The event of the year". Here I am thinking about the visit of my Master at the beginning of the year or about our MEGA Event, during which we celebrate, among others things, my birthday. The truth is that today I cannot say which event is now effectively our biggest or most important on our annual calendar. However one thing is certain: this year's MEGA Event was the greatest one that my students have ever organized.


Kung Fu


~ëí=óÉ~ê=ïÉ=ëí~êíÉÇ=íÜÉ=jbd^=bîÉåí=áå=íÜÉ ~ÑíÉêåççå= Äó= ÅçåÇìÅíáåÖ= î~êáçìë= ëÉãáå~êë Ñçê= íÜÉ= ÉîÉåíDë= é~êíáÅáé~åíëK= fí= ï~ë= ëìÅÜ= ~ ëìÅÅÉëë>= tÉ= éêÉîáçìëäó= áåîáíÉÇ= ÖìÉëíë= çÑ Üçåçìê= ~ë= Ñçê= Éñ~ãéäÉ= páÑì= ^åíçåáç= páÉêê~ dçãÉë= Ñêçã= dÉêã~åóK= qÜáë= óÉ~ê= ïÉ ï~åíÉÇ= íç= Öç= ~= ëíÉé= ÑìêíÜÉêW= ïÉ= áåîáíÉÇ= páÑì= oçÖÉê píìíò= Ñêçã= iìòÉêå= EpÜ~çäáå= kçêÇëíáäF= ~ë= ïÉää= ~ë= páÑì `ä~ìÇáç= c~ÄÄêáÅ~íçêÉ= Ñêçã= oçãÉ= EpÉîÉåJpí~ê= mê~óáåÖ j~åíáëF= åçí= çåäó= ~ë= çìê= ÖìÉëíë= çÑ= Üçåçìê= Äìí= ~äëç= íç ÖáîÉ= ëÉãáå~êë= ÇìêáåÖ= íÜÉ= ~ÑíÉêåççåK= pìÅÜ= ÉîÉåíë= ~êÉ íê~Çáíáçå~ääó= áãéçêí~åí= Ñçê= íÜÉ= ÑêáÉåÇëÜáéë= ~ãçåÖ= ìë j~ëíÉêë= ~åÇ= ÉëëÉåíá~ä= Ñçê= ëÜ~êáåÖ= ÉñéÉêáÉåÅÉK= f= ï~ë îÉêó= Ü~ééó= íç= ëÉÉ= ãó= ëíìÇÉåíë= êÉÑäÉÅí= ~åÇ= íÜáåâ= çîÉê íÜÉ= åÉï= íÉÅÜåáèìÉë= ëÜçïå= ÇìêáåÖ= íÜÉ= ëÉãáå~êK= pçãÉ çÑ= íÜÉëÉ= íÉÅÜåáèìÉë= ïÉêÉ= ÇáëÅìëëÉÇ= Ç~óë= ~ÑíÉê= íÜÉ ëÉãáå~ê= ÇìêáåÖ= çìê= äÉëëçåëK= råÑçêíìå~íÉäóI= ÇìÉ= íç ÜÉ~äíÜ=êÉ~ëçåëI=çìê=íÜáêÇ=ÖìÉëí=çÑ=ÜçåçìêI=páÑì=a~ãá~å jçÜäÉê=Ñêçã=_~ëÉä=ÅçìäÇ=åçí=~ííÉåÇ=íÜÉ=jbd^=bîÉåíK låÉ= çÑ= ãó= ãçëí= ÉñéÉêáÉåÅÉÇ= áåëíêìÅíçêI= wç= d~~ì háí~êç=t~Ö~=EPK=a~åF=ÜÉäéÉÇ=ìë=íç=Ñáää=íÜáë=~ÄëÉåÅÉ=Äó êÉéêÉëÉåíáåÖ= çìê= çïå= ëíóäÉ= ~åÇ= Ö~îÉ= ÜáãëÉäÑ= ~ ëÉãáå~êK=qÜÉ=ëÉãáå~êë=ïÉêÉ=ëç=áåíÉêÉëíáåÖ=íÜ~í=íÜÉ=íïç Üçìêë=ÑäÉï=êáÖÜí=~ï~óK=_ÉÑçêÉ=íÜ~í=íÜÉ=é~êíáÅáé~åíë=Ü~Ç íáãÉ= íç= åçíáÅÉ= áíI= áí= ï~ë= ~äêÉ~Çó= NTWMM= ~åÇ= íÜÉêÉÑçêÉ íáãÉ=Ñçê=íÜÉ=åÉñí=é~êí=çÑ=íÜÉ=jbd^=bîÉåíW=íÜÉ=Ö~ä~K qÜÉ= ~éÉêáíáÑ= ëí~êíÉÇ= ~í= NUWMM= áå= íÜÉ= äçÄÄó= áå= Ñêçåí= çÑ íÜÉ=ã~áå=Ü~ääK=^ë=ìëì~äI=íÜÉ=ëíìÇÉåíë=~åÇ=ÖìÉëíë=Å~ãÉ áãéÉÅÅ~Ääó= ÇêÉëëÉÇ= ~åÇ= ëí~êíÉÇ= íç= ÅÜ~í= ïáíÜ= É~ÅÜ çíÜÉê= ~åÇ= àçáåÉÇ= íÜÉ= Ö~ä~Dë= ãççÇK= qÜÉ= Çççêë= çÑ= íÜÉ ã~áå= Ü~ää= çéÉåÉÇ= ~äêÉ~Çó= ~í= NVWMM= íçÖÉíÜÉê= ïáíÜ= íÜÉ Äçñ= çÑÑáÅÉI= ïÜáÅÜ= çÑÑÉêÉÇ= É~ÅÜ= çÑ= íÜÉ= NQM= ÖìÉëí= íÜÉ çééçêíìåáíó= íç= í~âÉ= áåÇáîáÇì~ä= éáÅíìêÉëK= ^ÑíÉê= íÜÉ íê~Çáíáçå~ä=çéÉåáåÖ=ïáíÜ=íÜÉ=iáçåDë=Ç~åÅÉ=~ë=ïÉää=~ë=~ ëÜçêí= ëéÉÉÅÜ= Ñêçã= ãóëÉäÑI= íÜÉ= ÉîÉåáåÖDë= éêçÖê~ããÉ ëí~êíÉÇW=íÜÉ=ëÅÜççäë=ïÉêÉ=éêÉëÉåíÉÇ=áåÅäìÇáåÖ=ëçãÉ=çÑ íÜÉáê= âÉó= Ç~í~K= tÉ= ~êÉ= åçï= ïáíÜ= çîÉê= SRM= ëíìÇÉåíë ÄáÖÖÉê= íÜ~å= ÉîÉêI= ~åÇ= ~ë= ëÜçïå= áå= íÜÉ= éêÉëÉåí~íáçåI ïÉ= ÅçìäÇ= áå= OMNS= ~äëç= ~ÅÜáÉîÉ= ëáÖåáÑáÅ~åí= ëìÅÅÉëë= áå çíÜÉêë=~ëéÉÅíëI=ëìÅÜ=~ë=áå=ÅçãéÉíáíáçåë=~ë=ïÉää=~ë=áå íÜÉ=ÇÉîÉäçéãÉåí=çÑ=éêçëéÉÅíáîÉ=áåëíêìÅíçêëK=cáå~ääó=íÜÉ i~á= pá= ÅÉêÉãçåó= ï~ë= ÜÉäÇI= ïÜáÅÜ= çÑÑÉêë= íÜÉ çééçêíìåáíó= íç= É~ÅÜ= ëíìÇÉåí= ~åÇ= É~ÅÜ= ÖìÉëí= íç

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Kung Fu


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Kung Fu


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Kung Fu


“LIMITATIONS� by Grandmaster John Pellegrini

Two months ago I had surgery to repair a full tear in my rotator cuff. For those of you who skipped anatomy classes in school, the rotator cuff is a group of muscles and their tendons connecting the arm to the shoulder. Injuries to this area are very common in sports and athletic activities (or other stupid things like unloading boxes!).


Grandes Maestros


Every year, in the USA, 2 million people visit the doctor for some form of rotator cuff damage. For a Martial Artist who specializes in hand techniques, injury to this area is a serious disabling condition but not because of the surgery itself.

he worst part is the long and painful period of recovery and rehabilitation. After the surgery, my doctor told me that I could not train or teach for about 9 to 12 months. I should only do the prescribed daily therapy exercises to slowly regain my full mobility, flexibility and strength. I was not happy to hear those instructions and I also knew that I would have to find some way around the problem, some kind of compromise. My seminars are booked one year in advance and involve detailed planning such as booking flights, reserving a facility, hotels, advertising, etc.. Most of these preparations are done months in advance and cannot be changed or canceled without incurring great expenses and inconveniences to many people. So I told the doctor that 2 weeks later I was scheduled to go to Finland for our annual 2-day seminar and that I could not cancel. And, after that, I had several more seminars in the US and Spain. Of course there was some “disagreement�, but eventually he accepted my decision as long as I accepted his conditions. The conditions were fairly simple: I should not travel by myself (carrying luggage, etc..) and, for the first 6 months, I should wear my arm in a sling and NOT use it to do techniques. The first was easy as I already rarely traveled alone (I am usually accompanied by one of my staff instructors such as Master Gridley or my wife,

T


Grandes Maestros Master Trina Pellegrini). The second condition, however, presented an interesting challenge. Combat Hapkido, our self-defense system, is well known for its fast, dynamic trapping, joint locking, Ki striking and fluid take-downs, all, of course, done with the use of 2 hands. So, how was I going to demonstrate techniques that require 2 hands to execute, using only one? Eventually, that challenge stimulated my thinking and, ultimately, presented an interesting opportunity. What if one of your arms was in a cast because of a broken bone? What if your elbow or wrist or hand or shoulder was injured during the initial assault, maybe as a result of a fall or a strike from an impact weapon? What if you had sustained an injury such a burn or a cut? What about a recent surgery (as in my case)? What if you were bor n with a disability, an impairment of one of your upper limbs? Or sadly, like many of our troops, what if you had been wounded in combat and lost one of your arms? It is obvious that in all of those scenarios (and many more you can come up with) if one was to be assaulted that person would be at a great disadvantage and the attack much more dangerous. So the challenge was: can we properly defend ourselves using only one arm? Can we use most, or at least some, of our techniques in that situation? Can some of them be modified in such a way as to render them effective when executed with only one hand/arm? Well, there was only one way to find out: I had to try a great number of techniques using only one hand to see which one would work, which one could be modified and which one would just have to be eliminated. Interestingly, the process turn out to be a great lear ning experience, opening my eyes to a different reality and inspiring me to share this new knowledge with our students and Instructors. I wanted the message to be both practical (If you have the use of only one hand/arm and are assaulted, here are the techniques you can use to fight back!) and motivational (No matter what the situation or your condition, never give up, never surrender!). So, two weeks

after my surgery, I went to Finland and taught my first seminar using only one arm. And I have taught several more since. The reception has been nothing less than enthusiastic; students and Instructors found a new perspective and a fresh appreciation of the techniques. One lesson everyone learned almost immediately is that, contrary to the “positive thinking crowd” platitude that “the only limitations are the ones in your mind”, having only one hand

available instead of two IS A REAL LIMITATION. It is not just in your mind! Physical limitations due to injury, disability or age, are real, not imagined, and must be dealt with, not ignored. Honestly understanding and assessing our limitations is the first step to finding ways to overcoming them. As in one of “Dirty Harry’s” famous quotes (flawlessly delivered by Clint Eastwood): “A man has to know his limitations!” (Of course, it also applies to women). Knowing and accepting your


Combat Hapkido limitations gives you the power to transform the conditions of fear, inferiority and despair to one of courage, determination, and confidence. In regards to the practical aspect of defending yourself while limited to the use of one hand, the key is ADAPTABILITY. The system must be flexible enough to accommodate changes and the techniques must be fluid, not rigid, in order to permit modifications. I found, to my satisfaction, that

Combat Hapkido successfully meets all those requirements. Teaching “one handed” techniques and watching students and Instructors embracing the c h a l l e n g e s a n d o v e rc o m i n g t h e limitation imposed on them, was extremely rewarding and, yes, at times, even a little entertaining. In the wise words of one of my students (and dear friend) Dr. Neil Farber: “When life gives you lemons, make lemonade!”(He actually wrote an excellent motivational book by the

same title). In the instance of my surgery, I resolved to do just that and turned an unwanted, unexpected, unpleasant situation into a positive and productive opportunity. In conclusion, I hope that my experience serves as an inspiration to everyone, because, in reality, during our lives, we all face different kinds of limitations that we must confront. Honesty, courage, determination and adaptability will ensure your ultimate victory over any difficulty you encounter and any limitation you may


Cuban System


Techniques

Everything you need to know about "arm-locks" W ithout a doubt one of the essential elements in short distance fighting is the use of "arm-locks", and so we asked Master Cuspinera to tell us about this topic from a traditional as well as modern perspective. It is a traditional perspec tive because the Judo Masters came from Cuba where they taught the old form of Judo, which in fact developed from the ancient form of Ju Jitsu. The economic and cultural isolation of this island has created a unique laboratory offering a unique body of knowledge that is almost as strange as those old model cars that they still manage to keep working o v e r t h e r e . H o w e v e r, t h e v e r y training of the elite fighting force that Cuspinera belonged to was trained in Kansen Ryu and existed with the pressure of a highly qualified team, for which that tradition has proven itself to be good at adapting and adjusting itself per fectly to the demands of the situation. This training produces the kind of man who is expert in the traditional forms and at the same time is focused on the pure practice of the techniques as objects of real use, that is to say a perfect mixture of the traditional and the modern, of classic forms with realistic applications.


Cuban System


Techniques Arm-locks are one of those combinations of techniques that we should all learn because of their use in real combat. They are resolute, they neutralize the opponent, they enable you to measure what the judges call "proportional violence", which is extremely useful for security forces, and certainly in the worst cases they can "destroy" your enemy disabling him and preventing him from continuing the fight. We want to provide you with some general guidelines in order to focus on this issue in the text as well as a complete set of pictures where you will find the ancient names associated with the 13 main arm dislocation techniques. In the last few years the author has gained a widespread and well-deserved reputation as a Master of Kansen Ryu, a style that up until now has been totally unknown outside Cuba. In several videos about this system he demonstrates how tough training is essential for the preparation of men of action and real fighters and in this way he has won the respect and admiration of many teachers from around the world who have had the opportunity to visit Cuba, which as far as the martial arts are concerned is like a small time-capsule. We sincerely hope you enjoy it.

Methodology of the study of arm-locks (Ude Kwansetsu waza)

In this article we will look at the pedagogy, the methodology and the principles underlying the study of one of the most important elements in Kansen Ryu self-defense: arm-locks. In traditional methodology, throughout the learning process of self-defense, the student follows a program of techniques that he has to study in a mechanical, repetitive and even dogmatic way, from the initial Kyu grade up to the superior black belt level. At this point the learning has a repetitive rather than inductive character but this later changes after years of training to a phase of automatic almost unconscious application. The student has to internalize the technical program and repeat it thousands of times before becoming an "Unconscious Expert." This

process of acquiring knowledge lasts several years and its principal element is "creativity." On the other hand, the pedagogic foundation of the Cuban system of self-defense is based on several principles: 1ยบ principle: "It is not possible to mechanically learn all the potential techniques that can be used in the face of the infinite number of possible aggressions." 2ยบ Principle: The importance of studying the principles of the key techniques and not of isolated techniques, that is to say, the importance of the interrelationship between similar techniques or techniques in the same group or family.

General concept of locks: Due to their essence and objective the locks (Kansetsu waza) are applied to the joints and members of the human body: arms, legs, neck, knees, wrists, etc. Arm-locks (Ude Kansentsu waza) are just one of several branches of locks and they have three essential aspects: a) Concepts in the field of arm-locks b) Principles and forms of application c) Use of arm-locks for Control and Neutralization.

Conceptual vision of Kansen Ryu integral self-defense

Kansen Ryu is a pedagogic system through which Integral Self-Defense is studied. From a creative and dialectical point of view, it is a relatively modern way of focusing the teaching of self-defense, as much for the Instructor as for the students and practitioners. Its pedagogic conception is different to the traditional one, since it leans more heavily on the creative element than on the structured study of a program based on a "control of the combination of the principles and not of the knowledge of isolated techniques"; from this point of view, we will define:

Arm-locks: definition. Arm Techniques, (Ude Kwansetsu waza) or as they are usually called - arm-locks - are defined


Cuban System as that group of actions of diverse forms and intensity that are applied to sensitive points and joints, including: wrist, elbows, shoulders, fingers or combinations of the same and so on, forcing its mobility and elasticity beyond a bearable limit, causing pain, dislocation, sprain, and in extreme cases fractures, and accompanied by muscular tears and breaks thus minimizing the individual’s motor capacity.

Principles for effective appl ication:

To apply a correct and effective arm-lock, the first thing that should be kept in mind is the "control" of the member or corresponding joint, (elbow, hand, wrist, forearm, etc.) then as a general rule we apply abrupt, violent and strong movements such as: tugs, stretching, twists and direct blows, caused by the action of a SYSTEM OF FORCES that at the very least requires a pair of forces in the opposite direction; perpendicular or tangential to the member's natural movements. Whatever form of expression they take, arm-locks also create leverage on joints the affect of which is achieved by overreaching the limits of the elasticity and natural movement of the member. This is achieved by pressure and twisting movement by pairs of forces (hands and legs) in the opposite direction to the free and natural movements of the joint.

Objectives of arm-locks

In the Cuban System of Kansen Ryu Integral SelfDefense, ARM-LOCKS are guided by four fundamental objectives: a) To control and cause pain b) To neutralize the opponent c) To unbalance and throw d) To finish off or mutilate the opponent. Each one of these objectives has its own characteristics within the phases of self-defense.

Pedagogic form of arm-locks

Arm-locks are applied by means of "tugs to the arm", and the application of "prolonged pressure" on the joints by means of a contrary action by a pair of forces and a twist to the member by leverage on the joints. This is achieved by a system of forces that uses the body’s contact as a means of support, and the earlier control of the member that in the first phase only permitted control over the individual (GATAME/KATAME), although it also serves to neutralize the attack with a direct lock to the extended member. It is important to point out that GATAME is much more than a simple word, it is in fact a whole category that means pressure or control by prolonged pressure, squashing, and compression on "something", etc. If the effect


of the system of forces acting on the member (bent arm) continues without surpassing the limits of its elasticity and mobility, we move into a second phase that causes pain and which in the field of Integral Self-Defense is called control by pain or (GARAMI). Although it is literally associated with the lock to a bent arm, its concept is much wider and it can be applied as much to a straight arm with bent hand, as it can to a bent arm. It is also very important to understand the concept of Garami as a field and not as a bent arm technique nor as a simple involvement. There are also other concepts that exist within the field of locks in general and arm-locks in particular. JU GARAMI: the dynamic process of constant changes to and combinations of techniques and actions to the straight-arm and bent arm and not specifically with the objective of controlling the arm (Gatame/Katame)


Cuban System

1 1) Ude-Gatame 2) Hiji-Makikomi 3) Gyaku-Tekubi 4) Kanuki-Gatame 5) Hara-Gatame.


Techniques

2 4

3 5


Cuban System GO GARAMI AND GO GATAME: the concept that explains the different possible phases and infinite number of combinations possible that not only hold the member firmly but also dislocate it by means of pressure, simultaneous control, involvement, twisting, tugs and prolonged pressure. Starting from these concepts, an infinite number of forms of execution of arm-locks result through a matrix of reciprocal relationships. By continuing the action of the system of forces on the member, surpassing the limits of elasticity and natural mobility, we arrive at the third phase or dislocation, fracture or sprain (HISHIGI). We call this phase the "neutralization phase", since the opponent loses part of his capacity in a member but is not totally disabled and can continue to fight with the injured part or with the remaining healthy members. That is to say, even with a broken arm he can still strike, shoot or strangle the enemy with his remaining healthy arm. The natural consequence of this technique is tearing, dislocation and a lot of pain... A fourth phase that embraces the effects of the mutilation of a part and the total loss of motor skills with irreversible consequences is called KUJIKI and in some traditional martial arts as in the Integral Self-Defense is a category and not only a simple technical label. In the Kansen Ryu system of Integral Self-Defense when an arm-lock is applied (to one or two arms) in the neutralization and finishing off phase in anyone of the above mentioned fields: Gatame, Garami, Hishiji, Kujiki, it is combined with direct strikes to the vital points, that is to say that along with the application of the lock with pain or dislocation, direct strikes are applied until the member is totally destroyed and as a consequence the individual’s posture is lost and the aggressor is neutralized.

Rules to keep in mind for the application of a correct arm-lock

It is important to point out that these norms do not constitute strict rules, but we should keep them in mind for a successful arm-lock application. 1) The first thing is to hold the member firmly and in a controlled way (Go gatame) by means of the corresponding contact, either with the hands, or the hands and legs or combinations of both, with body support if necessary, keeping in mind that contact should be understood as a kind of physical fusion... the KOSAI principle. 2) The contacts and control holds can be carried out with two arms, elbows, legs, knees, hips, abdominal,

armpit, shinbone and the body in general. 3) The base of the action forms a triangle of forces, acting like a system upon a specific point, whose central axis is the abdomen. Although to achieve control and neutralization all that is needed is a pair of forces acting in contrary directions on a point of application. 4) On the other hand, to use the body as a fundamental part of the contact and of the control of the opponent's arm where possible, constitutes a very important and sometimes decisive additional force in the action exercised by the system of forces. This action is either used as a lever, application point and in exceptional cases, as a substitution for some of the forces that make up the system, in such a way that they form a synergetic system of forces, and constitute a powerful weapon and additional advantage in the effectiveness of arm-locks. Example: Hara gatame.. 5) In the arm-lock a minimum action is made by two forces in the same direction and in contrary direction to the natural movement of the member going


beyond its limits of elasticity in order to be able to comfortably apply it: for example: Hiji makikomi, Ude gatame, Ude garami, Kote hineri, Kiri KomĂ­, Gyako tekubi, Ude kannuki, etc. 6) In order to execute an arm-lock combinations of different parts of the body can be applied, but when two

arms are used, it is advisable to add the abdominal force to the natural force of these members to achieve a bigger and more systemic component, forming a synergetic system of forces whose resulting effect is bigger than the effect of each one of the individual forces applied separately.


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8

7 9

6) Kiri-komi 7) Kiri-Oroshi 8) Waki-Gatame 9) Kote-Hineri 10) Ude-Garami 11) Ashi Ude Gatame 12) Morote Ude Gatame 13) Morote Ude Garami.


10

Techniques

11

12

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The Pukulan Pencak Silat Serak is a system based on both weapons and empty hands at the same time. It incorporates many of the new-generation weapons, swords, knives, circular kerambits, bars, batons of different lengths and other more particular weapons. Even in our empty hand training methods we face an opponent who attacks us with weapons in both hands, as well as several opponents at once. This type of training makes us more aware of everything that happens during an altercation and what do and not do when facing one or more armed aggressors. In this second DVD, Maha Guru Horacio Rodrigues, heir to the lineage of Pendekar Pak Victor De Thouars, of Pukulan Pencak Silat Serak, addresses its particular way to train and use the different weapons, laying the foundations for more advanced future plans of study and the application of technique. This video includes the principles of work, angulation, Sambuts, Jurus and drills with the short sword "Pedang", short knife "Pissau", short stick "Tonkat Matjan", Sarong, and applications of selfdefense with empty hands.

REF.: • DVD/SERAK-2

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

ORDERS: Budo international.com


Avi Nardia Machado RCJ share with KAPAP - Israeli Krav Maga

My first meeting with Professor Machado was in year 2000 when he asked me what was KAPAP and I answer ed : "Jew- Jutsu". And we both smiled. When I started teaching Kapap my idea was not to create another Martial art system even though after a certain period of time it came naturally as consequence and part of development of Kapap. The main idea stayed the same: “ Always a student -some time a teacher “. Machado slogan is “ Leave your Ego at the door “ This made me feel like home from the day one since this kind of teacher was the one I was looking for. When I started studying BJJ I was alredy an established teacher and I was looking for a BJJ teacher whose philosophy of ife I can recognize as mine as my old Sensei used to tell me “ Conversation with with the right Sensei is worth more than ten years training with the wrong “ and many times I love meet for tea with old Sensei and pick on thier wisdom . The best training I got from Professor Machado was the study of wisdom. There are many youtube channels which can show us and explain to us many different teachniques but not many will realy on a solid concept . In my last travel I had an honor to reunite with this family once agian and exchange our experience and knowledge. One move led to another and each one of them developed in many different forms and directions because one move doesnt go only in one direction but can develop into many direction and teachniques compliment each other.


Avi Nardia

I have used many moves which I learned from Aiki Kenpo jiujutsu under Hanshi Patrick McCarthy as his wisdom is one of the most uniqe in the world of martial art. There are not many who can even understand how far and smart this chess game call ed Aiki Kenpo can go and to understand all directions. When you add to it Judo and BJJ its just make your mind blow away. One move I especially love is Waki Katame, an old move but one of best ever. As I used my Gi to lock the object hands and from that point Professor Machado took it forward in so many directions as “ Ninja Chock “ to diferent controls I can only said I loved any minute My wish is to have more teachers following this idea i.e. To leave the ego at the door steps and stop comparing themselves with others, to have them dedicate their time and knowledge to study more, to share their knowledge and work together with other masters. I am sure this is the only way way for everybody to develope not only as martial artist but to bring the best out of themselves as human beings.


Avi Nardia


In this DVD, G.M. Larry Tatum (10th Dan) develops techniques of the Kenpo program at the highest level. Particularly, some of his “favorites” like Flashing Mace, Parting Wings, Entwined Lance… Masterfully executed and based on the experience of the movement, G.M. Tatum incorporates his innovative teachings in these techniques that will help you add and complement your training in the Kenpo system. Besides, they provide the individual with the best choice for selfdefense, based on the logical and practical thinking, and place him in the path of understanding the art of Kenpo. These are the self-defense and fighting systems of the modern times we live in. They are designed so that the practitioner gets all the benefits that training these techniques can provide. This DVD has the support of Master Adolfo Luelmo (9th Dan), who goes on with a series of techniques performed in a smooth and strong way, for situations of extreme aggression, in which can be appreciated different states of the movement, in a logical and effective way. As a conclusion, Master Camacho Assisi (8th Dan), displays a technique that combines the strength of the arms and his expertise with legs.

REF.: • DVD/LARRY4

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

ORDERS: Budo international.com


2016 Urban Action Festival

The 4th Annual Urban Action Showcase & Expo Festival Nov 11-12, 2016 once again was a tremendous success. Celebrating the action genre through film and music that include tributes to living legends of Action Tribute. The Urban Action Festival honors the past, present and future multicultural achievements in film recognizing film-makers, actors, writers, and creators for their work, it is the blockbuster genre of heroes. To kick off the weekend of action, fun and celebration, on Friday November 11th at the HBO & Cinemax headquarters was a blast party and award appreciation, honorees and participants had a chance to interact with the actors, producers, stuntman, writers etc. Celebrities included Christine Bannon Rodrigues, (11 Time World Champion/Weapons & Forms) Hakim Alston, Willow ‘the Bam’ Johnson, Fred ‘The Hammer’ Williamson, Peter Kwong, Marco ‘Da Answer’ Johnson, my dear friend Taimak (famous for his acting in the landmark movie ‘The Last Dragon’), the multitalented Vincent Lyn, actor of our new released movie Paying Mr. McGetty and 11 Time World Kick Boxing Champion Don ‘The Dragon’ Wilson, Robert Samuels, Michael Woods, Lia Chang and to add more to the list of guests are my good friend and partner Dr. Robert Goldman, Alan Golberg, actor Marcus Taylor, Anita Clay, host and visionary of the event Demetrius D’Angelo, an actor and great martial artist. Every year we witness his ingenuity and passion as he puts on this great event with much class in presenting details and providing information about all the nominees such as short films, photos and biography. It is rather captivating to witness Demetrius in action at this year’s Urban Action Showcase. Special new movie attraction was our new movie “Paying Mr. McGetty” released by Traditionz Movie 2 LLC filmed in St. Petersburg FL, Las Vegas and California. A quirky romantic action comedy featuring Marcus Taylor acting as the main character. After a night of drinking and gambling Tyrell (R. Marcos Taylor) wakes up by an


Text & Photos: GM Maurice Elmalem

angry call from his girlfriend Meena (Anita Clay) and finds himself in bed with a strange woman, Cecelia (Alissa Schneider) a local mob boss’ daughter when he found out about the affair he had Shota (Wilson) a relentless hitman and to make matters worse the reward of Tyrell’s head was dozens of others looking for him too and Meena is in trouble from his actions now Tyrell must take on the mob, Shota and find the money to pay Mr. McGetty before sunrise. Written and directed by Michael Baumgarten (The Martial Arts Kid, Pretty Obsession). The film also features cameos by the Who’s Who in Martial Arts such as Cynthia Rothrock, Dr. Robert Goldman, Jeff W. Smith, Maurice Elmalem, Olando Rivera, Sergio Barriga, Glenn C. Wilson, James Cisco, Kevin Bergquist, Mark Levin and Doug Zimmer. Producers Cheryl Sanders (The Martial Arts Kid, Holy Hell) James Wilson (The Martial Arts Kid), and Karen Kang (White Tiger). Executive Producers Dr. Robert Goldman, Beau Burton and Greg Lee. The Urban Festival went on to 2nd Day of Festivities Saturday Nov 12th at the AMC Theatre on 42nd St in Times Square NYC with showcase & Expo throughout the day action films were played in four movie theatres featuring Big Trouble in Little China, Back 2 Black, The Last Dragon, and of course the New York premier of Paying Mr. McGetty. A very funny movie with


many laughter and fun, highly recommended for the entire family, martial arts and the general public. To sum up the Urban Festival weekend special award were presented to all the outstanding actors, writers, movie personalities, grand masters with clips of

each nominee featured on the big screen. I once again thank Demetrius D’Angelo for a well done and fantastic job. For more information visit: www.urbanaction showcase.com

About the Author

GM Maurice Elmalem 7 Time World Champion, 8 Time Guinness World Record Holder Author, Producer, Artist, Developer www.mauricepromartial arts.com


In this comprehensive instructional video, Andreas Weitzel, founder and head instructor of the SYSTEMA Academy Weitzel (Augsburg, Germany) and one of the leading SYSTEMA Instructors in Europe explains the most important fighting fundamentals. First he vividly elucidates how to walk naturally focusing on the correct execution of steps. He then shows how to use this work in combat applications. A variety of different topics are explained in this movie including: How to unbalance an attacker; How to strike and kick correctly; How to defend against, grabs, throws, strikes and kicks. The explanations in this video are simple but clear with the aim for easy comprehension and lear ning for everyone. During his explanation Andreas always includes and focuses on the most important principles and fundamentals of SYSTEMA by showing how different topics are tightly linked to each other. Furthermore free and spontaneous work against different attacks including weapons is shown under realistic conditions and full speed. In this video Andreas is assisted and supported by Michael Hazenbeller (Rastatt) and Thomas Gößler (Augsburg), two experienced Systema Instructors.

REF.: • DVD/SYSWEITZEL1

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

ORDERS: Budo international.com


The Zen Nihon Toyama Ryu Iai -Do Renmei ( ZNTIR ), once reviewed and adapted the concepts and methodology of a school that proceeds from a method of real combat, is the body that currently intends to maintain this tradition and original forms alive through a system that unifies body, mind and spirit in a realistic and effective way. This DVD was done at the instance of practitioners of the Spanish subsidiary of the Zen Nihon Toyama Ryu Iaido Renmei (ZNTIR Spain Branch) to present to everybody a combat style with a real sword, created last century, but with roots in the ancient fighting techniques of feudal Japan. In it you will find the basic structure of the methodology applied in the style, from the coded warm up and preparation exercises, cutting exercises, guards, the school kata, work in pairs and initiation in the Tameshigiri or cutting exercises on a real target , the cornerstone of the Toyama- Ryu. We hope that knowledge of the existence of a style such as the Toyama-Ryu Batto-Jutsu acts as a revulsive of a traditional way and yet very different from current combat disciplines, that attract those who want to go further in their martial practices. Those interested in the Japanese sword and initiates, will find useful this DVD both as support to their learning and as a reference.

REF.: • TOYAMA1

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

ORDERS: Budo international.com

Martial arts magazine budo international 326 january 1 fortnight – 2017  

Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 327 January 12 fortnight - Year XXV

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