Martial arts magazine budo international may 2014

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FUMIO DEMURA Jean Frenette during the 1980's and 1990's was the most winning competitor internationally with his musical kata performances. He was second to none and his timing of the musical notes to the techniques has still never been equaled. We caught up to Jean while he was here in LA doing the action choreography for his latest movie “Jaya”.

COMBAT HAPKIDO In my last article I stressed the importance of why in the Combat Hapkido “Ground Survival” component we don't like to stay fight on the ground. We honestly and strongly emphasized that “The Ground is Not Your Friend”, unlike what many grappling systems would have you believe.

THE SHIZEN TRADITION In other words, you can say it's very important that everyone has a thought, a concept and reasoning about life and its manifestations. Maybe, seen from the standpoint of the most preeminent eastern scholars, all this would take us also to the concept of Karma as the dividing line of events.

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The Real Miyagi. A true story of a man behind the biggest Martial Art legends! In 1965, 20 years after World War II, a world champion martial artist from Japan comes to the United States with only $300.00 in his pocket and the clothes on his back. Leaving his siblings in search of the American dream, only to find obstacles that defy his honor. With the support of an EX-CIA agent, they manage to start the first ever Karate school in Orange County, CA that paves the way for what is about to come!

WING CHUN Con frecuencia leemos que el Wing Chun utiliza movimientos de serpiente y grulla , pero la discusión por lo general termina con la mención del brazo de desviación Boang Sau Wing, para representar el ala de la grúa y el dedo Biu Jee Finger Jab que ilustra la serpiente. En lugar de detenerme ahí, que es lo que habitualmente se hace, voy a hablar aquí de las características de la serpiente y la grulla que influyen en el CRCA Wing Chun, comenzando con la serpiente.

MARTIAL CINEMA Qissi is a chameleonic actor who has portrayed a few secondary characters in the first Van D a m m e ' s m o v i e s : besides giving life to Tong Po in "Kickboxer", he played the Brazilian Thai boxer in "Bloodsport", where he has a shocking confrontation with Chong Li / Bolo Yeung. In "Lionheart" he embodies a French Legionnaire chasing deserter Van Damme. But who is this character? Who is Mohammed Qissi?


or over 20 years I have been training police agencies and military units all around the world, and I'm still convinced that learning “real” self-defense takes only days. If you can't learn any given self-defense technique in five minutes, then you won't need it in a real fight.

GAKU JUTSU-DO Many practitioners of Wing Chun Gung Fu have been told throughout the years of the art's legendary beginnings, when either Yim Wing Chun (for whom the art was named) or Ng Mui (a Shaolin nun, if we are to believe she existed) witnessed a fight between a snake and a crane.

JUDO “The Genesis of Judo”. By 87 Year Old Hal Sharp 9th dan Judo. This article is part of the series I plan to write relating to judo and my experiences in Japan in the early 1950's. This article is primarily about Japan's greatest jujitsu master, Sanjiro Yokoyama, who became the head instructor at the original Kodokan Judo Institute.


SDS-CONCEPT Tactical Combat Systems (TCS) is my own way of looking at the martial arts and close combat. TCS is, first and foremost, based on concepts and principles and contains ideas for self-defense with everyday objects (SDS Concept), knife fighting (Knife Fighting Concept), stick fight (Stick Fighting Concept), defense against firearms (Firearm Concept), use of axes (Axe and Tomahawk Fighting Concept) and for empty hand fighting. In this month's issue I will deal with self-defense against threats with weapons.

WINGTSUN Do you need a master all your life? A few months ago I launched my association TAOWS Academy, a project that I had in mind for quite some time. I called it TAOWS Lab. In the laboratory we try to take steps forward in the study of this fascinating Combat Art.

SHAOLIN HUNG GAR KUNG FU The motions of the dragon serve to refine one's spirit. The applied techniques are based on the philosophy of the element earth. In itself, the dragon teaches to strengthen and lead one's Chi. It only embodies few fighting techniques, as the main task of the dragon is to exercise inner strength based on breath control.

Eskrima meeting Wing Chun. Filipino Eskrima and Wing Chun Kung Fu, a Chinese style, share many similarities, but differences as well. First I will start with the differences. The way you take your standing position, or your fighting stance is very different. In Wing Chun you lean for approximately 80% on your back leg. While in Eskrima your balance is focused on your front leg (in a normal and basic fighting stance).



My experience with that shark called Rickson Gracie in his ocean brought me once more to become a student, albeit I already had achieved mastership in Weng Chun Kung Fu. I was Rickson s student and representative between 1994 and 2000, and since then pass that art down to my students as part of my Tiger Team Brazilian Jiu Jitsu curriculum.

Among the eternally recommended readings to get to know the spirit of the East, especially that of Japan, you cannot be missing "The Book of Tea", a classic that will never disappoint you, because it has stood the test of time. This marvelous text, written in English in the first instance so that a minority could approach the deep meaning of tea in the East, has become a literary first line and a best seller.

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"The first kiss is not given with the mouth, "We live based on selected fictions. Our view of reality is conditioned by our but with the eyes." position in space and time - not by our personalities, as we like to think. Tristan Bernard Thus, every interpretation of reality is based on a unique position. Two steps to the east or to the west and the whole picture change." Laurence Durrell


e live immersed in our bubbles without knowing what's inside them. Most often we are not even aware of where they begin or end and so we have little notion of the limits of the personal and transpersonal or the environment where they interact. We are bubbles inside other bubbles that now and then ask themselves why and how. The concept of the bubble and the energetic egg is an interesting and recurring image in many cultures. From the most ancient ones to the modern, the concept of an oval shape is a primal and universal model that summarizes the idea of an extremely strong, resilient and obsessively repetitive pattern. Examples are plentiful and there's no need to expose them here; the most seasoned readers will find these images everywhere. While water, pushed by gravity and its persistent tendency to go down, adopts the form of an inverted egg, fire is governed by an upward shape. Human bubble, from its initial phase wrapped in the womb to its final stage in which it takes the upright position, keeps that oval shape. Sages and seers of various cultures have described this form as a conglomerate of energy and tensions taking place in a gradient of matter-energy as a continuum whole. For them, there is no such thing as a specific point in which we cease being matter to begin being energy. Even if we stick to science itself, these limits become also something complex to us as soon as we leave behind our sensory perception. For example, we know that the human thermal field extends beyond the body's physical boundaries on emanations that today can even be photographed. And what to say about the pictures taken with the Kirlian camera, capable of capturing in images the air ionization or the way the electric power is organized in bundles around the body. Ancient peoples went further in their description of this phenomenon, even lacking a scientific method that could assert their thesis, and dared to consider, via analogy and research of the forces, the elements and their relationships, more advanced possibilities (clearly bold and transgressive if seen from the scientific view) nevertheless perfectly verisimilar from the perspective of quantum physics. Seen with this wider view, more than a few scientists have shown interest and amazement summarizing this knowledge. I am not myself a scientist and therefore this method doesn't own me; I've always been much more interested in what I've come to call "the language of facts," rather than the customary scientific consensus. What interests me about the speculations on the human energetic egg of the ancients, is precisely the outcome of interacting in it. The fact of having given them the chance to explore their ideas without prejudice or scientific methodological goggles has allowed me witnessing the consequences of their positioning, something probably impossible if I had spent years of my life trying to make their world fit into my preconceptions. If you, dear reader, feel interest in knowing about the spiritual world

(nonmaterial, invisible), you better approach someone who knows about it with your mind equally naked of that effort. Far from me denying here the value of the scientific method, but, like other any method, the scientific procedure fragments reality expostulating it to the eyes of the observer. The idea of an absolute and only truth is just that, an idea, and there is a clear difference between simply understanding something and comprehending something. Comprehending is to understand fully. We understand when a light turns on and illuminates what we observe; we comprehend, when we perceive from all angles and perspectives what we are observing. But I will not get stuck at this point, let everyone do as he or she pleases; when it comes to position myself on these things I'd rather share than convince. My greatest respect for those who choose to see things from another perspective; I got my own. I was trying to say is that because of my positioning regarding these studies, I had the chance to understand quite a few things about the organization of the energies in the human bubble. First and foremost, attesting its existence, which on the other hand makes a much bigger sense to me than the idea that what we "are" ends in the physical barrier. As a painter I soon discovered that the apparent boundary of things is but a mental recreation even in the world of images. Nothing is absolute; everything decreases and tends to mingle with the surroundings in a bigger or smaller degree. Today we know that whenever we touch anything at the subatomic level, we generate a mutual interchange with the subject we are touching (right now, my keyboard is getting impregnated with atoms from my body and so is my body with atoms from the keyboard!). Here are some of the things that I was able to learn and verify: * Energies associated in tensions tend to consolidate and therefore to manifest themselves in the world of matter more readily than the energies without such links that just float in the most varied environments. * Our energy bubble continuously interacts with the environment and with other bubbles in transactional and interactional exchanges, transmitting information in a deliberate or directed way (the first step), or perfectly casual and unexpected (a second step). * Bubble contents are continually changing and the very nature of those energies acts as a magnet attracting similar forces (like attracts like in the same plane). * Except in the case of an expressly intervention (either from others, from the environment or from destiny), the energies inside the bubble tend to saturate themselves from their own nature, and oscillate once they have summoned the events and forces for which they were acting, or have consumed what fed them. * The energies and their charges determine the attraction of the nature of similar energies that approximate, and, as I've had the chance to check, these will be not only of an energetic nature, but also consciential, amalgamating

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sometimes in groups of forces and acquiring a higher entity that may even act intensively on the physical plane. * When the environment energy is higher than that of the bubble itself, it superimposes the bubble energy, whilst when the bubble energy is higher it will overlay the environment energy. * In the world of energies, the usual space-time limits are distorted, being neither distance nor time an obstacle for the proof of real energetic or consciential exchanges. * Bubbles are continuously inserted into Universes of tension and energies that finally act summoning events related to their own nature. * It is possible to act on these forces to change their charge and such intervention may even act on the fate of individuals or groups. * The charges and their nature, however much they be changing, have a predictable way of acting that responds to laws; in its more rigid side, they act through destiny, while in more malleable aspects, they do it through what we eat, think and do. * The energy of thoughts and desires of others, as well as ours, generate strong forces that come in and out of our bubbles transforming everything even if we are unaware of it. * The Universes of tension in each bubble can collapse when facing overloads creating a situation that is usually accompanied by innumerable sets of negative events. * Each bubble has its own coordinates which are naturally predisposed toward specific groups of energies and activities and toward a way of perfectly predictable behavior (an apple tree bears apples ...). * The engine of that bubble is the spirit of each individual or being, and death involves the breaking of that bond. I could go on listing many more things that the ancients taught me about the bubbles and the energetic egg, but unfortunately the space-time of this editorial is something fixed and limited. I assume that quite a few will look at my writings in bewilderment wondering perhaps what MMAA have to do with all this. Well... everything and nothing, I'd say; but since Martial Arts have been the driveway to my comprehension of the spiritual world, others in the same search path might appreciate their content. On the other hand, I've been doing these nonsense editorials for years and while I'm sure that the most faithful readers will not be surprised, I know just as well that new readers are constantly arriving. Hence the explanation and notice to mariners. For me, the spiritual world, the realm of the invisible, is a grandiose dimension, the real border to be crossed and the only one that is able to summon what is human in its true dimension. Martial Arts, also a fruit of ancient peoples, sometimes are converted into an unexpected gateway to that transcendence that every sensitive human being is looking for. I am not the keeper of the gate, but one who looks in regularly at the other side, and this and nothing else is what I'm pleased to share. So, let it be read by those who want to read it; no one is forced.

erhaps there is no more controversial topic in the martial arts then Dan Ranking. So much so that few if any want to even talk about it in fear of being ostracized from the martial arts society. I am not about to try and play God when it comes to dan ranking as those who know me I am far from a God of anything. But I would like to ask a few questions and then quote from an old book my Sensei Richard Kim the 20th Century Samurai wrote that I have that. What should a person who is 50 or 60 do if he is at present a 7th dan and his Sensei of 40 years passes away? Who should he go to for dan ranking for his 8th 9th and 10 th dan? Assume he is the senior student of the master who just passed away. How do we fix all these 40 year old renegade 10th dans the Shihan's, Grand Poo Baa's, Great Grandmasters, and the latest one I have seen the Supreme Great Master of Masters, I was almost sick to my stomach or is it possible to fix this situation now or is it just to late? Whose fault is this? Is it Peter Urban or is it our own egos. What should a person who starts his own style do? Lets say he is 30 years old and starts his own Ryu Ha should he star at 10th Dan? Here are the guidelines that were set out in 1971 by FAJKO, which became WUKO and is now known as WKF. These are written in the back Page 110 of the Weaponless Warrior written in 1973 by Sensei Richard Kim.


3rd Dan - San Dan - 2 years of training minimum after ni dan-under 35 of age - no formal title. 4th Dan - Yon Dan - 3 years of training minimum after san dan -under 35 of ageno formal title. 5th Dan - Go Dan - 4 years of training minimum after yon dan-under 35 of age possible Renshi. 6th Dan - Roku Dan - 5 years of training minimum 35 years or age possible Renshi. Must continue to be active in on a weekly basis. 7th Dan - Shichi Dan - 7 years of training after 6th dan 42 years of age or over possible Kyoshi over 10 years after Renshi 40 years old or over. 8th Dan - Hachi Dan - over 8 years after 7th Dan - 50 years of age or older. Possible Kyoshi over 10 years after Renshi 40 years old or over. 9th Dan - Ku Dan - Minimum 60 years of age. 9 years after 8th Dan - Possible Hanshi over 15 years after Kyoshi 55 years of age or older. 10th Dan - Ju Dan - Minimum 70 years of age. Over 10 years after 9th Dan - Possible Hanshi over 15 years after Kyoshi 55 years of age or older.

Samurai Rankings

Earned Dan Rankings

Renshi- Over 2 years after 5th dan minimum 35 years of age. Kyoshi- Over 10 years after Renshi 40 years of age minimum. Hanshi- Over 15 years after Kyoshi 55 years of age or over. I look forward to your answers and thoughts on this very debatable question.

1st Dan - Sho Dan - 3 years of training minimum - under 35 of age - no formal title. 2nd Dan - Ni Dan - 1 year of training minimum after sho dan - under 35 of age no formal title.

Please write me directly at: Till next month Keep Smiling. DW

YU TO MU Seeing beyond Forms They say: "What would happen to the World if we all liked the yellow color?!" In other words, you can say it's very important that everyone has a thought, a concept and reasoning about life and its manifestations. Maybe, seen from the standpoint of the most preeminent eastern scholars, all this would take us also to the concept of Karma as the dividing line of events. If so, we could enlighten it with a simple analogy: It's like if we used the flame of a candle to light another candle and in the process the first candle went out. The flame of the second candle has emerged from the first candle, i.e., it has a connection with the first candle, but the flame of the second candle is not identical to the first. Thus, the two flames have a connection, but are not identical. So are the ways of seeing Martial Arts... of life. A person is a combination of matter and mind. The body can be seen as a combination of four components: earth, water, heat and air. The mind is the combination of sensation, perception, thought and consciousness. The physical body - actually, all matter in nature - is in direct dependence of the cycle of formation, duration, deterioration and cease. One day, Emperor Liang went to see Bhodidharma and asked him: - I've built a number of temples; I have translated many sutras and have helped many monks. What merits have I gained? - No merit at all! replied Bhodidharma.

We all have different ideas on one same subject and that is what leads us to the proper measure of understanding, which, indeed, subtracts from us the privilege to believe we are somehow special. Through the path of wisdom we can say that, undoubtedly, the great work to be performed by the laws of life in the human evolutionary level is that of raising the current dominant biotype toward more advanced forms of life, until it is possible for him to understand and practice ethics in a rational and conscious way. If life begins with breathing, consciousness begins with reflection. Especially regarding martialness and martial artists, is but clear that the more primitive the individual is in his reasoning and observations, the more powerful and real the second form of reflection will be, and the weaker, more unreal and mysterious the first. The more advance the being, the more illusory the mundane reflection, limited to what we see, look... and the more powerful, real and lively the invisible abstract life. So, for the primitive man, the end of physical life is a great loss and so he desperately struggles to stay alive, while the evolved being has the feeling that death does not concern him, because he doesn't quench his state of awaken consciousness, and therefore he remains alive. It is the sensation experienced by the great sage... Nothing beyond himself! Japanese mythology exposes that sword makers of old forged their blades to cut spirits and souls. Certainly we could say that, in this figurative sense, the soul represented one of the places where Dharma originated. The meaning of this word, Dharma, which is actually related to an infinite variety of significances, is often associated with duty, especially in modern Japanese Gendai teachings. Since our days as students, Dharma represents the knowledge we acquire in its form of expression. However, we can see that


“Seen in terms of contemporary Martial Arts, so as to have something tangible, we'll find big names that have been admired, hated, mistreated by life, by colleagues...�

the concept of duty, as used by many, is only that which is connected with an individual condition, or a particular age or country. We cannot attribute to this definition a concept that was originally established as something eternal; it's the same for every one in every place. It expresses the meaning of the Inner Self of the soul. Many of the great masters of traditional schools have written about the term "SenKon" - the soul of the war -. In other words, we can say that Kokoro - heart, in the sense of a feeling (the Japanese anatomical term for heart is different), is the progenitor of this virtue of performing, especially on the battlefield. Thus, it is also stated that the birthplace of Dharma is the heart. What comes from the heart as a pure idea, when translated into action, is called Dharma, or, for the more scholarly, its literal meaning is "teaching."

The second meaning is generally associated with the designation "the way things are". Masters ascribe success in war to the Dharma of knowledge ... The differentiation of each way of understanding; we're all loaded with the full and the empty. Many masters, with whom we have spoken, especially in Europe, have reached the same conclusions as us; unfortunately, the more recent writings do not help clarify the lost meaning of the word Dharma, mainly in regard to the practice of war. They tend to not present a uniform meaning for the word. Nor they help finding

practical ways of how to realize the Dharma. In wars, both internal and external, the attitudes assumed by the individual in front of difficulties vary for each person. But suffering from pain produces an effect more or less common to everyone, which leaves the individual exposed revealing his or her true nature. What is the size of your Dharma? It is recognized for its reaction type, because it appears in front of the deeper realities of life, such as pain and death where the being cannot lie any longer. We all return to the original ... to simplicity!

Lao Tzu says: "The eternal virtue never leaves you and, therefore, you will never be abandoned by the forces rooted in your own self; the naivetĂŠ of the child returns. He, who knows his own light but keeps his darkness, is the model of the empire. Being the model of the empire, the eternal virtue no longer hesitates and so it becomes unlimited. Man penetrated of light prefers staying in the dark because he has his own light. He who knows the glory and remains in the opprobrium becomes a protector of the world. Being a protector of the world, the eternal virtue springs up in him and the original simplicity reaches him. It was such simplicity that made all things. It's like a whole rock from which various forms of stone vessels arise. The sage does not do anything without simplicity; he leads with nobility and causes no harm to anybody. This is the rule of the "return to original simplicity."


"Sword makers of old forged their blades to cut spirits and souls. We could say that, in this figurative sense, the soul represented one of the places where Dharma originated."

History has proven that man has great difficulties admiring others, perhaps out of fear, suspicion, envy... If we look at it in terms of contemporary Martial Arts so as to have something tangible, we'll find big names that have been admired, hated, mistreated by life, by their colleagues ... What is interesting is that all of them, at bottom, were admired by their critics and attackers. We have seen this happening to Funakoshi, Takeda, Kano, Ueshiba, Bruce Lee, Steven Seagal and many others. Why do we feel the need of admiring internally and hating externally?

We find that same attitude in the school youthful loves, in which when a boy or a girl likes someone and doesn't want to reveal his or her secret, simply begins to treat badly the being he or she loves. Most scholars believe that even being adults, we still carry inside a lot of that childish absurdity, not to call it childish evilness. Adolescence is a period of global and profound internal and external organic changes, both at physical and mental level. For the martial artist is the stage of physical development: strength, endurance, speed ... It is also the favored age for the onset of most of the emotional disorders. Some say it's the age of "boredom". The true martial way, the one in which you really have to exert yourself, is usually a path of endeavor and resignation;

is but natural that dreams, concerns and whishes arise... However, as the boy grows older, he is visited by frustration, which should also be seen as normal. Anyway, not everyone can get rid of this frustration, becoming bitter and immature people.

Justifying human behavior as being a result of this or that cause, has been a tireless exercise over time and through many branches of knowledge. For masters, everything is part of each one: we scarcely offer what we have. In short, it seems that the only one that is completely innocent and free of any responsibility for the human act is the very person. Human volition, the will, that particularity completely sovereign of our character seems to be completely unknown. It is strange to see professional people lending themselves to speak ill of fellows and inducing others to convey false information and accusations ... And after all, for human behavior this is also normal. Admiration is the hidden face of the aggressor. At this point we prefer the maxim of Jean Paul Sartre: "I am not responsible for what others have made of me, but I am responsible for what I do with what others made of me." It is common that as years go by, we understand that our thoughts are no longer the same and that our truths have been slowly changing. And there is no reason to be ashamed of that! A few days ago, a friend told us that now he felt ashamed of admiring a musician artist: his "radical

Philosophy "For the primitive man, the end of physical life is a great loss so he desperately struggles to stay alive, while the evolved being has the feeling that death does not concern him, because he doesn't quench his state of awaken consciousness, and therefore he remains alive."

metal" past had evolved allowing him admire other aspects of the guitar to which he had so much dedicated throughout his life. He was delighted with Jazz and its performers; time walks and, in one way or another, even involuntarily, we try to walk with it: it's the natural process of maturity! Today we hate something, tomorrow we admire it! The same goes for other subjects; we come to discover that there are countless things, innumerable universes beyond our comprehension. This great friend now understands that when the phenomenon of releasing from the past occurs, there is a deep alteration in the words and in the sense of seeing life; the time preceding such discovery is an age of revolution and storm; then there's a desire in everyone to know everything by oneself; and, as we didn't have that desire before, we remain in the world of limitations. We believe there is only one truth; only one way can be the right one! So when they ask me about the process of consciousness, of liberation, I say: first we have to free ourselves from the incrustations of centuries, we must get rid of all ideals and ideologies... Looking toward the inside and therefore toward the outside. Dividing whatever thing into what it is and what it should be is the most illusory way to deal with life.

The Wooden Bowl (Anonymous) An old man went to live with his son, his daughter in law and his little grandson of four years of age. The grandfather's hands were already trembling, his eyes were tired and his steps were faltering.

When the family gathered around the table for dinner, his unsteady hands and his poor sight were an inconvenience for the grandfather to eat: peas ended up rolling out on the floor, the glass of milk spilled on the tablecloth... The son and his wife were exasperated... - "We have to do something about Dad" said the son. - We've had enough spilled milk, noises from eating with the mouth open and food on the floor." Then they decided to put a small table in a corner of the kitchen, where the grandfather ate alone while the rest of the family ate quietly at the table. Since the old man had broken a dish or two, his food was served him in a wooden bowl. Sitting there alone, now and then tears peeked in Grandpa's eyes. Still, the only words addressed to him were harsh reprimands every time he dropped the silverware or the food. The four year old boy watched it all in silence. One evening, before dinner, the father noticed that the boy, sitting on the floor, had some small blocks of wood in his hands. He asked the child: "- What are you doing?" The boy replied sweetly: "- Nothing, I'm just doing a bowl so that you and mom can eat when I grow up" - and the boy returned to his work. The boy's answer had such a big impact on his parents that they couldn't speak a single word. Then tears began to roll down their cheeks... Although no one said anything, they both knew what they had to do. That night, the father took the grandfather back to the family table and thereafter, until the end of his days, he always ate with the family. It didn't matter if a fork was dropped, the milk was spilled or the tablecloth got soiled...


“Looking toward the inside and therefore toward the outside. Dividing whatever thing into what it is and what it should be is the most illusory way to deal with life.�

Major Avi Nardia is one of the leading head official instructors for the Israelite army and police in anti terrorism and CQB, he along with Ben Krajmalnik have made a new basic dvd in the field of firearms and safety, training techniques in IPSC. Instinctive Shooting in Combat. Combat Instinctive Point Shooting - IPSC is a shooting method based on instinctive reactions and kinematics to shoot short distances fast and in dynamic situations. A self defense discipline in order to survive in life t h r e a t e n i n g situatuations , where you need a very fast and accurate shooting abilities, when you must take the gun out as soon as possible and shoot at a short distance without using the sight. In this first volume you will study how to handle the weapon ( revolver and semi -automatic ) dry firing practice and security, "Point Shooting" or instinctive shooting , at a close range and a series of movements and exercises for weapon retention , low stress and multiple attackers ; exercises on how to recharge with one hand, ... and finally practice shooting gallery with guns such as AK- 74, M -4 , M -249 machine gun and even M -16 grenade launchers .

REF.: • KAPAP7 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.

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Eskrima meeting Wing Chun During my travels I meet many people from different cultures. That 's the beauty of my work, to meet people who have the same passion as I have, martial arts. Recently the Greek Wing Chun Master Chris Vafiades invited me to give Eskrima and knife fighting training. He is a Wing Chun Master who takes a great interest in Eskrima as well. These courses normally last for five days and the workouts are five hours a day. Most participants are Wing Chun teachers or have at least several years of experience. Chris himself is a well-known W ing Chun teacher in Greece. Though he is not internationally known, there might be a chance that this will change quickly. Chris's Wing Chun is highly effective and of great quality, and his theoretical knowledge of Wing Chun is quite impressive. I am sure, we will hear more from this master in the future, because quality will always prevail.

Wing Chun I started Wing Chun when I was 16 years old. My Wing Chun training began under Henk Roelofsen, one of the first students of Wang Kiu in the Netherlands. Later, I was a private student of Grandmaster Wang Kiu himself. Wang Kiu was for many years a disciple of YIP MAN himself. I have 15 years of Wing Chun training and really thought I belonged at the top of the Wing Chun students but when I met my first Eskrima teacher Bill Newman I started to change towards Eskrima. It fitted better with my way of thinking and my attitude. I slowly began to move to Eskrima abandoning Wing Chun, until finally I was completely focused on Eskrima. But still I'm a big fan of Wing Chun and Philipp Bayer, whom I hold in high regard.

Eskrima and Wing Chun Filipino Eskrima and Wing Chun Kung Fu, a Chinese style, share many similarities, but differences as well. First I will start with the differences. The way you take your standing position, or your fighting stance is very different. In Wing Chun you lean for approximately 80% on your back leg. While in Eskrima your balance is focused on your front leg (in a normal and basic fighting stance). In Wing Chun we keep the upper body straight and in Eskrima the upper body is in motion. The focus on weaponstraining in Eskrima explains this difference. In Eskrima we start to train with weapons and unarmed combat starts later when you have mastered the principles of Eskrima. In Wing Chun it is the other way around.

Eskrima Wing Chun similarities Wing Chun belongs to the best practical martial arts ever developed. This also applies to Eskrima. Eskrima is developed on the battlefield and tested in real combat at the cost of many lives and a great deal of blood. Therefore it is unfortunate that Eskrima is not always taken seriously by some people. They practice the art only as second of even a third style besides their main Martial Art, like a side dish in a restaurant. In Wing

“Filipino Eskrima and Wing Chun Kung Fu, a Chinese style, share many similarities, but differences as well� Chun the principle of forward energy is very important. When there is no contact with the opponent and the hand is free, you have to attack. In my Eskrima this principle is also key. Forward energy is a key principle. It is like sending your inner energy forward. The intention with which you might attack is always pointed towards your opponent. This inner energy fires up your attack. Even when you don't attack, you hold the initiative. Your opponent must not be given any chance to attack. Attack is the best defense as they say. And when he does attack, your defense is at the same time your attack. Forward energy is very direct and requires a lot of focus. But when well understood and well-practiced, it becomes second nature. For me this is a normal way of thinking. My father was always telling me (when I was still very young) always to attack first. Because only two things can happen, the opponent either makes a run for it or hits you back. I always liked the second outcome. Much more fun.

Blindside Blindside is an important aspect of Wing Chun, especially in the style of William Chung this is an important principle. Evade the attack, by stepping out of the line of attack and counterattack via the open line. This important principle in Wing Chun holds the idea that force cannot be answered with force. And remember Wing Chun was - according to legend - developed by a woman. In Eskrima this principle is called 'blind spot' and is practiced with sword and dagger or with stick and knife (Espada y daga),

and also in pangamot and knife fight, I use this concept. I can say this is one of the reasons that makes my knifefighting system different from other systems. I use the concept of 'blind spot' to use a knife more effective. For the opponent a knifeattack based on these principles is hard to block. Actually it is quite simple because what you cannot see, you cannot block nor counter. 'Blindside' and 'blind spot' are keyprinciples for effective and hard attacks, unarmed or armed, it does not make a difference.

Created for the street Eskrima and Wing Chun are ideal for self-defense. With short, quick and simple techniques, they are effective martial arts, created for the street and hand to hand combat. On the street there are no rules or referees. Only one rule exists: beat your opponent or perish, there are no other options.

Weapons Wing Chun In Wing Chun one also get to use weapons like Baht Cham Dao also known as butterfly knives or the Lok Dim Boon Kwan (long stick) is used. These weapons are more traditional weapons with a long history. They are not weapons that are commonly used in the street, or are to be found on the street. Nevertheless also weapons training is an important part of the Wing Chun and students love to train with them. Once you start with weapons training in Wing Chun you are already an advanced student in Wing Chun.

Combination of both styles Eskrima and Wing Chun are like brother and sister. As they fit perfectly together, which is of course one of the reason that many Wing Chun students also practice Eskrima (and the other way around). It is almost a natural fit. Both styles are proven concepts and suitable for effective self-defense. For me, self-defense means attacking and strike first. I hold a broad interpretation of the word 'defense'. In Wing Chun you have the so called chain punch: you stay in a straight line and trying to make

“Eskrima and Wing Chun are like brother and sister. As they fit perfectly together, which is of course one of the reason that many Wing Chun students also practice Eskrima (and the other way around).� the line between you and your opponent as small as possible. In Eskrima I actually do the same, armed or unarmed, I call that a 'winning mood', hit and keep hitting. Wing chun and Eskrima have much in common but also many contradictions. That makes it so interesting; what isn't right in Eskrima is good in Wing Chun, and what is not right in Wing Chun is better in Eskrima they combine well together, they are like ying and yang.

Wing Chun and Eskrima in movies More and more you see these martial arts in the movies. Eskrima and Wing Chun guarantee realistic and spectacular action (the IP MAN movies are great). The good thing here is of course that these dynamic martial arts are going to be more famous and known by the public. Wing Chun and Eskrima form a perfect match, both have an ancient history, one style comes from China and the other from the Philippines. Both have been developed in order take out the opponent as quickly as possible, both are easy to learn as long as you have a good and skilled teacher who can train you in a way that you can actually apply the principles. Unfortunately there are many bad teachers. For Eskrima one must have certain qualities to become a good teacher. Of course skill is important, but the ability to teach and make your students grow physically , spiritually and mentally are maybe more important in becoming a good teacher (that is: good skills are not enough). Because today you often see students being good in drills, but remember you do not want to be world champion in drills you want to be a good Eskrimador or Wing Chun man. Want to know more about Wing Chun then I can recommend Chris Vafiades , you will not regret it. For Eskrima , knife fighting and Pangamot , you can always come to me, do not hesitate and keep on hitting the sticks!. Welcome to my world, the world of Eskrima. For my upcoming seminars , instructor courses , camps and more you can visit my website and


“He resides in Kyoto, and trains in classical and modern martial arts every day, living in accordance with the ideal of “bunbu-ryodo”

ALEX BENNETT Alex Bennett was bor n in 1970 in Christchurch, New Zealand. Studying the Japanese language from the age of 13, Alex soon developed an intense fascination with Japanese culture leading to a one-year stint in Japan on a high school exchange program. It was at his host high school in Chiba where he was introduced to the martial art of kendo. Attracted at first by something reminiscent of a battle out of Star Wars, he joined the school club with little inkling of how his life was going to change forever. Although the rigorous daily training regime was physically exhausting, and often frightening in its intensity, Alex began to discover the philosophical aspects of the martial arts to be profoundly deep, timeless, and borderless. It was the start of a “spiritual journey� that has no end in sight. Intrigued by the history and culture of the samurai, he received his Doctoral degree from Kyoto University in 2001 with a thesis in Japanese on the socio-historical significance of bushido. He obtained another Ph.D. from the University of Canterbury in 2012 regarding the cultural politics and history of kendo. After working at the International Research Center for Japanese Studies in Kyoto, then at Teikyo University in the Department of Japanese Culture, and is currently employed as an Associate Professor at Kansai University's Division

of International Affairs where he instructs the martial arts and Japanese history. Alex also serves as the Vice President of the Inter national Naginata Federation, International Committee member in the All Japan Kendo Federation, Director of the Japanese Academy of Budo, and also represents NZ Kendo as the Head Coach, is co-founder and Editor-in-Chief of Kendo World, the world's only English language journal dedicated to kendo, and holds the grades of kendo Kyoshi 7-dan, iaido 5-dan, naginata 5-dan. He has competed successfully in international competition in naginata and kendo, taking second place in the World Naginata Championships in July, 2011, and led the New Zealand Kendo Team to a spot among the best 8 in the world in 2012. Bennett is also a prolific writer in both Japanese and English on various aspects of Japanese history and culture. He resides in Kyoto, and trains in classical and modern martial arts every day, living in accordance with the ideal of “bunbu-ryodo� - a balance of the scholarly and martial ways.

Hagakure I have spent the last 5 years of my life working on a translation of the classic bushido treatise Hagakure, and it will be published by Tuttle on May 27, 2014. There are a few translations already out there, but my one is different from the others for the following reasons: 1. It is the first complete translation of the two most important books containing the dictations of Yamamoto Tsunetomo. 2. The introduction fully contextualizes the text, and makes it more understandable to modern readers. 3. The book contains many footnotes which give the reader the background knowledge needed to make sense of the narratives. 4. Explanations of vague terms or concepts. 5. Although moder n renditions of Hagakure (both in English and Japanese) sometimes tend to be ambiguous, or miss the finer nuances, this translation is accurate and reliable.


6. The translation is based on what is considered to be the closest text to the original (which no longer exists), and not from a modern Japanese interpretation. 7. The translator is a highly experienced martial arts practitioner with a deep understanding of the samurai culture and mind-set. 8. The translator is a recognized authority on the subject in Japan, and has published extensively on bushido and budo in Japanese. Alexander Bennett Ph.D. Associate Professor Division of International Affairs, Kansai University (+81)-080-3859-0272

The DVD "Krav Maga Research and Development" comes from the will of four experts in Krav Maga and combat sports, Christian Wilmouth and Faustino Hernandez, Dan Zahdour and Jerome Lidoyne. To date, they lead several clubs and a group of twenty instructors and monitors from multiple disciplines, from Krav Maga or Boxing to the MMA, Mixed Martial Arts. This work is not intended to highlight a new method or a specific branch of Krav Maga, it simply aims to present a Krav Maga program that focuses on the importance of the "content" and share their experiences.


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

ORDERS: Budo international. net


In my last article I stressed the importance of why in the Combat Hapkido “Ground Survival” component we don't like to stay fight on the ground. We honestly and strongly emphasized that “The Ground is Not Your Friend”, unlike what many grappling systems would have you believe.

Don't Grapple… Survive! In a stand-up confrontation you have much more mobility and many more options: you can use barriers, jump, duck, parry, and even run if need be, but on the ground it is a whole different world. You have to deal with someone who is trying to hurt you while you are in a very vulnerable, uncomfortable, restricting position. You probably have already lost the option of defusing the situation by talking or simply removing yourself from that location by fleeing.

Now you have a violent attacker who has trapped you on the ground, pinned underneath his body and that can be a nightmare for anyone! However imagine how much worse that must be for a smaller person (such a petite female) pinned on the ground under someone of much larger size. Now add the fact that you may be dealing with more than one attacker and you can begin to appreciate how the average person can pretty much count on ending up in the hospital or in the morgue!

In this issue, I want you to consider another aspect of ground fighting that is almost never covered in most “sportbased” grappling arts: “Ground Survival against Edged Weapons”. Years ago, when Grandmaster Pellegrini and I were creating the Combat Hapkido “Ground Survival” program, we realized that this area needed to be covered due to the overwhelming number of attacks ending up on the ground with the assailant using an edged weapon or sharp object. In fact statistics show that most women faced with a rape

Self-defense scenario are confronted with an attacker armed with an edged weapon (or similar sharp object) used to threaten them into keeping quiet, getting on the ground and complying. Another example is an interesting one that I had the opportunity to learn from and translate into the development of my teaching material. While I was in the Air Force, stationed in Puerto Rico, I was able to work part time teaching Defensive Tactics to military personnel and security officers. In fact I had the opportunity to train over 1,200 Detention Officers from various Juvenile Corrections institutions throughout the island during my 4-years tour. At those institutions I visited and taught there was usually between 12 to 15 juvenile inmates

per "pod " and they all used one communal bathroom. One of the major concerns that I was made aware of by the officers, was the situation when the inmates would flood the bathroom floors with soapy water, create a disturbance, and, when the Special Reaction Team stormed the bathroom, the officers would slip and fall ending up on the ground and one or more inmate, armed with “shanks", would attack them! You can see that this is not a position anybody would want to be in, but it is part of their duty to deal with these dangerous situations. As a Defensive Tactics Instructor, to

“In a stand-up confrontation you have much more mobility and many more options�

Self-defense learn of that unusual scenario, was a strong motivation to research the best, most realistic techniques and to structure a Ground Survival program specifically designed to address armed attacks. We have since then also added this important component to our International Police Defensive Tactics Institute (IPDTI) course as “Officer Ground Survival”. When Grandmaster Pellegrini and I were hired, in May of 2007, to teach a course in “Military Combatives” at the US Naval Intelligence Office in Alexandria, Virginia, our students were an interesting group composed of personnel from different branches (Navy Seals, CIA, etc..) who were being deployed to Afghanistan and Iraq as Interrogators of suspected terrorist prisoners. It was explained to us that the reason this special

training was required was the fact that the Interrogators would be unarmed while in the room with the prisoners and there had already been incidents when the prisoner had managed to attack the interrogator. Some had been injured before the security team was able to enter the room and subdue the prisoner. One of the scenarios that we pointed out to them was that luckily the attackers weren't skilled enough to take the pen away from the interrogator and stab him with it! As you can see, just from the few different scenarios that I have presented here, investing time in training on Ground Survival against Edged Weapons should be a part of your overall strategy if you are serious about self-defense! As part of my “reality” based classes in Ground Survival, I introduce a “training” edged weapon to the scenarios while the participants are practicing their techniques so that they don't get surprised if it happens in real life, and can prepare for the possibility of encountering and surviving an edged weapon attack on the ground. Edged weapons are not going away any time soon! As a matter of fact they've been used since man first used them in battle/hunting, and they will continue to be used more and more by criminals because they are easy to acquire, easy to make, available just about everywhere (pen, fork, steak knife, screwdriver, etc.) and don't require any special permit to purchase. So it only makes sense to learn how to defend oneself against them in all facets of self-defense (i.e. standup fighting and on the ground). As with all of our Combat Hapkido training, all of the techniques of this program were selected for being the most effective, easy to learn and retain. We continue to receive positive feedback from all civilians, law enforcement, and military personnel who have studied it. We hope that this article will inspire you to research, learn, and attend our seminars that are taught worldwide. Visit our website for more information:


"Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool. Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy". - General Choi Hong Hi (___), ENCYCLOPEDIA OF TAEKWON-DO, Volume II, page 88. Taekwon-Do is one of the largest and most professional martial arts in the world today, (founded on April 11, 1955, by General Choi Hong Hi (___)), and continues to flourish even after the passing of its founder in June of 2002. Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso" (__ or Kyusho), as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The focus of this series is to investigate the Patterns (teul), which are performed in accordance with the founders precepts in "The Encyclopedia of Taekwon-Do" (an astounding 15 volumes written by General Choi Hong Hi, including his "Vital Spots"). It is through this structure that Kyusho will be initially integrated back into Taekwon-Do. Kyusho International is proud to assist in this monumental and historic collaborative undertaking.

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

ORDERS: Budo international. net

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


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

ORDERS: Budo international. net

Text: Peter Weckauf, Irmi Hanzal, (M.A.), &Thomas Schimmerl Photos: Mike Lehner

Tactical Combat Systems (TCS) is my own way of looking at the martial arts and close combat. TCS is, first and foremost, based on concepts and principles and contains ideas for self-defense with everyday objects (SDS Concept), knife fighting (Knife Fighting Concept), stick fight (Stick Fighting Concept), defense against firearms (Firearm Concept), use of axes (Axe and Tomahawk Fighting Concept) and for empty hand fighting. In this month's issue I will deal with self-defense against threats with weapons.

“In any case, one should weigh the risk of losing his life against the loss of money or things�

Self-defense TACTICAL COMBAT SYSTEMS (TCS) Threats with knives or handguns Due to the danger which particular weapons pose, self-defense against weapons is an extremely sensitive issue. An aggressor who uses a weapon to threaten someone, wants to massively intimidate his victim rather than kill him. It is still quite important to look at the complexity of the situation and not to just casually practice some techniques. Inappropriate, premature or

exaggerated behavior may not only endanger our own health and safety, but also those of innocent bystanders. In any case, one should weigh the risk of losing his life against the loss of money or things. Should you decide to defend yourself, make sure to conduct a "situation analysis" to be clear about what is needed for a successful defensive action.

Situation analysis In a TCS framework, situation analysis is defined as recognizing and analyzing a potentially harmful situation within a certain timeframe

and its solution. Understanding the threat (Where? Who? How?) is a crucial first step. Only then can the situation be assessed and appropriate action can be launched. Let me set up a short list of parameters for situation assessment. You will then understand the complexity of the problem. You will also understand that there is almost no way to defend yourself without training and practice. 1. Analyzing the attacker - is he confident or shy, aggressive or not, is he under the influence of alcohol or other drugs, is he mentally unable to understand what's going on.

2. Analyzing the weapon -what kind of weapon are you confronted with (knife, firearm). 3. Position of the weapon understand where the weapon is, where it is directed, position of the blade, is the weapon in motion or not. 4. Details of the weapon - for firearms: is the trigger locked, does the attacker touch the trigger or does he protect his weapon? For edged weapons: is the weapon single edged or double edged? 5. Number of attackers - how many attackers are involved (armed and unarmed)?

6. Danger for bystanders - are other people in danger due to the threat or the defense (deflection of bullets)? 7. Distance - to the aggressor 8. Location - are escape routes available, spatial constraints and circumstances… 9. Position - am I seated, am I on the ground or in motion? Are there any spatial constraints for optimal defense? 10. Technique - which technique is appropriate for my defense? 11. Tools - are potential tools (weapon-like objects, everyday objects) available and useful?

The 9 columns of defense against weapons Correct distance As a rule of thumb, the correct distance is within arm's reach to the weapon. Longer distance makes effective self-defense virtually impossible, especially with firearms involved. Hand position Quick access to the hand carrying the weapon or to the weapon itself is the basis for defense. Positioning your own hands as close to the gun

“An aggressor who uses a weapon to threaten someone, wants to massively intimidate his victim rather than kill him”

as possible would be ideal. (Hands up!) Element of surprise Choosing the right time to approach the opponent is crucial for successful defense. If possible, wait until the aggressor is distracted.

Deflecting the weapon When you access the hand carrying the weapon, or the weapon itself, make sure to point the gun away from your body (firearms). Also make sure that no bystanders are in danger. Controlling the gun or the hand carrying the gun Once you have gained control of the weapon or the hand carrying it, don't change grips or perform other maneuvers, as this might cause you to loose control To beat or not to beat There may be situations when it's better to attack the aggressor

immediately, if this improves your own situation. Still proactive attacks may be made impossible by your relative position to the opponent or when your position might be worse than before. Disarming Appropriate disarming is the only

way to gain control. In TCS we use a number of disarming concepts (give back, stripping, locks, take out, bodydisarming, attack the arm), depending on a given situation. Controlling the weapon Disarming the opponent must be followed by appropriate control of and distance to the aggressor, so that he can no longer use the weapon, or for the weapon to be used against the aggressor. Situation control Situation control is defined as making sure that the aggressor no longer poses a direct threat. This can

be achieved by controlling the aggressor, using the weapon, or hitting the aggressor. TCS training methods In TCS we use many different training methods. These methods, as well as concepts and principles,

constitute TCS. Basically, we use technical holistic and partial methods, as well as inductive and deductive procedures. This means that we practice whole sequences of moves as well as isolated parts of the sequences (e.g. disarming), but also certain techniques which can be applied to various concepts. Another very important building block of TCS training methods is attribute training. Individual attributes, like reaction, speed, timing, agility‌ are practiced, as well as more attributes combined with specific forms from the system or other systems, respectively, in order to


improve the application. An example would be: quick access to the weapon or correct timing for disarming when you practice to defend yourself against a threat with a firearm.

Tactical Combat System TCS - T is for Tactical All TCS Systems contain comprehensive tactical training in addition to the technical training. Tactics will teach you when, where and how to use defensive techniques, how to behave when you are faced with more than one opponents, different ways of handling a weapon and using it to attack, using and including the environment, teamwork and many more.

“Situation control is defined as making sure that the aggressor no longer poses a direct threat. This can be achieved by controlling the aggressor, using the weapon, or hitting the aggressor�

TCS - C is for Combat Because self-protection and selfdefense are the most important elements. Techniques and methods from martial arts and combat sports are used to improve techniques, nonetheless. TCS - S is for Systems Because TCS contains various systems, each of which can be taught

individually or in combination with other TCS systems. We teach selfdefense with everyday objects, knife fighting and defense against knife attacks, axe and tomahawk, firearms, stick fight, tonfa and empty hand fighting.

For further information about seminars and instructors' courses go to

GOJU RYU KARATE DO KYOHAN BY GOGEN YAMAGUCHI Gogen Yamaguchi was born on January 20, 1909. He was a world-renowned Grandmaster of Japanese Karate-do and the founder of the International Karate-do Goju Kai Association. He became well known, world wide by both his given name and his nick name of ‘The Cat.’ Prior to his death was honored by the Emperor of Japan with the Ranju-Hosho, which is the Blue Ribbon Medal of the fifth order of merit. Yamaguchi received it for his enormous contribution to the world wide spread of the Japanese Martial Arts. Yamaguchi’s name was a household word in Karate circles, and he appeared in all the major Martial Arts magazines and publications, both in Japan and in the western world. Yamaguchi was a very small man, just over five feet and a mere 160 pounds, however, he projected the impression of great bulk and an aura reminiscent of the samurai era. He was first referred to as ‘The Cat' by American GI’s for his gliding walk and flowing hair, while he was their karate teacher. By 1966, Yamaguchi’s organization was comprised of more than 1,200 dojos and clubs and 600,000 members within the Goju-kai system. By then Peter Urban had opened his New York Dojo and had initiated the spread of the style throughout the USA. In Australia, Paul Starling had been training for four years with Yamaguchi’s first Australian student Mervyn Oakley. GOJU RYU KARATE DO KYOHAN by Gogen Yamaguchi was translated from the Japanese version by Masters Publication in

Brazilian Jiu Jitsu: Its way to Germany and Europe Brazilian Jiu Jitsu: Its way to Germany and Europe „I am a shark. The ground is my ocean and most people can t even swim.“ (Rickson Gracie) My experience with that shark called Rickson Gracie in his ocean brought me once more to become a student, albeit I already had achieved mastership in Weng Chun Kung Fu. I was Rickson s student and representative between 1994 and 2000, and since then pass that art down to my students as part of my Tiger Team Brazilian Jiu Jitsu curriculum. The private lessons in his legendary garage in L. A. s beautyful neighborhood of Pacific Palisades used to start with a specific series of warm-up exercises, consisting of BJJ, Yoga and breathing techniques, and followed by Rickson s stand-up partner

drills. He has developed a sophisticated bottom-up training program, combining the stand-up self defense drills of his father Helio Gracie with balance exercises, and comprising defenses against throwing, punching, choking and grappling techniques by utilizing leverage forces. That way it s possible to successfully defend oneself against stronger and faster opponents. Rickson teaches stand-up techniques for distance control to bridge the gap and subsequently to force the opponent swiftly into ground fighting. The main goal is to control the opponent from a dominating top position such as the nowadays commonly known “Mount” position, where one sits on top of the opponent, keeping him down and forcing him to surrender by means of punches, joint locks, and choking techniques, or better yet to trick him into turning over onto his belly, where it s even easier to control him using the infamous “Mata Leon” (“lion-killing”)

Text: Andreas Hoffmann, Christoph Fuß, Photos: Gabriela Hoffmann

chokehold. Each training session with Rickson Gracie was then completed by sparring on the floor, rolling with him. It really is very inspiring how easily he would use the basics of BJJ, forcing his opponent to tap out. Beside Rickson I was also instructed by his brother Royler Gracie and his Hawaiian blackbelt student Romolo Barros. Back then Rickson was also preparing himself for the freefight championships in Japan, and it has been an honor for me to assist him during his training. But I also wanted to offer the opportunity for my students and friends in Germany and Europe to learn Brazilian Jiu Jitsu. Therefore I decided to give lessons, and furthermore to bring Rickson Gracie to Germany. The time had come in 1995 when in collaboration with Guy Miallot (France) we arranged a visit of Rickson and his wife at the time, Kim Gracie, to France and Germany. In France around 300 participants attended the seminar, during which Rickson also took up ground fight challenges. During this occasion Rickson in no time tied around 80 persons up in knots, in both senses of the word ,whoever fancied a round with him, amongst them masters and champions of Judo, Sambo, wrestling etc. After that, Rickson held an intensive seminar specifically for us teachers. Subsequently Rickson and Kim Gracie flew to Germany with me, where already 40 people, almost all of them students of mine were waiting for another seminar. Back then we did not yet have the same level of media support in Germany as in France, and most people never heard of BJJ.

“My experience with that shark called Rickson Gracie in his ocean brought me once more to become a student, albeit I already had achieved mastership in Weng Chun Kung Fu.�

Due to our chilly climate Rickson caught a cold attended with fever, but nevertheless insisted on holding the seminar, which turned out to be really fantastic. Nobody even recognized that he had a temperature, everyone was captivated by him, and thus Gracie Jiu

Jitsu was introduced in Germany by the first black belt. I myself have given lessons and t rained with my s tudents , and furthermore during those first few years accepted many challenges for the Gracie family in Germany. Back

then it was usually very easy to control most opponents on the ground. From Weng Chun Kung Fu I was already well acquainted with closing the gap, then I brought my opponents to the ground where they usually were no match, since hardly anyone had a clue about

“Rickson Gracie gave me the nickname “German nightmare.�

Gracie Jiu Jitsu

„I am a shark. The ground is my ocean and most people can t even swim.“ (Rickson Gracie)

the ground fighting system of the Gracie family – nobody knew about the mount, backmount and crossbody positions and their strategies, no one was aware of the standup techniques and certainly not of the guard position.Rickson Gracie g av e me t he nickname “German nightmare”, which describes the impression I

probably made on many opponents who at first considered Gracie Jiu Jitsu useless in combat befo re they were in fo r a s o mewhat rude awakening. Today this basic knowledge found its way into almost any style, though most people would hardly be aware that we owe that to the Gracie family.

Fu Shih Kenpo Fu-Shih Kenpo and its relationship with the KOSHO SHOREI RYU KENPO Technique The Kenpo Kosho technical efficiency greatly relies on the use of Atemi or blows, although it also abounds in projections and takedown systems, a wide section in Kosho Shorei Ryu, as complex as that in Aikido or Ju Jutsu, these being a basic "concept" in the system. In security, with the high art of "noconflict", it is used the so-called "female blocks" and "female blows" (Onna No Atemi), blocks and hits meant to cause just a certain degree of pain and confusion, without doing too much damage.

Philosophy and Spirit of Kosho-Ryu Kenpo

o The Symmetrical Arts refer to the teaching of stretching and pushing techniques, attacks to the limbs; they are non-lethal techniques although quite effective to control without damaging an adversary more than needed. o The Art of Authentic Self Defense is based on jumping techniques and getaway movements; it also teaches the use of any object in the defense. The apprenticeship order of the Kosho system begins by learning the spiritual arts and later, when the disciple is ready, he is taught the physical techniques. The reason for this order arises from the view that in the case of a real fight, the student will place his spiritual arts before his most lethal physical techniques. In this way, it's understood that he embodies the true meaning of the concept Kenpo Kosho.

In turn, physical arts are divided into

True Self Defense is the art of anticipation, the art of foreseeing and avoiding dangerous situations. The biggest and truest self-defense is living and forging around us a world of peace and harmony. A true student of Kenpo avoids violence, respects the law and seeks to live in peace and harmony. But if necessary, in a situation of a real danger to life, he is perfectly trained to repel any aggression and apply devastating and lethal techniques to the physical integrity of the attacker. On the physical aspect, getting out victorious in a self-defense situation is the essence of the art of Kenpo. In selfdefense you win with the rhythm that is born in the emptiness, with the

three separate combat systems, namely: "The Art of War of the Kosho-ji Monastery", "The Symmetrical Arts" and "The Art of the Authentic Self Defense".

cadence that arises from the intelligence and with the knowledge of the opponent's rhythm. But harming, injuring or killing is not the way of mankind.

o The Art of War of the Kosho-ji Monastery includes basic attacking techniques with fists, legs, hands, fingers, elbows, etc., besides the formal aspect of the "kata". With such techniques it is sought to hit the vital points, intending to injure and eliminate a potential adversary.

The inner part, the true spirit of Kenpo, lies in humbleness, in simplicity, in the constant self-control. Being humble means being respectful, responsible and fair to others and to ourselves. The humble person doesn't stoop to anyone nor permits anyone stooping to him.

Kenpo means literally "Fist Law". Kenpo is a martial art seeking the whole development of the human being in all its three aspects, physical, mental and spiritual. It chases fostering our insight, balance, harmony and a peaceful and respectful coexistence with all beings that surround and accompany us on our way. Kosho Shorei Ryu Kenpo is divided into two different branches that in themselves make up a unique art: the spiritual arts and the fighting techniques unit, which cannot be studied independently.

The persistent and continuous practice of Kenpo improves health, increases longevity and is not dangerous for the practitioners. No matter who practices it, whether we are a man or a woman, young or old, weak or strong, we must always preserve our resources and use our physical strength and energy with economy of effort. Kenpo develops our self-confidence, our senses and our mind to act and judge quickly and be always alert. The art of Kenpo is an invaluable aid in our daily lives. The true Kenpo practitioner should have a broad and open mind, be patient, humble, and temperate and give example of an absolute inner calm. He must be training his mind continuously on strategy and tactics. He should look for simplicity, which is the key to mastery, perfection, purity, sincerity and a total commitment in every technique, in every movement, in every gesture. Technique must be grasped internally to the point that it may sprout from the unconscious as a natural movement. He who achieves learning the power of nature will own any situation. For this reason, the technique shouldn't be just a mechanical routine, because that limits our mind and this limitation becomes rigid and lacking in spirit. Ongoing training should be a normal part of life, so that body and spirit remain unchanged and alert in every situation. "Train every day with the enthusiasm, commitment, eagerness and spirit of your first day. Live every workout like if

it was the last moment of your life and work as if you were to live forever."

Remember that the true warrior has only one man to beat: himself! The way of the warrior is the free path of knowledge, without clinging to anything or anybody. That is the way of the authentic and pure Kenpo. Everyone carves his own path. The way is in our heart, in the source of our consciousness, in our spirit.

Great Masters Converting the heart of the Universe in his own heart, that is the way of the warrior. Kenpo is also practiced as a sport, but the true and pure philosophy of Kenpo must be always kept in mind. To master the art of combat you have to delve into its philosophy and spirit. The power of the body and the mastering of the technique are nothing without the spirit surveillance. You must maintain an unprejudiced, balanced, fair, sympathetic and condescending spirit in any situation. A true Master of Kenpo will always fight for justice, even in adverse circumstances. Winning or losing, or pitting yourself against others with some techniques is not true Kenpo. The goal is not to conquer or be conquered, but to achieve perfection and simplicity in every technique and in every act of our lives. Always remember that the fist is a treasure in your pocket. It must be never be exhibited in public. Let's reflect on these last sentences, in them we'll find the secret of the true Martial Art. In the art of FuShih Kenpo we fully identify with this KOSHO philosophy of M a s t e r M i t o s e . Between Grandmaster Thomas Barro Mitose and I there is enormous respect, friendship, harmony and brotherhood. THANK YOU

Fu Shih Kenpo

Great Masters

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.


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

ORDERS: Budo international. net

Interview THE REAL MIYAGI A true story of a man behind the biggest Martial Art legends! In 1965, 20 years after World War II, a world champion martial artist from Japan comes to the United States with only $300.00 in his pocket and the clothes on his back. Leaving his siblings in search of the American dream, only to find obstacles that defy his honor. With the support of an EX-CIA agent, they manage to start the first ever Karate school in Orange County, CA that paves the way for what is about to come! A demonstration at Ed Parkers International tournament in 1965 leads to his notoriety. The Martial Arts community began to take notice of his impeccable precision and his weaponry skills such as the Nunchaku and the Sai. Soon after, he was approached by such talents as Bruce Lee and Chuck Norris! Later he signed with the largest Martial Arts publication at the time in USA “Black Belt Magazine” also receiving 2 coveted “Black Belt Hall of Fame Awards”. People flocked from all over the United States to see his daily demonstrations at The Japanese Village in Buena Park, CA where he stunned the audiences with his nunchaku and empty hand abilities. Steven Seagal, living in Orange County at the time, was being mentored by Mr. Demura and got his start demonstrating with him. Word about his skills spread quickly in the entertainment industry! In this riveting documentary, they chronologically follow his every step from Japan to the United States. Interviewing the pivotal people whose lives he touched and changed forever. From his first ever audition in Hollywood which landed him the movie, The Island of Dr. Moreau, in 1977, to the 1980s, when he became involved in the iconic Karate Kid films, when he became the stunt double for Pat Morita, who played Mr. Miyagi. He continued to be the stunt double for Mr. Morita in the television series O'Hara, and appeared in a number of films and documentaries, including Ninja starring Scott Adkins and directed by long time martial artist and friend Isaac Florentine.


In spite of all his accolades in Hollywood, he never lost focus in his dojo and the martial arts community. He continues to be a Karate ambassador around the world, which has grown to 32 countries. Fumio Demura, Kevin Derek (Director) and Oscar Alvarez (Producer) joined the Budo international in an interview: Whose idea was this movie and how did it come about?

KEVIN: In 2009 I was in Florida working on a project when I ran into Sensei Demura for the 1st time after 20 years. Surprisingly he remembered my name. I was one of his Black Belts back in 1988. Sensei has always been someone I looked up to; he reminds me a lot of my father. I always bragged about him to my friends about how famous he was. In Florida we went out for lunch at a Cuban restaurant. While reminiscing about the old times I suddenly sprung the question that I

wanted to ask him since I graduated from film school. “Sensei I've been wanting to make a documentary of your life for the longest time” Demura looked me in the eyes and said, “You better do it soon because I don't know how long I have to live”. With that said, I got on the phone with my producer, Oscar Alvarez and started the ball in motion. What is the main input from Sensei Demura and did he have any ideas for the film?

Great Masters KEVIN: The story line was purely from Oscar and I. Sensei Demura trusted and respected our direction. Obviously without his help and support this would not be possible. Sensei did put us in contact with people he wanted to include in his documentary. Who are the people involved and what did the main people have to say about Sensei?

KEVIN: One of the first people attached to the project was Pat E. Johnson. They have been good friends since the 70's. You might remember him from the scene in “Enter The Dragon” where he fights John Saxon on the golf course. He's a well-respected fight choreographer in the industry with films such as “The Karate Kid” franchise “Mortal Combat” and many more. Pat was the most knowledgeable about Mr. Demura's life because they had an extensive work history. One of my favorite quotes from Pat is; “No-body ever tries to tell Sensei Demura how great they are. Because when you're standing in front of greatness, how are you going to impress him with anything you have ever done.” Mr. Johnson explains how Sensei Demura landed the part for Mr. Miyagi's stunt double and the close friendship he and Demura formed. Slowly the word got around about our documentary and we started getting more and more people attached to the project such at Steven Seagal, Dolph Lundgren, Micheal J. White, Tamlyn Tomita, Sean Kanan, Yuji Okumoto, Isaac Florentine, Billy Blanks, Gerald Okamura, Don Warrener, William Christopher Ford, Oscar winning director John G. Avildsen and many more! We flew out to Arizona to take Sensei Demura to visit his friend, Steven Seagal. Did you know that Mr. Seagal speaks fluent Japanese? He also used to help Demura demonstrate at the Japanese Deer Park Village back in the early 70's. The Documentary starts out with a bold statement from Seagal stating: “There are so many people in martial arts and in the movie business that never studied the martial arts and all they do is bullshit people, and talk

about all the people they studied with and all the things they did! When they really did nothing! Yet they walk on screen and into the dojo telling people all these lies. Demura Sensei is the real thing!” One question that would have been interesting to ask Mr. Seagal was, “Who are you referring to exactly:?” OSCAR: I truly believe Dolph Lundgren sums it up perfectly in these words, “He's a true Martial Artist and that's the bottom line, and there are not many of those guys still around”. Mr. Lundgren is correct Sensei Demura is a Karate pioneer and will forever be remembered as the man who brought Karate to the United States and then continued spreading it around the world. Mr. Lundgren is a true Karate-Ka and a wonderful human being. When we visited him at his beachfront property in L.A. he greeted us warmly, and shared his personal experience and how Sensei Demura made an impact on his life as a young man. Sensei Demura's students had been in his movie Showdown in Little Tokyo. Tell us some of the interesting facts that you found out about Sensei that few know? KEVIN: He loves pizza! : Before starting this project I had to do some research on him, the more I read and talked to people the more I

Interview “I started Martial Arts at 8 years old, after World War II. We had nothing to play with, so we did hand to hand combat and sword fighting” realized what a great human being he is and how much he is respected all over the world! One of the most interesting facts, contrary to everyone's belief, in 1965, eight years before “Enter The Dragon” Demura was demonstrating the nunchakus at the LA City College during Mr. Nishiyama's tournament when Bruce Lee approached him and wanted to learn the nunchaku! So Sensei showed him what he knew. Later Demura signed on with O'Hara publications where he appeared on a number of magazine covers and published the 1st ever book on the nunchaku that came out in 1971. The other interesting fact, Chuck Norris also trained with Sensei Demura. Mr. Norris, always had great footwork but his hand techniques were taught to him by Demura. During one of Senseis' anniversary parties, Chuck Norris credited his success to Fumio Demura. Also Sensei Demura is the only martial artist to have a professional running show in Las Vegas. By the way, it was during the same time and place where Elvis was performing! Who is involved in the making of the film and when will it be released and will it be theatrical or documentary and what will be in the film? KEVIN: The main credits go to my Producer Oscar Alvarez and our Executive Producer Pat Nevraumont. The documentary is set to be complete this summer, from there we plan on screening

the film at festivals around the world. Soon after, DVD release. OSCAR: From the inception of this great idea, to capture the real story of a Karate legend, to the long and countless hours of editing this inspirational film of a humble man seeking the American Dream and sharing his passion of Karate to the world. I cannot begin to take credit, but instead commend my Director, Kevin Derek on his devotion to the project, and his commitment to capture the truth and legacy of Sensei Fumio Demura, which will forever touch our hearts. I believe one of Sensei Demura's students said it best, “If something happens to Sensei, there won't be another Demura Sensei”. Thank you Kevin for showing your true Karate spirit, which has breathed life into this beautiful documentary film that will touch millions of Karatekas around the world. It was an honor and a humbling experience. Sensei Demura Can you give a brief history of your martial arts career and how did he get to the USA? DEMURA: I started Martial Arts at 8 years old, after World War II. We had nothing to play with, so we did hand to hand combat and sword fighting. As kids, we played a lot of sword fighting and created our own makeshift swords and practiced. Later, I met a man who knows Karate, so I studied with him. Then, a bit later Master Ryusho Sakagami opened a dojo and I went over and knocked on their door. I wanted to join, but

Interview Master Sakagami said, “No kids allowed”. Instead, I started to learn Kendo, but I continued watching Karate training, and then a little later I asked if I can start training Karate and he finally said, “Yes”. While training, I met quite a few people like Teruo Hayashi, Shogo Koniba, Kinjo Hiroshi and then Taira Shinken came to Master Sakagami's dojo and stayed for some time. We practiced Kobudo every day and night. Then, Taira Shinken moved into Mr. Inubes house and we continued training there as well. In 1964 during the Tokyo Olympics we were not allowed to train for Martial Arts, but we were allowed to do demonstrations. I became an assistant to my Sensei during the demonstrations and it was at this point that I met Donn F. Draeger. He was very famous in Japan since he was American. Draeger introduced me to Dan Ivan and he came to Mr. Sakagmi's dojo to train. Sometimes, we would go to Donn F. Draeger's home in Japan and I would teach weapons there. I remember he had a big home. Then, he asked me, “Do you want to come to the United States to teach Karate”? I said, “Okay”. At that point in my life I was so poor, my father had recently died and I needed more money to help my family. Mr. Dan Ivan offered to pay me $200.00 month to teach in the U.S. and that was good money for me during those hard times, so I accepted his offer to come to the United States in 1965. When we arrived to America we started our classes out of a little garage, then we had more and more students sign up, so we opened our first dojo. Everything was going great, then we found the Japanese Deer Village in Buena Park and we said to ourselves, “Hey, we can do Karate Demonstrations here”. We offered to do it for free as a trial run to see how it goes. We were only doing shows on the weekends and people began to complain that they couldn't see the shows because they were sold out. At that point, the Japanese Deer Village hired them and paid them for the next summer to do more shows and it was a huge

success. Once we returned, we started to change our show to fighting scenes that looked like we were really hitting each other and with reactions like in a movie sequence. Our Karate show became the most popular show at the Japanese Deer Village. We were more successful then the bear show, the sea lions and dolphin's show and the deer show. We were basically the number one show, so they put more money into our show. Everything was going great, then I get word from Japan and questioning me, “Why are you doing this stupid demonstration”? I had a lot of pressure from Japan, so I was going to quit the show and walk away. Before, I did my last Karate demonstration I called my mother in Japan and told her: - “Mom, this is my last show, so you better come watch it because I'm going to quit”.My mom asked, - “Why are you quitting?”.I replied, “Because I'm getting a lot of pressure from Japan”. My mother replied: - “If you're doing something wrong by doing this Karate Demonstration, then you better quit now, but if you're doing nothing wrong, then don't quit”.I replied, “I'm not doing anything wrong” and my mom said, “Okay, then do it.” So, I continued doing my Karate demonstrations in United States, then in 1974 at the 3rd World Championships in Long Beach, California where Mr. Oshima was the sponsor. He asked me if I can do a Karate demonstration and I agreed. We did our Karate Demonstration to music and my partner, Dan Ivan told me to wear this flashy silver gi. I was a little bit nervous to wear a silver gi, but he said, “you need to prove yourself”, so I did it. After that demonstration I received a standing ovation from the audience. Mr. Sakagami called me over after the demonstration that he saw me do for the first time. He complimented me and that was the end of my problems with Japan. From that point on I continued to do demonstrations around the world. Today, everyone around the world does the same kind of Karate demonstrations.

Great Masters “When we arrived to America we started our classes out of a little garage, then we had more and more students sign up, so we opened our first dojo” What championships did you win Japan and what years? DEMURA: Karate Tournaments started in 1958 only in Goju-Ryu with no hitting, then JKA started the All Japan Championship and that's what I wanted to compete in, so I started training for it. In 1961, I entered a tournament in Japan where all different styles were allowed to compete. I was fighting in the Semi-Finals with Kotaka and then I went to the finals and made it to first place and I won at the All Japan Championships. What countries and mileage do you travel annually around the world? and how many countries did you taught in? DEMURA: Right now we have about 32 countries under our organization. Unfortunately, I can't visit all of them, but I fly about 100,000 miles a year. I'll fly to Argentina, to Chile, to England and to Germany and Switzerland. I try to balance it out between all the countries. It's not easy. I've taught all over the world like in Canada, Mexico, Honduras, Guatemala, Panama, Costa Rica, Venezuela, Brazil, Argentina and Chile. In Europe I've taught in Australia, New Zealand, France, Norway, Denmark, Spain, Saudi Arabia and I'm going this year to Katow which is above Iran. What was your involvement in karate kid and how did you get involved in it? DEMURA: The first time production called me, I was referred by Chuck Norris, so I went to the audition for the Karate Kid. The casting director handed me the script and said: “Okay, you'll be reading for the part of Miyagi”. I looked over the script and every page was Miyagi, Miyagi, Miyagi. There were so many lines for Miyagi. I told the casting director this role is too big. I'm not that kind of actor yet. I can't do this, so I said, “Goodbye” and I left. Later, I get a phone call from Stunt Coordinator, Pat Johnson and he said, “Sensei, I need you”. I told him “I can't do that part it's too big”. He said, “No, we casted Pat Morita for Mr. Miyagi, but he cannot do Karate, so I need you as his stunt double”. So, I went back to production and met with the producers and they hired me for the job. In summary Sensei Fumio Demura is truly a martial artist of extraordinary quality and one of the very few Japanese Sensei's who has been able to bridge the gap between Japanese culture and Western culture almost seamlessly. This movie “The Real Miyagi” is a testament to what martial arts can do for practioners of all ages if they maintain the three lessons that Sensei Demura has taught over the years to his students and lived his life by. 1 Always do your best! 2 Always work your hardest! 3 Never quit!

Martial Arts

KAPAP: Krav Panim el Panim, The Art of "Gaku Jutsu-Do" KAPAP (Krav Panim el Panim - face-toface combat) is a Martial Art form from Israel, mostly considered a modern and reality based Martial Art, but I prefer the name 'Practical Martial Art - PMA.' Those two meanings of KAPAP as a modern and reality based Martial Art has created a certain amount of confusion in the market lately, so let's clarify it. The early days of KAPAP takes us back to the 'old days' in Israel, 1930 through 1940, when it was a generic name for face-to-face [Hand-to-Hand] combat. The name was used even before Israel was declared and established as an independent state in 1948. Until the late 1960's it was used as a generic name by different Israel security forces. The system was based on judo, Jiu Jitsu which takes us back to the Japanese understanding of Martial Art with teachers such as Yehuda Markus, Gerson Kopler, Michel Horowitz and many other trainers and teachers from that early period. It is interesting to note that in Israel most of the older people would be more familiar with the term Kapap while the young generations would be more familiar with the name Krav Maga. Krav maga was one of the many systems that were born out of the old days. On my return to Israel from the Far East, where I was studying Asian Martial Arts for eight years, I was asked by the Army Lieutenant Colonel Harush Avi to create a form of Krav Maga for young recruiters as a part of preparation for military service. At the same time Israel's top counter terrorism unit, YAMAM, had recruited me as a member of the unit and the trainer for the CQB and hand-to-hand program with the rank of Staff Sargent Major (highest NCO). My task was to re-write and re-structure the old program and to incorporate new training methods. In this mission I teamed up with Lieutenant Colonel Chaim Peer, who was well-experienced in military and other security forces. The system that we developed together was later recognized as reality-based mostly for the idea that "It is better to be a student of reality, than to be a master of illusion." Most of the moves and training were connected and tested in reality-based situations. At the same time the true idea and meaning of Kapap were missing. That was not the Kapap that we had in mind.


Text: Avi Nardia, Tim Boehlert Photos: Ken Akiyama

Kapap is a system that consists of three aspects: traditional, sport and combat. A whole system cannot not operate without those three dimensions. It's like a family tree: the tree with no roots falls down easily and it's branches fall off, dry and die quickly. For the last 15 years Kapap has been in the civilian marketplace and we've tried monitoring the quality of it by denying 75% of students who apply for it. Even by having that filter we feel many times that we are getting the wrong people. In the old days students would have asked for admittance to the school. What we face today is overblown advertisements, and attempts by students to get into the schools and teachers who are ready to sell certificates by email without ever seeing the students just in order to build up a system! In Kapap we do it oldschool style: our students need to ask for admittance into the organization. They must regard us as teachers and we will teach them as it was done in the old days. Lately I have started considering KAPAP more like Zen teaching. It could be due to the time that I spent practicing Kendo in Japan, which is very noble Zen swordsmanship. In our moder n era the sword has been supplanted by the introduction of modern firearms but the values of morals and ethics which should be passed to the students through the Martial Arts is the same. The gun is modern archery. During a knife fight it is important to keep the right distance and to reach for the vital points of the opponent in order to win and at the same time keep him out of your safe zone. In order to solve the distance problem people have created spears and bows and arrows. The gun could be seen as a small spear which is a bullet filled with black powder and the ignition or explosion of it as the string's power. And again if Zen was the way of archery, there is no reason why the gun should not

Martial Arts

also be considered the same. Once I started teaching surveillance and awareness I noticed that most people were talking about gun disarming, but none of them had ever used a gun in real life. It was a red light to me that so called "masters" could not even take the magazine out of the gun or clear a malfunction or jam. It was very scary to see that those "masters" actually taught people. Only by merging the following three aspects will you get a true understanding and knowledge of the gun. Gun usage, gun retention and gun disarming are those three significant aspects that bring you to that level. By missing only one dimension of it you will fail. All those ideas led me more into the research of the Asian way of fighting. In the old days a true master was not recognized as such by himself but by the others. Today people are selfproclaimed 'Grand-Masters.' Therefore I want to emphasize the importance of 'Gaku', 'Jutsu' and 'Do' - the traditional way of teaching and learning Martial Arts.

'Gaku' means academic learning which occupies our minds. 'Jutsu' is the practice and study of the actual techniques in order to defeat an opponent. And the 'Do' is 'The Way,' the spirit we all try to attain in our lives in order to gain the true knowledge of ourselves and the world. That's the main idea of Kapap: "Always student, sometimes teacher." That's why the Martial Arts teacher was also known as "Shinan-Jaku." It means 'pointing to the South', like a compass, because in the Japanese tradition, pointing to the North was considered bad luck. The teacher was considered to be a compass pointing to the right direction for his students. Those three aspects of lear ning Martial Arts occupy mind, body and spirit. Kapap's compass is set to point to integrity first and most students and Grand-Masters are missing this quality today. Someone told me that Israeli Martial Arts has no integrity so I explained it to him this way: While most Grand Masters today are self-made, did not have any real teachers and they follow ANY way,

that's a compass that has no direction other than income. You may see that some people in Israeli Martial Arts are students that have been kicked out from other schools and organizations for reasons that I see each day. I kick out some bad apples from the Kapap basket, and the next day they are GrandMasters of Kapap, or they have or made their own new "Real Kapap", based on lies and more. Then they try to sell evil lies about their teacher and try to take him down. During my early training, when the teacher kicked you out of his dojo, that was the biggest shame you could ever face. Today you just cross the street or open Google and find a new organization to send you your GrandMaster certificate! So to keep integrity in the Martial Art's today is a real struggle. Most Grand-Masters today have only done maybe one week in Israel and then they certify themselves! How many people really lived in Israel and studied for years in the Israeli Martial Arts?


“You may see that some people in Israeli Martial Arts are students that have been kicked out from other schools and organizations for reasons that I see each day�

Martial Arts

“The marketplace is seeking worthless paper certificates and not real study. It's about ego and bullying, not Martial Arts� When I was in Japan my teacher asked one of my students "so, how many years have you studied in Israel?" My old teacher is blind today, can hardly walk in his old age, but it seems to me that he gave me the best class as can we really call our students - students. The compass needle always leads the way, but are our students ready follow? Or if you don't award them a colored belt or adavnce their rank but tell them to train harder, will they the next day become 'director' of a new organization and call you fraud? How can anyone call his teacher fraud if he himself teaches what he was taught exactly? I have been a victim of character assaisinations by students that I kicked out of my dojo and Kapap as they shamed themselves. I kicked one guy from our Level 1 training out that was from France, and the next day he went from Level 1 to a Level 5 Instructor, even though we only have four levels! I kicked one guy out of the Israeli Army, and he proceeeded to load the internet with lies, he just forgot to mention that I kicked him out of the Israeli Army for being AWOL! And the stories go on and on! So in this world it's hard to find real integrity and everyday I see more of the shamed that have been kicked out of many Israeli organizations inventing new Krav Maga organizations. The marketplace is seeking worthless paper certificates and not real

study. It's about ego and bullying, not Martial Arts. Someone asked me about a guy that had some some certificate signed for Kapap or Krav Maga, and I answered that bathrooms are loaded with papers signed by some butts it's not the paper that makes you, it's who signed the paper, and how easily he signed it and for how much money? In Kapap under Lt. Colonel Chaim Peer, the price is expensive: tears, blood, sweat. If you can't pay in those denominations, keep being the director of some "real" system! Jutsu is something that's the most basic and it is introduced first in the art, for physical methods are the most basic root methods of an art, but it's not the most important goal. Training is followed by Gaku, which is a study of the historical and technical. Then follows the philosophical and spiritual implications. A beginner will have no idea about the physical movements, so he has to go through a lot of techniques first to integrate the movements into one's own body. If the goal is purely for sport, winning contests, or for pure physical health or selfdefense, it can stop here and that's fine for what it is.


“it's not the paper that makes you, it's who signed the paper...�

Martial Arts

“'Gaku' means academic learning which occupies our minds. 'Jutsu' is the practice and study of the actual techniques in order to defeat an opponent. And the 'Do' is 'The Way,' the spirit we all try to attain in our lives in order to gain the true knowledge of ourselves and the world� As the student improves his technique he has to realize that there's some kind of technical underpinning. He needs to study and take his own initiative to read books and research into why the techniques are done a certain way. To some people this would seem like a waste of time, but knowing a bit about the history of Kendo will enlighten a Kendo competitor. Theoretical and historical knowledge adds to the physical capabilities of the student. Gaku and Jutsu work hand in hand. Eventually every advanced student will come to the point of asking himself some deeper questions about the meaning of his/her training and how this activity fits into our lives and changes us as human beings. Here we see the influence of the art on spirit. This is the 'Do', the MOST important part of the learning process. We see our lives being changed by the art in a positive direction and giving us larger perspectives. Without any concern for Do, budo training would be merely recognized as a system whose only purpose is beating up or killing someone else. It is not necessary to divide the three as you train. Jutsu is informed by Gaku, and both are enveloped by Do. While in the beginning gaining technical mastery is most important, as one progresses, Gaku and Jutsu also begin to take center stage, although Jutsu should never be neglected. In the end, a balance between the three is struck, where feedback loops move back and forth between the three categories, increasing the knowledge of all three. But remember, without integrity you can't find the Kapap way and at the end of the day each of us stands in front of his/here own mirror, and we can lie to all but not to ourselves! When I stand and look in my mirror, I like what I see and know that I will work harder and be a better student. "Lose your temper and you lose a friend; lie and you lose yourself." Hopi

INSERT PHOTO Photo: Mauro Frota & An'Ichi Miyagi Sensei, Higaonna Dojo The photo was taken in a private class with An'Ichi Miyagi Sensei while I was living at the Higaonna Dojo, sleeping at the floor (a little like Karate Kid) One day, An'Ichi Miyagi Sensei told me that he was coming to teach me a private class. I told that to Morio Higaonna Sensei and he told me to clean the dojo to receive his master. And so I did. We trained Sanchin and Tensho kata, along with basic kata Gekisai, and lots of talk about martial arts philosophy and moral values. He gave lots of examples from his own teacher, the founder of Goju-Ryu karate, Chojun Miyagi. After that he made me promise to write him a letter and visit Okinawa again. And I did so. At the dojo, he was always with a white belt, and during the opening ceremony, instead of being in front of me, he asked me to be beside him. I will never forget that day - it was my birthday present, as I was turning 21 in that same day. Dear Sebsei Avu Nardia Hope to see you again soon to keep on learning Kapap from you, especially because you treasure my background and give importance to moral values. Mauro Frota


“Without integrity you can't find the Kapap way and at the end of the day each of us stands in front of his/here own mirror, and we can lie to all but not to ourselves!�

Jean Frenette during the 1980's and 1990's was the most winning competitor internationally with his musical kata performances. He was second to none and his timing of the musical notes to the techniques has still never been equaled. We caught up to Jean while he was here in LA doing the action choreography for his latest movie “Jaya�.

BI - Jean where and when did you get your start in martial arts? Jean Frenette.: I started when I was 6 years old with Judo, then at the age of 10 I started Sankukai Karate with Maxime Mazaltarim, I trained with him and the founder of Sankukai Yoshinao Nanbu until early 80's. BI - Why did you change from Shito Ryu to Goju Ryu? Jean Frenette.: I met with Sensei Chuck Merriman in the late 70's and had many discussions about the origins of karate and in particular Goju-Ryu; It was in 1988 that I switched to GojuRyu Karate-do under Merriman Sensei. BI - How did you get your start in Hollywood? Jean Frenette.: I started TV work in 1978 where I was doing demonstrations and fight choreography; then in 1982 I started working in films; I did music videos, a TV movie called “In Like Flynnt” and “Police Academy”. BI - What are the biggest projects you have worked on to date and in what capacity? Jean Frenette.: There are many but in a nut shell, The best project that I

“There are many but in a nut shell, The best project that I had an amazing time working on was “300” where I was involved as a stunt performer and Immortals where I was Fight Coordinator.” had an amazing time working on was “300” where I was involved as a stunt performer and Immortals where I was Fight Coordinator to name a couple. BI - What projects are you working on now in Hollywood? Jean Frenette.: I just finished a project called JAYA; starring

international phenomenon Parkour founder David Bell. BI - Are you still involved in martial arts as far as teaching and doing seminars? Jean Frenette.: Absolutely; I still have my dojo in my hometown; we are celebrating our 38th anniversary, I also have dojos across Canada, in California and in 6 countries in Europe. BI - How often do you train personally and what do you do in your own training? Jean Frenette.: I try to train everyday for at least an hour; my regiment is always stretching, karate basics and katas, and of course cross fit training. BI - We understand that you are organizing a major seminar in Montreal later this month can you tell us who will be coming and who is welcome to participate. Jean Frenette.: Yes! We are organizing an International Gasshuku on Okinawa Goju-Ryu Karate-do with Kinjo Tsuneo and Gima Tetsu Sensei, both from the Jundokan in Okinawa; everyone is welcome if they have a keen interest in Goju-Ryu.

BI - I also understand that your working on a new book on Okinawan Jundokan Goju. Can you tell us a little about that, and what is your position now in the Judokan? Jean Frenette.: Yes indeed! In 1999 I asked permission to Miyazato Sensei if I could do a book about authentic Okinawan Goju-ryu under his supervision; he agreed to it and did the photos of all the kihon, katas and bunkai according his teachings in respect to the legacy of his teacher Miyagi Chojun; also I did an interview with Miyazato Sensei about history and training principals; in the book there will be all of the senior sensei of Jundokan during the time of Miyazato Sensei presence. This book will be a must for any Goju-Ryu practitioners around the world. BI - Why do you think that the Jundokan in Okinawa has produced the most dynamic Okinawan karateka in the last 30 years names like Teruo Chinen, Morio Higaonna, Chuck Merriman, Masaji Taira and of course yourself? Jean Frenette.: Because in keeping its authenticity I think Okinawa being

“I think that I was successful in competition because I had solid traditional background.� the birth place of Karate and the Jundokan teachers have kept the original ways. BI - Why have you never done a movie on Okinawan Goju and do you have any plans to do something like this in the future and if so what? Jean Frenette.: I have directed a documentary on Okinawa Goju-Ryu for National Geographic in 2006; but a feature film about Karate, the real origins is the works as we speak as Isaac Florentine and I have teamed up to develop an original story; will keep you posted on it but all I can say at this time is that its coming. BI - What is your favorite form and why did you switch from the

competition arena to the traditional Okinawan Goju? Jean Frenette.: Actually I have always been doing traditional karate; I only did the competition to test and express myself through my art. I think that I was successful in competition because I had solid traditional background. BI - You recently did some work on a film with Frank Shamrock the legendary MMA fighter. What did you find so interesting when you guys were talking? Jean Frenette.: Yes we recently did work together on JAYA; I think that he is an amazing athlete and real human being, he has mastered his craft by relentless training and dedication. BI - What are your plans in the martial arts world for the next 10 years as far as the Jundokan goes? Jean Frenette.: To keep on training as Karate is part of my life, still teach a much as I can according to my filming schedule and create an international organization for Jundokan. There will be an announcement in the next few months about its creation.

Passion to vocation Between the late 1970's and early 1980's I spent considerable time and effort reading all I could find on the history of the “Okinawan" fighting arts. I was fascinated to discover that much of Okinawa's socalled native fighting arts had actually come from surrounding cultures (i.e., China, Japan and SE Asia). Understandably, the passion to better understand this diverse history prompted me to look into the fighting arts of its neighboring cultures. During that research it became evident there were gaps in Okinawa's fighting arts history... information most likely lost in the sands of time, if even recorded in the first place! Ninety-two year old Kinjo Hiroshi, noted historian, best selling author and Okinawan Karate master, explained to me that, “in spite of the importance we place upon studying the origins, history and lineage of this art today such was not the case during Okinawa's old Ryukyu Kingdom Period.” In fact, according to Kinjo, and in spite of the anecdotal references to “a liaison with [Fujian] China,” there never has been a definitive explanation for the history of Okinawa's empty hand fighting arts! During the dawn of the 20th century local Okinawan authorities decided to take out from behind closed doors their secretive empty-handed fighting arts, and introduce to the public domain (albeit with an ulterior motive) a modified version of kata as a form of physical fitness, ostensibly to serve school children. With a need to fill in the historical blanks, and no official source from which to corroborate information, local enthusiasts drew liberally upon anecdotal reference to describe its origins: “Karate traces its historical origins back to China!”

Dragon Drawing watercolor and pencil Vivi Escriva Palacios.

The motions of the dragon serve to refine one's spirit. The applied techniques are based on the philosophy of the element earth. In itself, the dragon teaches to strengthen and lead one's Chi. It only embodies few fighting techniques, as the main task of the dragon is to exercise inner strength based on breath control.

Kung Fu

Kung Fu Even a layman is able to distinguish the five constitutive animal-styles of the original Hung Gar Kung Fu, namely tiger, crane, snake, leopard and dragon, as each one has its very own characteristics. For example the tiger: its techniques are strong, direct and explosive. Or the crane style, who's winglike movements are soft but fast. However, one animal in the Hung Gar Kung Fu remains an enigma, which is the dragon. As a mythological creature it is the only animal in the Hung Gar Kung Fu which does not exist physiologically. Nonetheless, it is an established element within this ancient martial art. Within the theory of the five elements, the dragon is being allocated to the element 'earth', and is considered as very wise and powerful in spirit. Generally, the dragon is associated with special hand postures and tactics. Many practitioners know though that this style includes intense exercise with the chi, our internal power. Even though the chi, which is also called 'qi', is not tangible and conjoined with our spirit, it is as real as any other kind of energy. Not mere muscular strength but rather will power and a strong spirit lead to success, which is why beginners perceive the focused practice with the chi as very difficult. Each technique, as well as each animal in the Hung Gar Kung Fu, is based on the principles of chi. The dragon style, however, is particularly intended to teach how to steer and strengthen the chi, which is being implemented by practicing the age-old breathing techniques. Looking at the dragon style (Lung Ying style) in its entirety, an intent observer may identify a rapid succession of forceful fighting techniques and claw-like movements which impersonate the dragon. Hung Gar Kung Fu takes on the essence of the dragon as a creature and therefore the dragon style comprises only a few fighting techniques. In this style, as already mentioned before, the 'real' practice is achieved by the slow Qi Gung (“chi labor”) exercises and the strengthening of the spirit. On a beginner's level, such exercises may lead to the impression that these meditative processes have no reference at all to a real fight. However, they are mistaken. To use the words of the Kung Fu legend, Grandmaster and official Hung Gar Kung Fu style leader Dr. Chiu Chi Ling: “Many people think that the dragon, an animal which does not really exist, is reduced to breathing exercises and qi techniques. This is a pity, because in reality, there is no element in Hung Gar Kung Fu which is NOT meant for fighting. This is also true for the dragon.” In other words, there is much more to the dragon techniques than simple breathing and/or health exercises and,

Kung Fu as Grandmaster Chiu Chi Ling indicates, each element in Hung Gar is meant for a real fight of life and death. Besides, the people in ancient China could not afford to practice a martial art that would not protect their lives and possessions. If a predator succeeded to steal the monthly wage at just one occasion, a farmer could have been ruined as he was not able to pay for seeds, food and basic goods. Hence, self-defense and the struggle for survival were of essential importance and there was no space for futile and useless techniques in the traditional martial arts. Taking this background information into consideration, we are not only able to fully understand the dragon, but to distinguish the traditional from the modern martial arts. You have to admit that acrobatics are not very effective in a fight man against man, right? As already mentioned before, if you are looking for concrete dragon style techniques you will mainly find breathing exercises and only a few fighting techniques. Now and then one might believe to recognize something as dragon specific, as for instance if the practitioner imitates the claws or fangs of these mythological creatures. For adepts, the dragon's techniques are very fascinating as the techniques often have similar characteristics and resemble techniques of another animal. Paying closer attention, they recognize that the dragon's techniques seem to have their own logic and principles. However, from the outside it seems as if practitioners, who try to learn more, are soon back to the slow and focused breathing exercises and the sometimes odd vocal sounds. We are able to perceive techniques and learn them so why is it nonetheless very difficult to understand how the dragon is applied in a fight? One approach to explain this question lies in the dragon's nature as a style, which is meant to refine and sensitize the spirit and a practitioner often needs to readjust the way he has been training so far. Although Hung Gar

students experience this on an early stage of their training, only a few of them get to the point where they are able to truly understand the dragon. Why? Grandmas ter Chiu Chi Ling : “T he pro blem nowadays is that practitioners only rarely advance to the level needed to grasp complex systems like the dragon. There are no secrets or detained knowledge, but if one only scratches on the surface and/or is learning from a mediocre teacher, he will never be able to understand it.� By now, most people have realized that behind the abstract fighting concept of the dragon lies the purpose to fight for your life. Some people are even aware of t he co nnect io n between the drag o n and the element 'eart h' in the Hung Gar. A t rue understanding and appreciation however only emerges when a student achieves a certain level. Only after having studied and practiced something fo r a certain perio d o f t ime, o ne is able t o comprehend it in-depth. Yet, the only determinant a student can actually control himself is what kind of teacher he chooses. If someone has a teacher who is constantly trying to deepen and enhance his skills and knowledge, the sky is the limit. However, the number of people with profound skills and knowledge decreases with the depth of the skills and knowledge in a certain department. The structure of a pyramid is a perfect metaphor for this paradigm: Many people are familiar with the basics, but only a few know and understand the profound knowledge within this field. This is also the case in the Hung Gar Kung Fu. Only the strong-willed and devoted student who is eager to learn will find his way to the top and as a consequence will sooner or later comprehend abstract and complex principles like the dragon style. This is an indispensable requirement to ensure the viability of the true and original Shaolin Hung Gar Kung Fu. Are you going to be o ne o f tho s e who will perpetuate this knowledge?

Gracie Jiu-Jitsu Basic principles of JiuJitsu: Accuracy How can we achieve natural accuracy? Probably, participating regularly and consistently in workouts can be a problem for many. Initially, most of Jiu-Jitsu beginners are so euphoric about training that they will attend classes almost every afternoon. After a while, though, they start realizing that it's not only the quantity but also the quality which counts and so, some cut down their appearances on the mat to once or twice a week, especially when they already are practically part of the elite.

Training hard and training a lot doesn't necessarily mean improving in Jiu-Jitsu; often the opposite is true, since the practitioner who trains hard, or very hard, tends to believe that he already has the victory in his pocket and when this doesn't happen, many of them get so disappointed that they even give up training Jiu-Jitsu. When I spent my first days in Rio de Janeiro, I left a school of Jiu-Jitsu where they used to say "the second is the first of the losers." This mentality can also be felt in many schools of Jiu-Jitsu with a sports orientation and where members are extremely competitive. The fear and

disappointment they actually had could be felt in the air. However, defeat should assume as a learning experience and we should do it by ourselves; it is better to analyze and learn from it taking the negative experience as a positive source to improve ... then we could benefit greatly from it. If you are in the way of elite athletes or you have already understood Jiu-Jitsu as a lifestyle, you should make a toast for both successes and failures alike, so it would be better from the beginning approaching the study of Jiu-Jitsu as a long-term training, and therefore, refining the technical repertoire and

putting knowledge on the foreground. People who frequently strive in Jiu-Jitsu competition are also seeking prestige, either because they had a difficult childhood or because they are seeking attract attention on them. Success and fame arrive, but end soon and are surpassed by reality. Few achieve to turn again this deed into something positive and help others; this would actually mean winning something, namely, share our experience with another person and thereby reach together the joy summit of Jiu-Jitsu. If you read today magazines of combat sports, martial arts, or the like - particularly American magazines - you must believe that about 85% of world Jiu-Jitsu practitioners train other Grappling Arts. However, perhaps we are just about 5% of all combat sports. Jiu-Jitsu has been given an image on which one has the impression that only tough guys train - or rather, that each Jiu-Jitsu training

session is hard. Grandmaster Helio Gracie would probably be now turning in his grave if he could see the current sport scene... since he always emphasized that his Ju-Jitsu was not to make an athlete become better; his goal was that anyone could learn it. The actual useful sources of Jiu-Jitsu, a complete physical health, mental strength, joy of life, respect and discipline, must remain in the front line, otherwise Jiu-Jitsu will be a mere mass sport without a great spirit nor roots. The Jiu-Jitsu is a vehicle that brings us to use it for our personal development. The practice of Jiu-Jitsu, with its subtle differences,

encourages us to see everything else in life in a more accurate and precise way, as seen in a combat or in a training technique. In my view, the Jiu-Jitsu principle of "accuracy" remains hidden in many training aspects. We are constantly between the clouds of success and the ground, which reminds us that there is a lot of work that we still can do for ourselves. Tournaments can be used to work on technique, regardless of whether you win or lose, but it should not be the ultimate goal, although, very often, tournaments tend to be the real goal of many people. However, we must keep in perspective the constant improvement of our technique (longterm); apart from that, tournaments are intermediate tests, very useful and absolutely necessary for you. Maybe this could be explained as if you were training for the New York Marathon and you were participating in smaller races to prepare yourself. The goal should be development of a Jiu-Jitsu person, so that he can fulfill the highest standards. It's no easy task. Achieving this goal requires a lot of work and time. Often we move away from the actual path and believe that we can take a shortcut, but then we realize, once again, that such direct accesses are not real paths. I think one of the lessons I've learnt which is most important than my Jiu-Jitsu, is the "here and now" - the present.

One of the most interesting aspects of Jiu-Jitsu, in addition to the large number of techniques, of course, is the series of combinations and variations that are learned and, over time, can be developed by oneself. After observing the opponent, his weight, his movement and dynamism, comes the next action, either from you or from your opponent. In the mind, this is almost like flying on autopilot, until you don't know where you can go. The body may behave, from one situation to another and for a long time, in a neutral way, until the adversary or you yourself perform the next action. In this way is carried out the precise action to seal success.

Pressure and the connection theory F requent ly, P ro fes s o r P edro HemetĂŠrio speaks about adaptation and the connection theory, which goes that if you use an 80% of your weight against the opponent, you can eas ily g et t he finaliz at io n. P erhaps t hat 80% s ho uldn't be taken literally, but it is understood that in Jiu-Jitsu connection is very important, as you can simply feel the way your enemy behaves. He has also repeatedly said that it doesn't exist any precise technique that can be done without a true connection between combatants. T he po s it io n in relatio n t o t he

pres s ure ag ains t the o ppo nent makes it possible to properly carry the arm under control, so you can even make a stretched arm lock. Ho wev er, this can happen in seconds... Right now I'm thinking about a fight I saw the other day, in a Jiu-Jitsu event... The combat lasted more than fifteen minutes and just before the end, the Gracie JiuJitsu man managed to avoid the mounting position of a very strong opponent and defeat him with an armbar. A ct ually, t his co uld be labeled in the category of "best move of the year", because that's what I had not seen in a major event of Jiu-Jitsu since long ago. So you could say that Jiu-Jitsu doesn't rotate around technique, but it has to do with everything. In my career I have been lucky enough to train with the best and learn from them. My personal training began with Gracie in a small garage in Santa Monica. Then I traveled to Rio de Janeiro to meet Sylvio Behring. Back in Los Angeles I learned some improvements with the Machado brothers, cousins of Gracie's, and my many trips I could learn from Pedro HemetĂŠrio, a great Jiu-Jitsu champion who, unfortunately, is no longer with us. The man who has most influenced me to building my image in the Jiu-Jitsu world, has most likely been Rickson Gracie. I was fascinated not only with his skills as a fighter, but also with his

Jiu-Jitsu style; when you speak of basic concepts at the highest level, it is with him where you can see that. Never, not even in my early day s of lear ning Jiu-Jit s u techniques, have I been interested in memorizing a hundred paces. Rather, I've strived to improve my kno wledg e, ins tead o f lear ning unnecessary movements to make it more complicated. Nonetheless I am not any great man of the theory, but rather I deal with practice. Who ev er want s t o achiev e maximum accuracy in Jiu-Jitsu, he must first understand that it is not abo ut o bt aining an effectiv e submission (finalization), but the way y o u g et t o it . Let's briefly expose some techniques, as for example: • As a Jiu-jitsuka of the art that I learned with the Gracie's, from the first day I practiced the crossed choke. The reason was because: a) I found out that this strangulation is carried out with the "thumb" and not pulling the neck when twisting the kimono. b) I didn't have to keep my hip in the guard position, but move it slightly in order to stay closer to my opponent's nape, and c) I might need to use this choke as a ruse to "invert" the guard of my opponent, in order to place myself on top of his belly (Mounted position).

• In over 80% of the Jiu-Jitsu fights, several guard positions are ado pt ed. When t hes e thing s happen, it makes it difficult for many. But who says they have to happen? Master Pedro Hemetério places great emphasis on the need of maintaining the guard. So you must place yourself as if you'd really like to be on guard, and the enemy should now move and try some technique. Then you can take the opportunity to break the guard. Here y o u als o hav e t o lear n t o read bet ween the lines ! S o , let t he opponent (the "strong") make the first move and then counter him with less force, but with accuracy and persistence. • If you are lying down and your opponent is dominating you in the mounted position, then you should try to make him feel unstable, so to speak, so that he is forced to try keeping balance. The hip movement, also called "Upa", was for Master Pedro Hemetério, and for many other experts in Jiu-Jitsu, a very important element. However, the Upa movement works not only as a defense of the mounted position, but also as a defense of the side mount (the "100 kg position") and the crossed mount; this technique can create the space you need to free yourself. Therefore, it is a technique that can be used in different situations.

• We will remain in the mounted p o s i t i o n a n d c o n t ro l n o w t h e o p p o n e n t f ro m a b o v e . H e re w e have the option of making arm techniques and shoulder lever. The so called "American" is one of the most efficient techniques. Why is this so? Suppose we are in the mounted position with the American, and now the opponent can move so much that we can't keep our position (mounted). Of course, we could try a different technique, but we can also make the move to the next position (side mount, 100 kilos) and keep the American and the strength to defeat the opponent. In this case, I've just optimized the position, rather than having to apply a completely different technique. • So therefore, we can conclude that a technique must be applied at a l l l e v e l s , re g a rd l e s s o f t h e student's development degree, and also that a technique should remain efficient independently of the size and weight of the practitioner; and last but not least, a technique should be usable to all, both men and women. Text and Photos © Sandra Nagel & Franco Vacirca

Action choreographies MADE IN HONG KONG & AMERICA Showiness versus Credibility Formerly, Americans didn't believe in continuity and spectacle and they preferred basing their choreographic ideas into something more real and believable. But in the mid 90's, the time when Jackie Chan came forth with "Rumble in the Bronx", the American audience began accepting longer and more spectacular fights. For example, if we compare Van Damme's "Blood Sport", we'll see it presents strong and sharp blows. The Belgian actor had already shown more complicated and developed fights in "Knock Off". For a long time, the American market had stuck to the reference Bruce Lee had left in the 70's, a major spectacle with a main movement and little continuity. The general idea is that the good guy hits and the bad guy gets hit; there isn't much more than that. The Chinese, and especially Jackie Chan, unwrapped a style that gives us no breath: moves, falls, hitting and being hit at the same time, then a great scene where the actor literally jeopardizes his life, followed by another frantic fight which only to think about it makes us feel tired ...

Martial Cinema

The difference was in the enthusiasm and time invested in the fight sequences; if arranging choreography for a film took three months in Hong Kong, in the United States they just dedicated three days.

Image and Martial Skills Another remarkable aspect is that in the USA (and throughout the West, we could say) more attention is paid to image than to qualities; that's why an actor who "looks" tough is the star, but then there's always a stuntman or double specialist to recreate difficult scenes for him. Muscle mass, facial features, this is the most important thing when choosing an actor; his martial skills remain in a second plane. In Asia is not like that, we can see a star out of shape but with high level martial skills, like Samo Hung. Personally, I was lucky enough to work in different Asian and American productions (or for the international market);

the truth is that if in America we have a scene interpretation consultant who will be constantly seeking that we express our emotions to the fullest, in Asia we will find an action director and his team of specialists who will leave no detail to chance in regard to the action sequences.

Continuity in the scenes Another detail at cinematic level is the filmic continuity. When a scene is shot, then we have a next scene which should give the idea that everything's happening at the same time. Western productions usually have a woman who takes care only of that; she's called the "Script". And why is it always a female? For the simple fact that women are more meticulous and skilled in details than men, they notice everything: clothes, the way every actor moves, what foot did he first use to climb a ladder, which was the part where he was beaten and what hand he rested on the floor when he lost his balance; everything is minimally detailed in order

Martial Cinema to keep the continuity; yet, there are always small details that escape to the sight of everyone becoming pearls for celluloid fans after completion of the film. I've never seen a "script" in Asian productions and I know about many Western actors that have a lot of problems when rolling, as the directors themselves do not pay any attention to these things. As for the fights, I think continuity is not so important, but productions outside Asia give it such relevance that everything seems even static when the sequence is edited. And Asians have an editing style that can work wonders with an elder actor and with little experience in fighting scenes. With this in mind, we note another crucial detail, the camera position.

Camera Angles Asian Films specialize in showing the action in a different way; if we add unusual camera angles to the edition, we'll have frenetic action scenes with a unique style.

In Hollywood, the action depends on where the camera is, it seems that everything has to be moving around its position... On the other hand, in Hong Kong, for example, the camera is positioned according to the action development. Yuen Woo Ping is a specialist in this area and perhaps his most important contribution to the Western public was in "Matrix", complementing East and West in scenes that marked a before and after, and joining the highest digital technology at the time with excellent fight sequences.

Movie speed This is a crucial aspect in the fight scenes; Orientals go for adding speed to the fights while Westerners prefer slow motion... As an example I can cite Jackie Chan's movies produced in Asia,

with an incredible speed and timing. H i s A m e r i c a n p ro d u c t i o n s a re already somewhat more "credible", w h e re m o v e m e n t s h a v e a m o re normal speed. Maybe it's because of his age - JC is almost 60 - although he still maintains his followers interested. A clear example of films using slow motion to add showiness, are nothing les s t han s ome of Van Damme's films. "Bloodsport" contains many scenes in slow motion techniques that make JCVD's leg techniques shine. Another star, this time female, who displayed her skills in USA and Hong Kong is nothing less than Cinthia Rotrock, and if we compare her films produced in Southeast Asia, we'll see breathtaking scenes; but in her works on American soil, the quality is not the same.

We can say that the American mentality is that of understanding at first glance everything that happens during combat, where exist struggles and slow-motion to make it easy grasping the actions. By contrast, in Hong Kong, they seek frantic actions that are continuous and impressive and perhaps it's necessary to view the fights more than once so as to see each of the movements clearly.

West vs. East Personally, I have worked in both industries and it can be said that in many ways they are like water and oil. On the one hand, in Hong Kong you have a detailed choreography, with movements that must be accurate and in the correct angle respect to the camera. This is what I experienced working with Anthony Szeto in "The

Fist of the Dragon", a film that hasn't been released yet - only the "trailer" is available on the Internet. In USA you can already shoot in excellent conditions with a catering you won't find in China or Hong Kong, but at choreography level, everything will be subject to time of filming and to the director's vision, without paying much attention to the details at martial level or camera angles. Currently, in China, co-productions with the United States and other Western countries are beginning to be made; perhaps in a not too distant future we will be able to appreciate films where these two personal and unique styles of making movies, Eastern and Western, complement each other. Andrew Dasz Actor/fight choreographer

Kyusho (the Vital Point) of Energy Development. “Bow Pose” Dhanurásana From the last pose we opened the pathways and began to allow the Kundalini to rise along the Shushuma as well as opening and energizing both the Ida and Pingala as well. This was possible once many safeguards and nuero pathways were opened, strengthened and balanced. This will begin as a vibration or feeling of electrical current flowing through the body as it builds into heat to breakdown the calcifications or blockages in the body. This can also be physically induced with certain nerve manipulations, but the yoga postures are designed to bring them about on your own. Not only did we prepare the physical body in all prior postures, we also prepared the brain and spinal column as well. This is paramount for good and safe transmission of the very powerful energy. One must also keep in mind that it is not wise to simply release the Kundalini, but rather to nurture the process it and prepare for maintained balance; this posture is one such physical way to accomplish the balance and release valve so to say. When Kundalini reaches your head, do not try to intellectualize or control it as you do not need to. You will feel the heat and pressures inside your head moving and vibrating as many changes occur, you may even feel as if it opens and releases up and out of the top of your head (Crown chakra). Let this occur as it serves to decalcify the Pineal Gland and other components of the brain as it improves mental functionality. This is the process called awakening in the Yogic arts and a goal of them. With the release of the Kundalini the practitioner will experience a great amount of heat generating and moving that can lead to some very distressful symptoms, (which the author has endured and not merely speculation). Such symptoms could be; physical sweating beyond normal day and night, emotional imbalances and difficult almost “crazy” periods due to past emotional issues surfacing and releasing (cleansing or purging) from the subconscious. If the Kundalini fire is concentrated in the throat, the practitioner may experience a vibration, heat or pressure radiating out of the back of the neck and manifest aching and pain in the throat or jaw. It may also manifest in speaking angrily from the release of things you’ve suppressed or have not been able to verbalize before. Further symptoms are all based on where the Kundalini centers or concentrates; as another example, if concentrated or held in the solar plexus chakra, physical belly bloating may occur, and fear may surface or be predominant. Loss of appetite may also become a symptom from the excess energy or just lack of interest as you live this experience. If the Kundalini concentrates in the chest or your heart chakra symptoms will include a heat, pressure, and possibly movements in this area of your body along with intense and uneven heart beats, vibrations or shocks. This may lead to emotional episodes initiated by any strong realizations even in beautiful or wonderful occurrences. For Women these are not unlike the hot flashes during menopause or the high

“Not only is the spine compressed, but s too are all the peripheral pathways for the energies to flow. As these flows are impeded, the front of the body especially the frontal centerline or Chakral line is stretched (opened) for greater flow.” emotionality during pregnancy for some. In Men it may feel as a heart attack or high anxiety, but again this is a purging and there are many ways to calm this fire, this posture is one of them. When Kundalini fire is settled or concentrated in the two lower chakras, there may be a surfacing and/or release of old sexual issues, guilt, or suppressed survival energies which can cause discomfort at first but eventually release and greater awareness. Also be aware and drink plenty of water as the increased energy, muscle contractions and heat manifested, along with the constant sweating leads to dehydration and mineral loss, and the constant detoxing and purging that this entire process creates. This is also controlled with this posture (and the next in the series). When working with increased energy and especially when it transforms into heat, the ground (preferably on dirt, grass or the damp sand at the beach) will act to attract and cool it. Now cold scientifically does not exist, only heat (greater vibrational levels) exists, but the greater heat will flow or be attracted to the lesser (cold) heated or vibrational entity. So by placing the lower Chakras of the frontal body on the ground, in essence the heat or Kundalini will be attracted, this serves as an

outlet so as not to overwhelm the body with it’s release. You will also note that the hands and legs are held in such a position so as not to diverge the possible grounding outlets so that a greater release can be achieved. The further release from the base Chakra is severely inhibited by the compression of the complete spine, from base to head. Not only is the spine compressed, but s too are all the peripheral pathways for the energies to flow. As these flows are impeded, the front of the body especially the frontal centerline or Chakral line is stretched (opened) for greater flow. This concentrates and leads the energy of the Kundalini down toward the ground at the second Chakra in particular. This serves to release the excess energies and released debris so as not retain them in the body. The circuit is completed as it manifests and releases from the base Chakra as it climbs through the Shushuma, Ida and Pingala to the head and back down the frontal Chakras.

“Bow Pose” Dhanurásana When we adopt this posture we lay the frontal body to the ground flat so that all the chakras are in contact with the less energetic ground. The arms reach back as the lower legs lift to meet as the hands clasp onto the ankles or feet. Then in a synchronous manner the upper body

Text: Evan Pantazi Yoga Instructor: Carolina Lino - Ponta Delgada, Azores Photo by: Tiago Pacheco Maia - Ponta Delgada, Azores

“When we adopt this posture we lay the frontal body to the ground flat so that all the chakras are in contact with the less energetic ground” and legs are lifted so as to place the focal balance on the second Chakral area. The head is pulled back in order to stretch from the third eye or sixth Chakra so it is also felt as opening the upper sinus cavity where the Ida and Pingala meet. This acts to allow the increased energies to descend down through to the fifth Chakra at the throat that is also stretched accordingly. As the Kundalini is allowed to transverse now into the fourth or Heart Charka, the pressure released to open this gate is not only longitudinal, but lateral as well. This has been accomplished via the shoulders and arms extended to hold the feet in this position. The third or Solar Plexus Chakra is also in contact with the ground but not completely as this serves to be the first level of attraction for the Kundalini. The sixth Chakra now bears the weight of the body and is the release point of the heat and vibrations of the dispelled Kundalini. And of special note, should the practitioner feel any artifacts of the Kundalini, this posture can be used to further disperse it.

Breathing and Intention: From the prior “Big Toe Pose” (Angusth?sana), the practitioner inhales deeply in the pose and beginsto exhale as the knees are brought down to the ground. Continue the exhale as you roll the bdy andarms forward until laying flat down inprone position with arms extended. Take the time to again inhale deeply and as you begin to exhale, slowly brings the arms to the side and down to grasp the ankles or feet that are rising to greet them. As you pull up on the head, shoulders and legs begin to exhale slowly until the sixth Chakra is the main contact on the ground. As you exhale and perform the posture, feel all of the heat or vibrations travelling down fromthe crown, through the third eye, throat, chest,solar plexus and into the lower abdomine. To reeat the breathing prcess you may maintain the posture (the best solution) or again lay flat. This may take time to comfortably holdthis posture through cmplete a complete breathing cycle, but it is the more thorough way to maintain the correct ground and disperse the greater amount of energies. Next Posture 15 “Seated Primoidial” Rája Purnásana

Do you need a master all your life? few months ago I launched my association TAOWS Academy, a project that I had in mind for quite some time. I called it TAOWS Lab. In the laboratory we try to take steps forward in the study of this fascinating Combat Art.


WingTsun is a Chinese boxing style unlike any other. In my articles and books, I always refer to it as a "hybrid" style. This word clearly defines the characteristics and idiosyncrasy of the system itself. In my experience teaching and practicing this style, there is one word that I think describes perfectly WingTsun: SUBTLE. This little word, subtle, composed of only two syllables (like WingTsun), presents several meanings. The Oxford Advanced Dictionary of Current English defines subtle at first instance as "fine and delicate". But it goes on stating: "Ingenious, complex... An then: Quick and clever at seeing or making delicate differences, sensitive..." Undoubtedly, these last meanings define much better what in my opinion makes this system so difficult to understand.

“Not always what we understand as Basic is easier to grasp or apply than what we call Advanced.” Quite often, WingTsun has undergone vulgar simplifications that have led excellent practitioners to a blind alley, ambushed by the totally inflexible guidelines of some gurus or teachers who claim to possess the truth patent (their own truth, of course!). It's something very sad, against which I've been campaigning for months. But placed on a dynamics of building and planning situations, I want to use all these negative elements for the study of an art and try to make them "good." The TAOWS Academy LAB is a way to link up WingTsun practitioners in a place to practice and study what I call Advanced WingTsun. I am not very

“In the current WingTsun scene is all too common to hear instructors of different branches of Wing Chun affirm that it is necessary to study the art for decades.”

fond of high-sounding phrases (like "advanced") but, the end of the day, I just had to do it somehow, and my reflection intends to encourage practitioners of this art to reviewing everything they study with a certain perspective, to help them and help ourselves in our practicing. Advanced is what follows to Basic. I don't always agree with what is meant by Advanced or Basic in WingTsun, just for a very simple question. Not always what we understand as Basic is easier to grasp or apply than what we call Advanced. This, in my opinion, would be the only reason for labelling the techniques one way or another, but the more I practice this system, the more I realize that the seemingly basic things are the most difficult ones to apply in real situations. In this search for the "apparent simplicity", not always has been understood the fact that what we are actually seeking is to make SIMPLE what is very COMPLICATED in itself (beating an opponent who is not cooperating and is trying to finish us off as hard as he can). Surely befuddled by action movies or by the hundreds of demonstrations

Wing Tsun

“It's really gratifying to see every day how an increasing number of courageous teachers dare to propose new ideas (some of them really inspired). A beautiful perspective is opening in the midst of so much darkness.� and skill displays in which MMA schools, for the desire to beat an adversary who tries to do everything and with a superior force, with a "magic" technique overcome him with just two tricks ... Well, after twenty years of trying ... I'm sorry to say that is not possible! After this "disappointment", I wonder what things could be changed, or perhaps be oriented in a different way so we can fight using the style to which some of us have devoted more than half-life... For sure many practitioners of other styles (not WingTsun) who read my columns and make me inquiries via email or on my website, will find strange my statement or even in some other cases similar to the problems of the so-called classical styles. But

the main thing is to try to introduce into practice something that is often forgotten: common sense. A few days ago, while I was preparing a LAB session for my team, one of the TV channels I usually watch in order to study the combat elements and fighting arts, started to issue a documentary about the Roman legions. The documentary described very concisely the different strategies and techniques that the Roman Legions carried out in battle and the reasons for which this military body had become the most feared war machinery of the time, explaining also the individual training of Legionnaires. The fact that most caught my attention was the extent of the instructing period: six months to a year. I was surprised by the relatively short period they needed to form one of the most fearsome soldiers of ancient times, as opposed to the duration of training for a martial artist today. In the current WingTsun scene is all too common to hear instructors of different branches of Wing Chun affirm that it is necessary to study the art for decades. I find it little less than curious that there are people who claim that a person needs 20 years to "complete a system", when a Roman Legionary was perfectly trained for battle in less than a year. What is the conclusion to be drawn from this dichotomy? Well ... it's simple. Throughout the training process of any skill, there is a part of training and other of experimentation. The

instructing period cannot last in any way, 20 years! It's really offensive to the intelligence of normal persons. Although, after a training period, the period of experimentation obviously can and should last as many years as possible in order to improve the capacity and understanding of the principles or techniques. It was in these circumstances that TAOWS Lab arose, where we can complete in the shortest time the WingTsun system and try out the style itself in a number of scenarios and conditions that force us to adapt to changing situations beyond our control. The experience is proving to be highly rewarding, so much so that some of the exercises, drills and sections that I teach in my seminars and training courses have emerged from the work and research process I'm carrying out with the team of my closest collaborators. Everything in search of applying a style of fighting to the fight! Reached this point, I'd like to refer to the title of this month's article: Do we need a master all our life? In my opinion, NO, WE DON'T. In fact I think it's really bad for the practitioner's individual development. Don't get me wrong. I don't want this to be misinterpreted. I don't mean breaking up with your master / father / instructor, but quite the opposite. It's simply looking at everything with a different perspective. One of the masters I most admire and I often reread shamelessly says

“In this search for the "apparent simplicity", not always has been understood the fact that what we are actually seeking is to make SIMPLE what is very COMPLICATED.”

“I want to invite them to not confuse tradition with immobility, to not confuse respect for the Master with lack of courage on proposals to improve their practice.” that.... "It arrives a certain moment in which you must 'kill' your master…" I totally agree. Not doing it means not undertaking a work of self-discovery and personal experimentation that can greatly enrich our practice. This change in focusing the teacherstudent relationship is, in my opinion, what should define the passing from student to instructor, when after having reached a certain level in all respects, the person finally receives the title of SIFU. From that moment, is the new "father" who must look differently the way he relates to his Master and begin to leave his mark, his own style within the style, in short, the period where practitioners must engage in practice and experimentation and suggest new ideas.

Truly there are some groups that are currently doing interesting works (and not just in my association). The telecommunication era allows us to s ee what's happening in o ther co untries o r co nt inent s in what relates to the practice of Martial Arts. It's really gratifying to see every day how an increasing number of courageous teachers dare to propose new ideas (some of them really inspired). A beautiful perspective is opening in the midst of so much darkness. At this point, I should like to invite those who wish it to work, investigate and dare to venture into the so-called Advanced WingTsun which is made up by the most advanced stages of the BZT, MYC, BCD and Pole system, invite them to not confuse tradition with immobility, to not confuse respect for the Master with lack of courage on proposals to improve their practice. Let's be more like the Roman Legionaries ... A few years of learning and then many years of practice and evolution. Surely this great family of practitioners will appreciate it. Thanks very much to everyone for your attention and support.

Wing Tsun

“Let's be more like the Roman Legionaries ... A few years of learning and then many years of practice and evolution.�

87 year old Hal Sharp is one of the World's foremost authorities on Judo. A 9th in Judo Hal is a book of knowledge from that era when there is little information on martial arts, right after WW2. Hal was actually a Body Guard for the Emperor of Japan at the end of WW2 which is a story in itself. His writing prowess is unparalled as his books Sport of Judo, Techniques of Judo, and Boys Judo have all been best sellers in martial arts for years.

“The Genesis of Judo”. By 87 Year Old Hal Sharp 9th dan Judo This article is part of the series I plan to write relating to judo and my experiences in Japan in the early 1950's. This article is primarily about Japan's greatest jujitsu master, Sanjiro Yokoyama, who became the head instructor at the original Kodokan Judo Institute. Jigoro Kano, founder of Kodokan judo surrounded himself with a group of powerful jujitsu masters such as, Yokoyama, Tomita, Yamashita, Saigo, Mifune, Samura, Nagaoka, etc… Before I get further into this article the term used in Yokoyama's day was” jujutsu”, however, since the term “jujitsu” is commonly used today I will use that term in this article. Today there is confusion as to what is jujitsu versus judo. Compounding the problem is all the various Asian martial arts that we see in many shopping centers. Prior to the 1900s there were very few books, and documents on martial arts most of which consisted of scrolls and a few line drawings. The names of techniques often consisted

“Yokoyama earned the nickname of Oni (Demon) Yokoyama” of made up words that vaguely described the technique. In Japan there had been various martial arts schools with systems like jujutsu, yawara, torite, taijutsu, judo etc. Some school's names were associated with the teacher's name. One could not tell by the name of the system which techniques they were using. Most of the schools faded away with their players and sensei's going to judo. All of my older sensei's like, Kawakami, Takagaki and Mifune were former jujitsu players. During the early 1900s when E.J. Harrison (famous author of several books including his best selling book The Fighting Spirit of Old Japan) practiced jujitsu and judo he had never heard of names such as karate, aikido or any of these other martial art schools, which doesn't mean they did not exist. While I was training in Japan during the 1950s I started to work on a book

covering the history of martial arts in Japan. By this time I was familiar with sumo, kendo, aikido, taiho-jutsu and karate. My sensei's tried to help me by taking me to various jujitsu schools which turned out to be small groups of older men doing kata's (prearranged drills) with and without weapons. For the most part they would just be practicing tricks listed in an old scroll. None of the schools practiced in a competitive environment like judo. At this point I am not suggesting which martial art is the best when it comes to a fight, especially since I grew up in the streets of South Philadelphia learning boxing and street fighting which I really used at one time or another. The event that led me to writing this article came about while I was writing my new book titled “Boys - Girls Judo & Self-defense”, subtitled, “Road to Black Belt”. I wanted this to be more than the typical book which shows and describes basic techniques or tricks, while only giving lip service to the essential elements needed to really make the tricks work in competition. Otherwise you might just as well be practicing judo with a manikin. Even my first two books “Sport of Judo”


and “Techniques of Judo” do not adequately cover the essential elements for victory. I discovered an excellent description of these elements in a 100-year-old book titled “Kyohan Judo” written by Sanjiro Yokoyama and Eisuke Oshima. Kyohan means instruction manual. This is the first book on judo written by the Kodokan, published in English in 1915. A reprint of the book is available on Amazon and my next article will discuss the contents of this book. However, it is important to note that of the 297 pages in the book almost 100 of the pages are dedicated to how to make judo work in competition and how to train effectively. For example, on the subject of the kusushi (broken balance of opponent ) the book speaks of when the opponent is a two legged man and one legged man. This type of description revealed to me that the writer really was an experienced fighter. Then I remembered that in E.J. Harrison's book “The Fighting Spirit of Japan” there was a chapter about Yokoyama titled “A Champion's Reminiscences”. This contained exciting and humorous stories about fighting in Japan during the Meiji era (1868-1912). For those of you who remember the movie the “Last Samurai”, you may recall that during this period Japan was seeking to become a modern nation and was essentially eliminating the old ways of the samurai including their methods of fighting. This resulted in many jujitsu masters being unemployed. With the creation of Kodokan judo, where jujitsu was turned into a sport, this became a haven for the jujitsu masters. Yokoyama lived 1864-1912 during the Meiji era. He tells the story of when he was a young boy he witnessed a real sword fight. An old ronin samurai wearing tattered clothes was walking past three young samurai who appeared to be a little drunk. His sword case accidentally touched the sword case of one of the samurais which is considered to be a grievous offense. Immediately he humbly apologized to the samurai. His apology was not accepted and the three samurais drew their swords and spread out to fight. He pleaded that it would be meaningless to fight and continued to apologize. With no way to stop the fight the old samurai drew his sword and slowly walked towards the middle samurai. The samurai on the right side saw an opening and quickly attacked but was cut down by the old samurai. Then the samurai on the left attacked and he was cut down. The middle samurai seeing his two buddies lying dead in a pool of blood immediately took off. In those days all fighting had to be reported to the police, which the old samurai proceeded to do.

“Most of the photographs you have probably seen of these old jujutsu and judo master's are pictures of old men. However, I assure you they had powerful bodies. Included here are photographs of Yokoyama in kimono and Kawakami showing his muscles”

Judo As a young man Yokoyama studied jujitsu. He and his jujitsu buddies were anxious to test their knowledge in a real fight. In the neighborhood of their dojo was a section of town where there was a lot of drinking and gambling. Sometimes at night gamblers would jump drunken customers to get their money. The young jujitsu players decided to have one of their group imitate a drunken customer and when the gamblers attacked they would jump in and fight. Although they knew effective ways of striking and seriously injuring or killing someone they decided

“All of my older sensei's like, Kawakami, Takagaki and Mifune were former jujutsu players�

they would limit their fighting to separating the gamblers lower jaw with the heel of their hand. It just so happens that their jujitsu sensei was also the local bone-setter (like a chiropractor). The next day the injured gamblers went to the jujitsu sensei to get their jaws fixed. Meanwhile, the young jujitsu students would peak in the room to see the extent of the damage they had caused. He recognized this was a self confession of his youthful actions which would not be tolerated today. Yokoyama trained in Tenjin Yoshinryu jujutsu. Tournaments amongst

the various jujitsu schools was extremely rough and sometimes deadly. There were very few rules and essentially everything goes. Often before going to a tournament he would bid his family farewell because it was a possibility he would not return alive. At the age of 23 there was a famous tour nament between Nakamura and himself. Their fight lasted 55 minutes, which was a record, and was finally stopped by the referee because he did not want to see any of them killed. Yokoyama stated that most of his tournaments only lasted 2 to 3 minutes. In Japan each year in jujitsu and later in judo the big tournament was the East and West. Nakamura was then considered

the champion of the East and Yokoyama the champion of the West. During election times there were often fights between the two parties which gave Yokoyama another outlet for practicing jujitsu. Another tough jujitsu master was Kyuzo Mifune who often got into fights. Kano stated he often had to get Mifune out of jail because of his fighting. On one occasion Yokoyama was in a restaurant with Mifune. A gang of 13 young men came into the restaurant, were drinking heavily and once in a while they would whisper to each other and stare at them. One of the young men came over to Yokoyama grabbed his coat and hat and started to walk away. Yokoyama went after him

demanding his coat and hat meantime six of the others decided to join in a fight with Yokoyama. Then Mifune quickly joined into the fray and within a few minutes they had knocked out or subdued all 13 of the attackers. In another incident, a friend of Yokoyama was at home having dinner with another friend. A group of roughnecks entered his house and demanded money which was refused then they pulled out swords and knives to threaten them. A manservant saw this and ran out of the house to get Yokoyama. When Yokoyama arrived the leader of the gang recognized him and bowed. Yokoyama told him to leave with his gang but that if he needed some money he could come to Yokoyama's house later and he would give them money. The others wanted to fight but the leader told them they would have trouble with Yokoyama and that they should leave. They never came to Yokoyama's house, however, one of the bad guys came to the Kodokan and became a very good judo ka. Yokoyama earned the nickname of Oni (Demon) Yokoyama. Most of the photographs you have probably seen of these old jujutsu and judo master's are pictures of old men. However, I assure you they had powerful bodies. Included here are photographs of Yokoyama in kimono and Kawakami showing his muscles. Following Yokoyama, Kawakami became one of Kano's favorite students and competitor. In summary we usually form our opinions based on our own experiences. For almost 5 years I trained 6 to 7 days a week in hard judo. I started as a white belt and made it to 4th Dan. At the Kodokan monthly rank tournaments, you fought in your rank class, and as you progressed they moved you up to the tougher guys. You could only win by ippon, with no decisions for superiority and no penalties to give you an advantage over your opponent as they do today. There were no weight classes, you fought by your skill status. I had gone through the typical phases of learning forms, being defensive, counter throwing, power gripping and doing combinations because you could not throw straightaway. By the time I was a 3rd Dan I had developed the power of shizentai (being nowhere) and being able to read my opponent (mirror mind) being sensitive to the opponent's actions and instantly being able to adapt a technique to beat the opponent. I am not certain if the reader will understand what I am saying, but this is why I think I understand what Yokoyama was saying in his book.


TRAINING ONE MINUTE AT A TIME “It doesn't take years to learn self-defense, it takes days.” That's a statement I've used to promote my Reality-Based Personal Protection system for many years now, and many traditional-based martial artist scream, “Impossible! Wagner is a fraud.” For over 20 years I have been training police agencies and military units all around the world, and I'm still convinced that learning “real” self-defense takes only days. If you can't learn any given self-defense technique in five minutes, then you won't need it in a r eal fight. Plus, after having witnessed thousands of fights, and having been in several lifeand-death fights myself as a soldier and a police o f f i c e r, I k n o w that in any serious conflict only four to five techniques will be used.

Self-defense REALITY-BASED TRAINING ONE MINUTE AT A TIME Going a step further many lifesaving lessons for personal protection can be learned in a minute, and I found this out by writing to my students on my facebook page. Yes, I still write long articles, and even thick books on self-defense, but sometimes the truth in combat can be learned in a minute. To understand what I mean I have selected 10 Personal Protection Tips for you to read, in a minute or less, and the subjects are varied. A lot of

“truth in combat� can be contained in a paragraph. When you keep adding these oneminute tips together, and stringing together one realistic technique after another together, eventually you have what you need for those conflict scenarios you are likely to face.

YOU ARE BEING WATCHED WHEN YOU FIGHT Whenever you get into a conflict in public (argument or physical confrontation) tell yourself, "I am being videotaped," and assume it will end up on YouTube for all to see, and

in a courtroom of law. Keeping this in mind will keep you from doing something you will regret. You'll never get into legal trouble if you know the appropriate use-of-force to use for any given situation.

YOUR CAR DOOR IS THE ATTACK POINT The attack point is 1-meter (3 feet) radius of your car door. Have your car keys in hand, and before you put the key into the keyhole of the lock, quickly do a full circle scan of the area to see if a criminal is approaching you. It takes a mere two seconds.

Self-defense Most carjackings happen in this small circle. You need to make this situational awareness technique a habit, which means do it EVERY TIME you approach your car door, and not just at night or in isolated areas.

THE DIFFERENCE BETWEEN A EGO FIGHT AND A REAL FIGHT An “ego fight� is the proverbial bar fight. In most cases the two people fighting have no intention of inflicting any serious injuries to one another. Serious injuries would be permanent damage to the body such as biting off an ear or finger, breaking major bones such as the skull or pelvic, gouging out an eye, and the like. Sure, somebody may get a broken nose or broken jaw in an ego fight, but even if a person loses an ego fight he usually survives it. On the other hand a life-anddeath fight is exactly what it implies, serious bodily injury or death. Usually it's a fight against a criminal or terrorist. Reality-Based Personal Protection prepares students for both types of fights. "If you want to hurt someone use a closed fist. If you don't want to hurt someone use an open hand strike." That is a quote I learned when training with the Israeli police several years ago when I was a guest instructor at the National Police Academy (Israel Police Operational Fitness Academy Havatselet Hasharon Israel). So, what does that exactly mean? Just that, when you hit someone with a closed fist it is essentially bone-to-bone, and that causes injuries. When you use an open hand strike, such as a palm strike, it is soft tissue making contact, and the top part of the hand is not supported. The riot police officers I talked to use open hand strikes to stun someone; more like a hard slap. Yes, of course, you can injure someone with a palm strike, but would you do that same strike to the opponent's ribs if you wanted to break them - of course not. A good old balled up fist is what will break ribs. Plus, walk into any bar in the world, be it Mongolia or Brazil. If two untrained men get into a fight what kind of blows will they be throwing? Close fists or open hand techniques. Obviously, most men are hard wired to hit with their fists; it's just natural. On the other hand, if two untrained women go at it with each other what will they do? That's right, a catfight: tearing, clawing, scratching, and slapping. Not 100% of women, but most of them. That's just how they are hard wired. So, when I teach my Reality-Based Personal Protection on what kind of strikes to use I go back to that Israeli quote.

“In an armed robbery never make eye contact with the suspect. If you do you just may get shot; same with a vicious dog, or you will get bit” YOU'RE BEING WATCHED For years I have been saying that various government agencies can listen and watch you through your own phones and computers. A lot of my students thought I was paranoid or misinformed. Then when the NSA story broke a year ago I was proven right again. It's not just governments around the world that can do this, but other entities as well - like those who may want to steal your identity or black mail you with information they gleaned from spying on you. There are all kinds of reasons why you want to protect yourself. One of the easiest things you can do is stick a Post-It note over your camera lens when you are not using it. Whatever that camera lens is pointed to there is the possibility that it can be sending images back to an unfriendly viewer. That simple Post-It note blinds a possible source turning your device against y o u. T he Jim Wag ner Realit y -Bas ed Personal Protection system is not just about "punching and kicking " o nly, but all "personal protection."

DON'T MAKE EYE CONTACT WITH THE ROBBER In an armed robbery never make eye contact with the suspect. If you do you just may get shot; same with a vicious dog, or you will get bit. Reason one is they think you are trying to remember their face, even with a mask on. Reason two is that if you are a martial artist you give off the same "vibes" as a police officer or a soldier (Type A Personality as we say in America), and he may just shot you thinking you're a cop. I have been robbed once in Mexico, and twice in Egypt, plus as a police officer for 20+ years I have talked to many robbery victims. Even if you plan to attack you must play the role of a very scared victim. Of course there is much more I could write about, but you get the main point.

THINK FORENSICALLY As part of your post-conflict training “think forensically.” Like I teach my students in my Crime Survival course, “Preserve crime evidence.”

Self-defense “Going a step further many life-saving lessons for personal protection can be learned in a minute, and I found this out by writing to my students on my facebook page� True "reality-based" self-defense training includes PreConflict, Conflict, and Post-Conflict. Preserving crime scene evidence must be a part of your training. The evidence you preserve may be the very element that connects the criminal to the crime or sends him to prison in a serious crime. You need to know how to fight, but there are many things that happen after a fight that are just important.

DON'T BE IN THE CENTER MASS A gunman goes for the "center mass" of a group. Therefore, stay on the edges: restaurants, movies, crowds, airports, etc. This is based on studying many school shootings, office massacres, and terrorist attacks. In my Terrorism Survival I actually have students carry out "terrorist attacks" with Airsoft firearms and certain patterns ALWAYS happen. Then we learn how to use those patterns to our advantage. In school shootings, et cetera, you always hear about the victims killed, but almost never about what people did "right." Animals like to attack the herd on the edge, because they are only after food. Humans attack the center for mass casualties.

INSTANTANEOUS SHOCK FROM A STAB WOUND 1 1/4" or 3cm stab to major muscle group can induce instantaneous shock. You could pass out immediately or two minutes later. Puncture wounds to the body are very serious. Even a stab to a major muscle group may not seem like a big deal to you, even though it may not be life threatening, but any penetration to the body of 3 cm or more can produce what is called INSTANTANEOUS SHOCK. You may feel perfectly fine, then all of a sudden you go unconscious. I always tell a story to my students in my Knife Survival course where I accidentally got stabbed in my left leg with a bayonet. It was a little pain, but other than that I felt fine. There was blood coming down my leg, but that did not make me feel uneasy. A few minutes later as my training partner was getting a

dressing for the wound I passed out. It just hit me suddenly. I've talked to many knife victims and many have told me they have experienced the same thing. Sometimes it is a few seconds after the stab or sometimes minutes after the incident. YOU NEED TO KNOW THIS because you could pass out while still in the fight, and that is not good. I give a few examples of what one should do in various situations, which I won't go into here, but just know that this can (but not always) happen to you, and you need to prepare tactically for such an occurrence.

THE KEY TO AVOIDING A HEAD BUTT An Algerian Head Butt is where the attacker launches his entire body at you using the top of his head to impact your face. There are several type of head butt techniques that people use: the Australian Whisper, English Head Butt, Irish Head Butt, and the Algerian Head Butt. Regardless of what kind of technique someone is going to throw at you, if you have your hands in front of you up by your face it is impossible for the attacker to get close enough to you to complete the technique. In situations like a pub you can keep your hands up, or as we in Reality-Based Personal Protection say, "talking with your hands." It looks natural, but your protection is there. A great tool also for you to practice head butts is the Impact Head.

WARNING! AIRSOFT GUNS IN USE. PLEASE KNOCK. I first introduced paint guns into martial arts training back in 1981. Then when Airsoft guns came out I immediately started using them and made the first DVD with Budo International about the subject titled: Air Gun Training. As a police and military firearms instructor I treat training guns, even rubber ones, like the real thing. When I am using rubber guns, and especially air guns, all my students know that I follow standard police and military range safety procedures. At a real firearms range there is a red flag flown that indicates that a range is active; or sometimes called "hot." There is also a sign posted where possible foot traffic could accidentally walk into the danger zone. When I teach air guns I always post a sign at the front door that reads WARNING! AIRSOFT GUNS IN USE. PELASE KNOCK. This way a person wanting to come in won't get their eye shot out with a 6mm plastic ball if we are doing shooting techniques or scenarios. If I do have an observer come in I will make sure they are given eye protection if the guns are still in use. You may even want the sign to be in the color red to symbolize the red range flag. RealityBased Personal Protection has raised the standards of training, and this is just one more area. Be A Hard Target. To learn more about the Jim Wagner RealityBased Personal Protection system visit


m sure you’ve heard this conversation (or one like it) before: “I don’t need martial arts. I have a .357. Ha! What are you going to do about that?” This is a very common misconception: If you own a gun, you’re all set to protect yourself. But to anyone with any degree of reality-based training, that statement would be laughable if it weren’t so dangerous. People say things like that out of ignorance. And it’s not really their fault. They don’t know any better. Maybe they think just having a gun gives them a lot of power. But just because even a twoyear-old can shoot somebody, that doesn’t make the gun all-powerful. Sure, many people have been killed by guns – including many gun owners with a concealed weapons permit, who ended up getting killed with their own weapon. They pulled it and then they didn’t know how to use it. They didn’t have the ability to get it out, aim it, and fire the round that would stop the threat. Why? Because, having never done it before, they shut down. So the bad guy took the gun away from them and used it instead. Even law enforcement officers, with all of their training, are sometimes killed with their own weapon. Just having a gun doesn’t make anyone invincible.

You can shoot at a target all day long and hit bull’s-eyes; but once you’re in a shootout, everything changes. So the individual who says “I have a gun. I don’t need any type of training” is speaking from ignorance. Another reason why having a weapon may not be enough is that it takes far longer than you think to get a gun out and use it. The reaction time of an individual in a real-life self-defense situation typically much, much slower.The results come as a surprise to most people. A former street cop, sheriff, and maximum security prison guard. Chris Sutton is the founder of Cobra-Defense in Clearwater, FL. Cobra-defense is a law enforcement based self-defense system. Cobra-Defense is the official self-defense system of John Graden’s Martial Arts Teachers’ Association ( Instructor certification in Cobra-Defense is at Chris Sutton is availble for seminars and special training. He can be reached at (1) 727-791-4111 or:

REF.: • TAOWS1 Alle DVDs, die von Budo International produziert werden, sind mit einem speziellen Hologramm-Aufkleber versehen und werden allein in den Formaten DVD-5 oder MPEG-2, jedoch niemals in VCD, DivX o. ä. angeboten. Zudem zeichnen sich unsere DVD Hüllen durch die hohe Qualität in Druck und Material aus. Falls diese DVD und/oder die DVD Hülle nicht den oben genannten Ansprüchen entspricht, handelt es sich um ein illegale Raubkopie.

ORDERS: Budo international. net

“Everyone wants to be successful. It is just that many people do not COMMIT to do what it will be to BE successful”

It’s important that you have a tool box of “minute motivators” on respect, self-discipline, persistence etc... The Martial Arts Teachers’ Members area has dozens of these speeches already written for you at

Respect & Self-Control "The martial arts and our program stress respect for your classmates, for yourself and especially for the black belts of our school. The black belts have all proven that they have the discipline to accomplish their goals. We begin each lesson with the formal bow. It's done as a sign of respect toward you as the student and myself as the Instructor." “Attention" and "Bow": While performing the Attention Position, a student is required to stand perfectly still. This is taught as the ability to control oneself and we all know the value of self-control. It also develops an intense level of focus and concentration needed to reach a "black belt" level in anything. The "bow" is a universal sign of respect and gratitude. It is the IDEA of respect turned into action. Polite Greeting: The polite greeting is taught to enhance a student’s social skills. When a young student has the ability to greet others confidently, it effects their self-image and self-esteem. Furthermore, the polite greeting shows respect for others. Polite greetings start with, "Hello, sir, how are you today?" Answers with "Great (excellent, super, fantastic, etc.)". "How are you today?" And the use of "Yes, Sir,” and “No, Sir” or “Yes, Ma’am” and “No, Ma’am."

Commitment “How many times will you have to practice your punches before you start to get good? We know that it partially depends on the intensity, spirit and attention to detail that you practice with. To be realistic, anything not committed to for at least 100 tries can not be considered a champion's effort. How many times will you attempt to try something (that's important to you) before you tell yourself you've not been successful? For many ultra-successes, champions, inventors and black belts, a thousand tries would be the beginning. As a beginning martial arts student, you must agree to adopt the ‘100 times’ way of thinking. We call this COMMITMENT. Everyone wants to be successful. It is just that many people do not COMMIT to do what it will be to BE successful. Don't begin your martial arts journey without the knowledge that 100 classes will be when you've begun to show a champion’s level of commitment.”

Martial Arts Pro Self-Defense: "Our program stresses practical selfdefense and reaction training. As you learn and improve your skills, you will see your confidence in your abilities increase. We want you to start your self-defense training with the basic concepts of distance with an opponent or attacker."

Goal Accomplishment Belt Levels: "Students begin as a white belt and gradually work their way to a black belt. The belts are used as a series of goals with each new belt representing the short-term and the black belt representing the long-term goal. All students should plan on attending classes twice a week and practicing at home. All ages develop the "stick to it" attitude. Stick to your goals until they're accomplished. Don't put things off, especially when it comes to good health and fitness"

Self-Discipline To the parents of the child: "The type of discipline that is taught in the martial arts will help a student in all areas of his/her life. It teaches children to respect themselves and others, to learn good sportsmanship and a healthy respect of adults and those in authority. It can even teach them to do better in school."

Self-Discipline Adults: "We emphasize that adults learn about good health and fitness. Most notice a dramatic improvement in energy and stamina, a renewed outlook on life. The martial arts is a lifestyle that stresses mental and physical improvement and self-discipline in one's life." During introductory lessons, you're giving the student an “appetizer.” Build up their hunger for the “main course.” Keep a POSITIVE MENTAL ATTITUDE about your students’ abilities and skills. They are all here to learn about the martial arts and our program. Wash away any negative thoughts or prejudices that you may have, because it may show through. If it does, you haven't done your job properly! The more flexible you are in your ability to adapt to their personalities, the more effective you will become as a teacher. The martial arts is for everyone who wants to learn and practice!.

Respect Respect is when you treat people the way you want to be treated. Teach polite greeting -- "Look me right in the eyes and say.... HELLO, SIR! How are you today?" Emphasize eye contact and positive response and attitude. Emphasize "Attitude is Everything." John Graden is the Executive Director of the Martial Arts Teachers’ Association and the author of the bestselling books on how to run a successful martial arts school without selling out:


"Students begin as a white belt and gradually work their way to a black belt. The belts are used as a series of goals with each new belt representing the shortterm and the black belt representing the long-term goal.�

“All students should plan on attending classes twice a week and practicing at home. All ages develop the "stick to it" attitude. Stick to your goals until they're accomplished. Don't put things off, especially when it comes to good health and fitness�

Bodyguard Within the security industry, we have seen a decline of the term bodyguard over the past 5 years. Bodyguard has come to symbolize the buffoon who we see aggressively pushing crowds in images with celebrities in gossip magazines. This caricature could include the off-duty cop who can carry a concealed weapon, the bouncer who is very large, or the martial artist who can fight well. These bodyguards have been involved in selling information to the tabloids, violating confidentiality agreements, various use of force incidents, having improper or no licensing, hiring independent contractors and misclassifying security employees, carrying guns or weapons without the proper permits or license, starting frivolous labor board suits and workman's compensation suits against their client, impersonating police officers, and even engaging in inappropriate behavior with the client. Bodyguards will typically become a major liability to the client for reasons of indiscretion, unwarranted use of force or incompetency in the area of risk management.

The Past: Bodyguards are Dinosaurs In the past, these untrained bodyguards dominated the market. Today, most individuals and companies that hire executive protection services are more evolved. Reducing liability has become the number one concern for them and they look for professional executive protection agents with formal training from a respected and accredited executive protection school. The reason that this is important is that executive protection training is a completely different academy from police or military academies; at an executive protection school the focus is on protective intelligence and prevention. A seasoned executive protection agent has accumulated 600-1000 hours of formal executive protection training over the course of his or her career. Today, the untrained element still remains alongside the professional agents within the security industry. So what has changed?

Laws California, as well as other states that have a licensing security board like the Bureau of Security and Investigations (BSIS), has cracked down on unlicensed activity. Security Training Anyone working in Security in the state of California must hold a 'guard card'. In order to obtain a 'guard card', the security officer must have completed at least 40 hours of training from BSIS. In addition, professional Executive Protection training schools have now been operating in the US for the last 20-25 years and have elevated the formal training base in the industry. Leaders in the security industry realize that providing Executive Protection services takes a specialized skill set and that past experience or training in law enforcement, the military, and martial arts is not enough. Those academies are a great base, but do no train anyone in Executive Protection. Cross training is necessary to make the transition and is difficult but it can be done. An example is the off-duty police officer: a police officer receives thousands of hours of training about pulling his or her gun at the scene of a crime. It's a reactive motion. In Executive Protection we need to train against that. An Executive Protection Agent should never be reacting to a crime by drawing his or her weapon. Rather, the Agent is focusing on the Principal and covering and evacuating him or her out of harm's way. As an aside, another strong argument to not using off-duty policeman as Executive Protection Agents is that police are bound by their oath to stop crime and drop all off duty activities at a moment's notice to report for duty. A good Executive Protection Agent will continue to train on a yearly basis to maintain the standards and skills required, just as

good companies will offer training to their Agents. The US Secret Service-style training provides the foundation for a strong Executive Protection training program. The themes will generally focus around: • Advance Work: p r o t e c t i v e intelligence/threat assessment • 3 rings of Protection: layering the protection around the principle • Cover and Evacuate: we never stand and fight A good executive protection training school or company has the following curriculum outline as part of their training: Protective Advances - Protective Intelligence - Radio Communications - Motorcades and Routes - Firearms and Special Tactics - Public Affairs and Media Control - Emergency First Aid/CPR/AED - Counter Terrorist Driving - Explosive Device Detection - Surveillance Recognition - Ambush Recognition Post Assignments - Cover and Evacuate - Counter Surveillance Protective Formations - Command Post Operations - Access Control and Crowd Control - Bomb Incident Management Safeguarding Privacy - Threat Management - Evasive Driving Investigations - Kidnap/Assassination Studies

Final Recommendations For People or Corporations That Use Executive Protection 1. Hire contract security vs. in-house, there is less liability exposure and management issues. 2. Make sure that each executive protection agent has gone through an extensive background check including an interview, criminal & civil files, drug test, psychological test, past employers, and personal references. 3. Make sure the security company and all executive protection agents have the proper licensing and security permits. In California the company must have a private patrol operator's (PPO) license. Each executive protection agent must have a BSIS security guard card, exposed firearms permit, baton permit and pepper spray; California concealed weapons permit; and CPR (adult, child, & infant), first aid, & automated external defibrillator certified by the Red Cross or American Heart Association. Any client can verify licenses on the California Bureau of Security and Investigations Services website. 4. All executive protection agents must have formal executive protection training and proof should be given to you in the form of diplomas, which you can verify. 5. The security company should have an executive protection training program and continuous yearly training. You should request a copy of the training curriculum 6. The security company should have at least $2 million (WPG has $10M) in armed liability insurance and $1 million in workman's compensation insurance, listing you as an additional insured on the policy. This insurance must be able to cover the Agents wherever they travel both domestically and internationally. 7. No security company should have any independent contractors working on the protection team. All executive protection agents must, by law, be employees of the company for liability purposes.

By Kent Moyer, CEO of The World Protection Group, Inc. in Beverly Hills, Ca.

Dominique Zaino was born on March 11, 1994 in Palm Beach County, Florida. Dominique has been studying martial arts since the age of three and is no stranger to the spotlight. During her competition years on "National Team Pepsi World Martial Arts Show Team", now "Team Americas" she won the titles of 9 time Florida State Champion in weapons, forms, and fighting and also competed extensively on the world circuit in 9 divisions to include traditional weapons & forms, point fighting, musical weapons & forms, creative weapons & forms and team forms. She is one of the Stars of Martial Arts Show Biz TV online television show starring the Zaino family which is a online martial arts and entertainment reality based news show that helps promote martial arts celebrities, movie stars, Hollywood movies, events and products. She is the host of her own online Radio Show "The Dominique Zaino Show", and currently is a spokes model for Don "The Dragon" Wilson's TraditionZ apparel line. Dominique is currently a student at the Florida State University (FSU) in Tallahassee, FL majoring in News Anchoring and Journalism, is a student of Hollywood Stunt Legend Kim Kahana Sr.'s Stunt & Film School and holds the rank of 2nd degree Black Belt under the tutelage of father Grandmaster Danny Zaino.

The Book of Tea

Classics Among the eternally recommended readings to get to know the spirit of the East, especially that of Japan, you cannot be missing "The Book of Tea", a classic that will never disappoint you, because it has stood the test of time. This marvelous text, written in English in the first instance so that a minority could approach the deep meaning of tea in the East, has become a literary first line and a best seller. We have chosen the version of ELA (Ediciones LibrerĂ­a Argentina) published some years ago, to share with you a few passages therein. Those who still don't know it will agree with us that it's a text that opens the door to understanding the essence of the Japanese spirit. A title that is a must among the best oriental texts alongside classics like Miyamoto Musashi, or the Art of War, as an indispensable complement for the complete development of every martial artist.

Taoism and Zennism The connection of Zennism with tea is proverbial. We have already remarked that the tea-ceremony was a development of the Zen ritual. The name of Laotse, the founder of Taoism, is also intimately associated with the history of tea. It is written in the Chinese school manual concerning the origin of habits and customs that the ceremony of offering tea to a guest began with Kwanyin, a well-known disciple of Laotse, who first at the gate of the Han Pass presented to the "Old Philosopher" a cup of the golden elixir. We shall not stop to discuss the authenticity of such tales, which are valuable, however, as confirming the early use of the beverage by the Taoists. Our interest in Taoism and Zennism here lies mainly in those ideas regarding life and art which are so embodied in what we call Teaism. It is to be regretted that as yet there appears to be no adequate presentation of the Taoists and Zen doctrines in any foreign language, though we have had several laudable attempts. Translation is always treason, and as a Ming author observes, can at its best be only the reverse side of a brocade,-all the threads are there, but not the subtlety of color or design. But, after all, what great doctrine is there which is easy to expound? The ancient sages never put their teachings in systematic form. They spoke in paradoxes, for they were afraid of uttering half-truths. They began by talking like fools and ended by making their hearers wise. Laotse himself, with his quaint humor, says, "If people of inferior intelligence hear of the Tao, they laugh immensely. It would not be the Tao unless they laughed at it." The Tao literally means a Path. It has been severally translated as the Way, the Absolute, the Law, Nature, Supreme Reason, and the Mode. These renderings are not incorrect, for the use of the term by the Taoists differs according to the

subject-matter of the inquiry. Laotse himself spoke of it thus: "There is a thing which is all-containing, which was born before the existence of Heaven and Earth. How silent! How solitary! It stands alone and changes not. It revolves without danger to itself and is the mother of the universe. I do not know its name and so call it the Path. With reluctance I call it the Infinite. Infinity is the Fleeting, the Fleeting is the Vanishing, and the Vanishing is the Reverting." The Tao is in the Passage rather than the Path. It is the spirit of Cosmic Change,-the eter nal growth which returns upon itself to produce new forms. It recoils upon itself like the dragon, the beloved symbol of the Taoists. It folds and unfolds as do the clouds. The Tao might be spoken of as the Great Transition. Subjectively it is the Mood of the Universe. Its Absolute is the Relative. It should be remembered in the first place that Taoism, like its legitimate successor Zennism, represents the individualistic trend of the Southern Chinese mind in contra-distinction to the communism of Northern China which expressed itself in Confucianism. The Middle Kingdom is as vast as Europe and has a differentiation of idiosyncrasies marked by the two great river systems which traverse it. The Yangtse-Kiang and Hoang-Ho are respectively the Mediterranean and the Baltic. Even today, in spite of centuries of unification, the Souther n Celestial differs in his thoughts and beliefs from his Northern brother as a member of the Latin race differs from the Teuton. In ancient days, when communication was even more difficult than at present, and especially during the feudal period, this difference in thought was most pronounced. The art and poetry of the one breathes an atmosphere entirely distinct from that of the other. In Laotse and his followers and in Kutsugen, the forerunner of the Yangtse-Kiang nature-poets, we find an idealism quite inconsistent with the

prosaic ethical notions of their contemporary northern writers. Laotse lived five centuries before the Christian Era. The germ of Taoist speculation may be found long before the advent of Laotse, surnamed the Long-Eared. The archaic records of China, especially the Book of Changes, foreshadow his thought. But the great respect paid to the laws and customs of that classic period of Chinese civilization which culminated with the establishment of the Chow dynasty in the sixteenth century B.C., kept the development of individualism in check for a long while, so that it was not until after the disintegration of the Chow dynasty and the establishment of innumerable independent kingdoms that it was able to blossom forth in the luxuriance of free-thought. Laotse and Soshi (Chuangtse) were both Southerners and the greatest exponents of the New School. On the other hand, Confucius with his numerous disciples aimed at retaining ancestral conventions. Taoism cannot be understood without some knowledge of Confucianism and vice versa. We have said that the Taoist Absolute was the Relative. In ethics

the Taoist railed at the laws and the moral codes of society, for to them right and wrong were but relative terms. Definition is always limitationthe "fixed" and "unchangeless" are but terms expressive of a stoppage of growth. Said Kuzugen,-"The Sages move the world." Our standards of morality are begotten of the past needs of society, but is society to remain always the same? The observance of communal traditions involves a constant sacrifice of the individual to the state. Education, in order to keep up the mighty delusion, encourages a species of ignorance. People are not taught to be really virtuous, but to behave properly. We are wicked because we are frightfully self-conscious. We nurse a conscience because we are afraid to tell the truth to others; we take refuge in pride because we are afraid to tell the truth to ourselves. How can one be serious with the world when the world itself is so ridiculous! The spirit of barter is everywhere. Honor and Chastity! Behold the complacent salesman retailing the Good and True. One can even buy a so-called Religion, which is really but common morality sanctified with flowers and music. Rob the Church of her

accessories and what remains behind? Yet the trusts thrive marvelously, for the prices are absurdly cheap,-a prayer for a ticket to heaven, a diploma for an honorable citizenship. Hide yourself under a bushel quickly, for if your real usefulness were known to the world you would soon be knocked down to the highest bidder by the public auctioneer. Why do men and women like to advertise themselves so much? Is it not but an instinct derived from the days of slavery? The virility of the idea lies not less in its power of breaking through contemporary thought than in its capacity for dominating subsequent movements. Taoism was an active power during the Shin dynasty, that epoch of Chinese unification from which we derive the name China. It would be interesting had we time to note its influence on contemporary thinkers, the mathematicians, writers on law and war, the mystics and alchemists and the later nature-poets of the Yangtse-Kiang. We should not even ignore those speculators on Reality who doubted whether a white horse was real because he was white, or because he was solid, nor the Conversationalists of the Six

dynasties who, like the Zen philosophers, reveled in discussions concerning the Pure and the Abstract. Above all we should pay homage to Taoism for what it has done toward the formation of the Celestial character, giving to it a certain capacity for reserve and refinement as "warm as jade." Chinese history is full of instances in which the votaries of Taoism, princes and hermits alike, followed with varied and interesting results the teachings of their creed. The tale will not be without its quota of instruction and amusement. It will be rich in anecdotes, allegories, and aphorisms. We would fain be on speaking terms with the delightful emperor who never died because he had never lived. We may ride the wind with Liehtse and find it absolutely quiet because we ourselves are the wind, or dwell in mid-air with the Aged one of the Hoang-Ho, who lived betwixt Heaven and Earth because he was subject to neither the one nor the other. Even in that grotesque apology for Taoism which we find in China at the present day, we can revel in a wealth of imagery impossible to find in any other cult. But the chief contribution of Taoism to Asiatic life has been in the realm of aesthetics. C h i n e s e historians have always spoken of Taoism as the "art of being in the world," for it deals with the p r e s e n t ourselves. It is in us that God meets with Nature, and yesterday parts from to-morrow. The Present is the moving Infinity, the legitimate sphere of the R e l a t i v e . Relativity seeks Adjustment; Adjustment is Art. The art of life lies in a c o n s t a n t readjustment to o u r s u r ro u n d i n g s . Taoism accepts the mundane as it is and, unlike the Confucians or the Buddhists, tries to find beauty in

our world of woe and worry. The Sung allegory of the Three Vinegar Tasters explains admirably the trend of the three doctrines. Sakyamuni, Confucius, and Laotse once stood before a jar of vinegar-the emblem of life-and each dipped in his finger to taste the brew. The matter-of-fact Confucius found it sour, the Buddha called it bitter, and Laotse pronounced it sweet. The Taoists claimed that the comedy of life could be made more interesting if everyone would preserve the unities. To keep the proportion of things and give place to others without losing one's own position was the secret of success in the mundane drama. We must know the whole play in order to properly act our parts; the conception of totality must never be lost in that of the individual. This Laotse illustrates by his favorite metaphor of the Vacuum. He claimed that only in vacuum lay the truly essential. The reality of a room, for instance, was to be found in the vacant space enclosed by the roof and the walls, not in the roof and walls themselves. The usefulness of a water pitcher dwelt in the emptiness where water might be put, not in the form of the pitcher or the material of which it was made. Vacuum is all potent because all containing. In vacuum alone motion becomes possible. One who could make of himself a vacuum into which others might freely enter would become master of all situations. The whole can always dominate the part. These Taoists' ideas have greatly influenced all our theories of action, even to those of fencing and wrestling. Jiu-jitsu, the Japanese art of self-defense, owes its name to a passage in the Tao-te-king. In jiu-jitsu one seeks to draw out and exhaust the enemy's strength by nonresistance, vacuum, while conserving one's own strength for victory in the final struggle. In art the importance of the same principle is illustrated by the value of suggestion. In leaving something unsaid the beholder is given a chance to complete the idea and thus a great masterpiece irresistibly rivets your attention until you seem to become actually a part of it. A vacuum is there for you to enter and fill up the full measure of your aesthetic emotion. He who had made himself master of the art of living was the Real man of the Taoist. At birth he enters the realm of dreams only to awaken to reality at death. He tempers his own brightness in order to merge himself into the obscurity of others. He is "reluctant, as one who crosses a stream in

winter; hesitating as one who fears the neighborhood; respectful, like a guest; trembling, like ice that is about to melt; unassuming, like a piece of wood not yet carved; vacant, like a valley; formless, like troubled waters." To him the three jewels of life were Pity, Economy, and Modesty. If now we turn our attention to Zennism we shall find that it emphasizes the teachings of Taoism. Zen is a name derived from the Sanscrit word Dhyana, which signifies meditation. It claims that through consecrated meditation may be attained supreme self-realization. Meditation is one of the six ways through which Buddhahood may be reached, and the Zen sectarians affirm that Sakyamuni laid special stress on this method in his later teachings, handing down the rules to his chief disciple Kashiapa. According to their tradition Kashiapa, the first Zen patriarch, imparted the secret to Ananda, who in turn passed it on to successive patriarchs until it reached Bodhi-Dharma, the twenty-eighth. Bodhi-Dharma came to Norther n China in the early half of the sixth century and was the first patriarch of Chinese Zen. There is much uncertainty about the history of these patriarchs and their doctrines. In its philosophical aspect early Zennism seems to have affinity on one hand to the Indian Negativism of Nagarjuna and on the other to the Gnan philosophy formulated by Sancharacharya. The first teaching of Zen as we know it at the present day must be attributed to the sixth Chinese patriarch Yeno(637-713), founder of Southern Zen, so-called from the fact of its predominance in Souther n China. He is closely followed by the great Baso (died 788) who made of Zen a living influence in Celestial life. Hiakujo (719-814) the pupil of Baso, first instituted the Zen monastery and established a ritual and regulations for its government. In the discussions of the Zen school after the time of Baso we find the play of the Yangtse-Kiang mind causing an accession of native modes of thought in contrast to the former Indian idealism. Whatever sectarian pride may assert to the contrary one cannot help being impressed by the similarity of Southern Zen to the teachings of Laotse and the Taoist Conversationalists. In the Tao-te-king we already find allusions to the importance of self-concentration and the need of properly regulating the breath-essential points in the practice of Zen meditation. Some of the best commentaries on the Book of Laotse have been written by Zen scholars.

flag that moves"; but Yeno explained to them that the real movement was neither of the wind nor the flag, but of something within their own minds. Hiakujo was walking in the forest with a disciple when a hare scurried off at their approach. "Why does the hare fly from you?" asked Hiakujo. "Because he is afraid of me," was the answer. "No," said the master, "it is because you have murderous instinct." The dialogue recalls that of Soshi (Chaungtse), the Taoist. One day Soshi was walking on the bank of a river with a friend. "How delightfully the fishes are enjoying themselves in the water!" exclaimed Soshi. His friend spoke to him thus: "You are not a fish; ho w do y o u kno w that t he fis hes are enjo y ing themselves?" "You are not myself," returned Soshi; "how do you know that I do not know that the fishes are enjoying themselves?" Zen was often opposed to the precepts of orthodox Buddhism even as Taoism was opposed to Confucianism. To the transcendental insight of the Zen, words were but an encumbrance to thought; the whole sway of Buddhist scriptures only commentaries on personal speculation. The followers of Zen aimed at direct communion with the inner nature of things, regarding their outward accessories only as impediments to a clear perception of Truth. It was this love of the Abstract that led the Zen to prefer black and white sketches to the elaborately colored paintings of the classic Buddhist School. Some of the Zen even became iconoclastic as a result of their endeavor to recognize the Buddha in themselves rather than through images and symbolism. We find Tankawosho breaking up a wooden statue of Buddha on a wintry day to make a fire. "What sacrilege!" said the horror-stricken bystander. "I wish to get the Shali out of the ashes," calmly rejoined the Zen. "But you certainly will not get Shali from this image!" was the angry retort, to which Tanka replied, "If I do not, this is certainly not a Buddha and I am committing no sacrilege." Then he turned to warm himself over the kindling fire. A special contribution of Zen to Eastern thought was its recognition of the mundane as of equal importance with the spiritual. It held that in the great relation of things there was no distinction of small and great, an atom possessing equal possibilities with the universe. The seeker for perfection must discover in his own life the reflection of the inner light. The organization of the Zen monastery was very significant of this point of view. To every member, except the abbot, was assigned some special work in the caretaking of the monastery, and curiously enough, to the novices was committed the lighter duties, while to the most respected and advanced monks were given the more irksome and menial tasks. Such services formed a part of the Zen discipline and every least action must be done absolutely perfectly. Thus many a weighty discussion ensued while weeding the garden, paring a turnip, or serving tea. The whole ideal of Teaism is a result of this Zen conception of greatness in the smallest incidents of life. Taoism furnished the basis for aesthetic ideals, Zennism made them practical. Zennism, like Taoism, is the worship of Relativity. One master defines Zen as the art of feeling the polar star in the southern sky. Truth can be reached only through the comprehension of opposites. Again, Zennism, like Taoism, is a strong advocate of individualism. Nothing is real except that which concerns the working of our own minds. Yeno, the sixth patriarch, once saw two monks watching the flag of a pagoda fluttering in the wind. One said "It is the wind that moves," the other said "It is the


Many practitioners of Wing Chun Gung Fu have been told throughout the years of the art's legendary beginnings, when either Yim Wing Chun (for whom the art was named) or Ng Mui (a Shaolin nun, if we are to believe she existed) witnessed a fight between a snake and a crane.

She then incorporated the ideas of each into a new fighting system specifically designed for a smaller and weaker woman to be able to defeat a man in mortal combat. Another more likely version is that someone took the two Shaolin animal styles that were the least reliant upon size and strength (the snake and the crane), and created an entirely new combat system that would focus on scientific concepts and principles to overcome someone larger and stronger, possible even skilled in the other animal styles of Shaolin and other Gung Fu styles that were in existence at that time in China. Some of those concepts included Reference, borrowing power, Cutting Angle blocking, Facing, Economy of Motion and Time, Footwork, Timing, Trapping, MultiDirectional Movement, Lever and Fulcrum, Body Unity and Centerline Theory. Each of these are topics covered in the Combat Theory A to Z essay in Volume VI of my 6-book series. But for now, I would like to explore further into Wing Chun's snake and crane roots. We often read that Wing Chun uses snake and crane motions, but the discussion usually ends with the mention of the Boang Sau Wing Arm Deflection to represent the crane's wing, and the Biu Jee Finger Jab illustrating the snake. Instead of stopping there as most usually do, I am going to discuss here many more of the characteristics of the snake and the crane that

influence CRCA Wing Chun, beginning with The Snake.

Characteristics of the Snake Fighting on the ground - As a snake lives its entire life on the ground, it must of course be comfortable and proficient in combat from the ground. So must the CRCA Wing Chun practitioner be well-versed in Groundfighting techniques and concepts. I have long been a proponent of what I call Day Ha Gwoh Sau - Wing Chun Groundfighting, even many years ago when others criticized me harshly for it. But modern MMA contests have proven the necessity for a Wing Chun trainee to develop one's “ground game” in order to keep up with today's ever-changing combat technology. Shooting/Speed - Snakes are very well known for their extreme speed, which can at times be in excess of 8' (2.4 m) per second. In Wing Chun, Speed = Power. In other words, a bullet is just a small piece of metal. If you throw it at someone, it may hurt. But if you shoot it at them, it will possibly kill them. The only difference? The speed. Your fist is much larger than a bullet, and although it cannot travel quite as fast as a bullet, the faster you get it moving, the more power you will generate. A popular saying of the Wing Chun “Seventeen Musts” is “Chuet Kuen Yiu Fai” - “The fist must be fast.” Biting - Like the crane, snakes are known to bite. A CRCA Wing Chun practitioner is also trained to bite in life-ordeath combat situations, when

“As a snake lives its entire life on the ground, it must of course be comfortable and proficient in combat from the ground”

no other escape may be possible. Even a small, weaker person can cause extreme pain to a much larger enemy, possibly causing him to release a lock or choke. Spitting - Just as the crane pecks at its opponent's eyes, snakes are known to spit into the eyes of an attacker or prey. The CRCA Wing Chun fighter will use this same tactic in close range combat situations as when fighting on the ground or against an armed opponent. This may serve as a sufficient distraction to allow a quick counterattack and/or escape.

“I am going to discuss here many more of the characteristics of the snake and the crane that influence CRCA Wing Chun”

Choking/Envelopment - Certain snakes, such as Anacondas and Boa Constrictors are known to choke or squeeze an opponent to death. Using principles of leverage, some are even able to generate up to 6-12 pounds of pressure per square inch when constricting. In CRCA Wing Chun, we use a variety of chokes and envelopments to choke the enemy from many positions as well as to envelop the arms, legs or body to break bones using the Lever and Fulcrum principle to create “a thousand pounds of force with four ounces of effort,” as the Chinese proverb goes. An old proverb of Wing Chun says, “Moh Ching Jiu, Soh Hau Tau, Yut Chuet But Hoh Lau” “Grasping the throat is a ruthless technique that, once commenced, cannot be stopped.” “Snaking” - Just as a snake will slither and slide around its prey, the Wing Chun fighter will use the same idea in “Sticky Hands” to control the opponent's arm(s), leg(s) or body and thereby create safety zones from which to counterattack from improved

angles of Facing with borrowed power. Two other Wing Chun proverbs say, “Chee Ging Leen Sing Wai Lick Sahng” - “Sticking Power, when achieved, is a commanding force,” as well as, “Chee Joke Hahng Kiu Wai Jee Woot” - “Sticking to and controlling the opponent's Arm Bridge

“Even a small, weaker person can cause extreme pain to a much larger enemy, possibly causing him to release a lock or choke.”

while shifting hand position shows versatility.” Also, some snakes move in a lateral “side winding” motion, which inspires certain sideward steps in Wing Chun. Intimidation - Snakes are known to use intimidation in combat. Cobras inflate themselves to appear more intimidating and sway back and forth to hypnotize their prey. Other snakes also make hissing or rattling noises to frighten or distract their enemies. In CRCA Wing Chun, use of intimidating actions or words prior to a fight is known as “Emotion Trapping.”

ColdBloodedness/Brutality Snakes are cold-blooded reptiles with no pity, empathy or mercy for an enemy. When we refer to a person as a “snake,” we are generally saying he is sneaky, can't be trusted, will do anything necessary to come out on top regardless of the rules, will fight “dirty,” etc. Although these might not be considered admirable qualities in a human, like a snake, the CRCA fighter adheres to the Wing Chun proverb “Goang Sau, But Goang Ching” - “In combat, show no mercy.” As you can see here, and will be shown further in next month's column, the CRCA Wing Chun practitioner derives much inspiration from the snake and the crane in combat, both in action and in principle. It is the reason I chose to include them as part of the Close Range Combat Academy logo seen here (note that the crane's wings are actually knives).

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

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

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

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

2 DVD set: “Look Deem Boon” Gwun Volume 1 ( 55 min. ) Content: Pole Details, Pole Drills, Pole Footwork, Form Overview, “Look Deem Boon” Gwun Form, 6 ½ Strikes of the Pole, Applications: Pole vs. Pole One Volume SingleWeapon DVD Biu Jitsu DVD DVD Set (all 5)

€ 49,90 € 39,90 € 25,90 € 149,90

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

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

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