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"The meaning of life is finding your talent. The purpose of life is to give it to others." Pablo Picasso

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hen things spin on their natural axis, inversion occurs. Inversion is a phenomenon that precedes any disaster, because you cannot walk with your head or think with your feet. Ignored by most, inversion is present in our society at all levels. In order to advance, those in the back must keep pushing forward; pyramids have to be broad at their base, what is behind should support and feed what is ahead, and what is basic should hold up what is more complex. When the inversion process occurs, we find colonies of human population with fewer births than deaths, as it happens in Europe. Children begin to be a scarce good and its value as a whole begins to increase. Formerly, children were produced in lots because they were labor for the family and also because many of them dropped like flies from diseases. Each one had to fight his way in the struggle for food and space. They were the base rather than the center. Today children do not maintain their elders, but the opposite; most youngsters, jobless and totally dependent on the family unit, don't leave their parental home until they are 25 or over. And they claim to be the best prepared generation so far! Unfortunately, "knowing things" doesn't necessarily mean being prepared. Being prepared is a state of the spirit, it's a mood, a determination, a disposition and strength to fight; anyway, what can you expect out of someone who has been spoiled from childhood? Parents, feeling guilty for not spending enough time with their children, in an attempt to compensate that bad sensation, fill them to overflowing with constant gifts in an atmosphere of total consent, granting instead of demanding without ever placing effective limits, and this way of acting causes that today's children, for their extreme value, are hyper protected and therefore enfeebled. If you haven't fought for things, how can you appreciate them? Putting the cart before the ox brings this sort of things, but who could mull over the subject at the right time to see what was happening? Who could ever perceive the results of the effect of the inversion of forces? The entire society is submersed in a time of inversion of forces and responds to that big space-time bubble in which we are all hosted. You can't isolate yourself from your environment, although, through conscious being and with determined effort, is all too possible to maintain clarity of mind and act accordingly, knowing, of course, that you'll have to swim against the flow, because everything will be pushing in the opposite direction. The modern social order puts the emphasis on the individual and not on the group as ancient tribal societies

"Any past time was... previous." Les Luthiers

did. Today, extreme selfishness justifies everything positioning itself as the only commandment and value of post-industrial societies; anything goes and economic success is glorified as the only existing reason, it doesn't matter at the expense of what, or how. Although ancient societies focused on the group, they nevertheless had a structure that paradoxically made possible the self-realization of the individual. Alienation and mental illness are symbolic of a modernity that no longer provides young people the correct and necessary initiation ceremonies that may allow them to join society in a healthy way and make them grow in positive and beneficial personal values. These fair difficulties, that award qualities highly desirable like those of manhood and loyalty, as well as the eternal virtues of respect and honesty, are definitely outdated in our world today. The satisfaction of being part of something that was right and good for the group, of having a place in it, and gaining the approval of the aged, is unthinkable now. Elders were heard and revered and young men felt proud when they surpassed the tests and achieve a place in the group. Unemployment problems were unknown, because there was plenty to do; like today, only that now the way to repay has been castled on the absurdity and injustice. Supply and demand have been also altered and are no longer based on real needs and goods, but on fictitious assessments. The system fails and is becoming something morbid; consequently, the pyramid of wealth persists in settling down in increasingly narrow and elongated triangles, leaving the base with no sustenance. 1% of the world population owns half of the planet's wealth, while the middle class, the greatest achievement of Western societies, is degrading at full speed impoverished and crushed under rising taxes meant to support states that have long ceased to serve the citizen; converted into insatiable monsters, they practice autophagy under the promise of well-being, and all they produce are laws and more laws restricting the freedom of the individual they claim to defend. In front of the traditional society of the "well-doing", or "good-being", the modern societies of the “well-being� define by its own name what is their essential proclaim: Stand still! Do not move! Let us doing! We'll take care of everything! Be comfortable! Enjoy your "rights"...! We've put the fox to guard the chickens in an artificial and unsustainable paradise. What can we expect? Comfort leads to discomfort; ease to difficulty, if you want to destroy something, all you have to do is make it easy. Without ethics, power only brings corruption; the bases of injustice stem from the nature of things when they are misdirected. We cannot blame anyone for acting the way we all do. The problem will not be sorted out with patches or ideologies, revolutions or utopias, because as long as the individual's consciences do not change, the group itself will not change; the very


foundations of our education rely on quantitative rather than qualitative criteria, because the social context operates under value inversion standards, and because lucidity, unlike stupidity which is rampant, is a treasure that can only be obtained with effort, and this is frowned upon. We haven't been trained for it, who could blame the younger ones of that? I have the right to ... but no obligation of... We wrote up the Declaration of Human Rights, but not of Human Duties ... we touched a point, we put everything in there and nothing on the opposite... an unbalanced condition will be naturally created ... it's not time to claim for rights, but to understand duties, to go beyond the obvious reasons, to understand how deep is the crossroads, to know that we walk in the dividing of the times. The answer is not now in the group, but in the individual. If we are spiritual beings living a material life, we can awaken to other dimensions of being, since fulfilling higher purposes, what is lower will necessarily enter in concordance; because although there be a pole reversal, the great law tends to arrange itself according to its own nature, but on a higher plane; only then will always be fulfilled; the lower will feed the higher, the front will feed the rear, until the collapse of time. Our personal times are nevertheless small, life is just a breeze; seeing beyond, availing ourselves of every moment to meet higher processes in our individual evolution is the best response to the convulsions we experience, because there's no exit in this plane: nobody gets out alive of life. Only transcending can we take advantage of the turmoil of the times and wake up to something bigger, see beyond the obvious, walk in higher levels of consciousness. My war is not of this world, nor it was the one of those who marked differences in this world; however we are here, and we have to live with clearness to know what is cooking and tools to avoid being cooked.

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

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


elcome to Budo International. I am proud to announce that I am the new Managing Director of the English Edition and do we have some amazing all new and very exciting plans for Budo in the next few months. After nearly 50 years involvement in martial arts I am now going to use this knowledge and contacts to help in the propagation of martial arts world wide. It seems that the older I get the more people seem to think I know something well I guess I have them fooled. There will be a lot of changes in this edition in the next few months so please stay tuned and see for yourself what we are doing. First and foremost, we believe we have the winning formula for the 21st Century Martial Arts Magazine. We will be available FREE to read on your mobile device and as well you can download it into your computer and print out your own copy all for FREE or if you want a glossy high quality print copy it will also be available very shortly on Amazon.com. The most important factor is that the magazine will have some of the world's very best writers and amazing columns. Columns like Judo the Gentle Art by Hal Sharp 9th dan from the Kodokan, Hanshi Speaks by Karate10th Dan WKF Tamas Weber, Upgraden Your School by John Graden, Hong Kong Action Films by Mike Leeder, Executive Protection by Kent Moyer, On Ko Chi Shin Study The Old Understand The New by Historian by 9th dan Patrick McCarthy, Cobra Self Defence Systems by Chris Sutton, Hardcore JKD by Lamar Davis and we will also have a monthly column called Martial Arts Young Guns this is going to be all about the young martial artists that deserve to be recognized for their devotion and contributions. We will also have a monthly fighting technique column by different high quality martial artists from around the world. News on some of the world's biggest competition's and so much more you will be totally amazed. Some of the feature articles we have planned are in the may issue we will have a feature story on “The Real Miyagi” Fumio Demura with a close up and personal interview with

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“After nearly 50 years involvement in martial arts I am now going to use this knowledge and contacts to help in the propagation of martial arts world wide”


“we believe we have the winning formula for the 21st Century Martial Arts Magazine. We will be available FREE to read on your mobile device and as well you can download it into your computer and print out your own copy all for FREE or if you want a glossy high quality print copy it will also be available very shortly on Amazon.com.” Sensei Demura, the producer Oscar Alvarez and director Kevin Derek of this new film coming out on Sensei Demura's life story. Bushi Chojun Miyagi and Gogen The Cat Yamaguchi. Living in the heart of Hollywood California and surrounded by Hollywood film elite. I have a leg up on many others as I am directly involved in the entertainment business so I have many inside contacts with names that will be featured like my close friend Jean Claude Van Damme, Michael Jai White, Scott Adkins, Isaac Florentine to name but a few. Also we will have some terrific articles on some of the world's leading martial artists who I am lucky enough to call fiends as well. Names like Hirokazu Kanazawa, Teruo Chinen, Jean Frenette, Chuck Merriman, Patrick McCarthy to name but a few. I have also been fortunate enough over the years to meet and associate with other big names that we will have articles on like Steven Seagal, Chuck Norris, Hidetaka Nishiyama, Gozo Shioda, Teruo Hayashi, Park Jong Soo and many more. We are planning a lot of changes for the magazine so please get ready for the 21st Century and a magazine that will suit your needs like none before as it will have articles not just from the USA but also Great Britain and the many top martial artists from their like Terry O'Neil, Keinosuke Enoeda, Kevin Brewerton, Tatsuo Suzuki, Simon Oliver just to name a few. Now here is the best part…. We need you to pull all this off and here is how you can help us. Please let everyone in your school, dojo, kun, dojang or clubs know about us and the fact that the magazine is FREE. Then if you have some really interesting thoughts or ideas for articles please write out the article and submit to me for consideration. I cannot guarantee every article will make it but I can promise you that we will seriously consider each and every article submitted. To contact me personally please email me at donrw@warrenerentertainment.com


Systema Dmitry Skogorev is a Russian warrior who has drawn the attention of the whole international martial community with his works on Systema. Systema is definitely one of the revelations of the last decades in Martial Arts, and we've plenty of them! Its originality is as refreshing as its effective approach, a formulation that challenges the most rigid and violent concepts to face a selfdefense scenario. Dmitry Skogorev has been spreading his system for years throughout the world obtaining full recognition of the martial community, although many readers are not yet familiar with his work. I think this new DVD will be an excellent opportunity to admire and learn much more in depth than in his previous installments, the theses and concepts that make this system so different, a realistic and functional method that has already amazed a lot of practitioners of other styles. Naturalness, relaxation and efficiency combined in a system that comes up to the reencounter with a sensitive and certainly natural defense for which, being conveniently programmed, we just need to open our minds. Don't miss it, folks! Alfredo Tucci


Arts Combat

Interview: Asa Malyutina Text & Photos: Dmitry Skogorev


Martial art that changes lives Russian fight is not as common as karate Taekwondo or wushu. But this old Slavic tradition was practiced in Russia for a long time. On their Head of School of Russian fight "Sibirskiy Viun" (RMA System SV) Dmitry Skogorev spoke with us about some interesting points regarding this peculiar style of fighting. B.I.: What is special about Russian unarmed combat ? D.S.: Its peculiarity is that it is based on the traditions of Russian martial art that includes many aspects. And it's not just the military aspects, but also those that are associated with the traditions of fisticuffs, stenoshnogo fight (when fighting "wall to wall"), game elements. We are accustomed to thinking of it as a popular game, but it was a long time yet and training militias to future service and defense of their homeland. This cane fights, different directions of struggle and the actual art of war: The ability to wield the blade, knife, firearm and all this training has long been built up since the early years can participate in the games children, teenagers, boys and then to men . We do not know his story, and so rarely hear about Russian battle. Much more is known, advertised, largely thanks to the movie, oriental martial arts. But fighting traditions were in every nation and Russian is no exception. Another problem is that not enough information is extant documented. We can only assume, based on folklore, as it looked, but can hardly speak of a complete identity that we reproduce. Although folklore, ritual games a lot of information about traditional Russian martial art. And since it is inextricably with folklore, the study is inextricably with the understanding not only of how to protect themselves, but also its history, a kind of its roots. Therefore, we study in the classroom and struggle, and philosophical aspects of martial arts and the history of the Russian people. And it's interesting to our students, because the people who originally come here to learn the art of self-defense and then realize that Russian dogfight is more a philosophy. Especially for adults. Children come without deep concepts of life and the desire to learn something else, it is just interesting as a way to move. But adults often come consciously, knowing that they will get here not only combat skills, but also knowledge about our culture, history, and philosophy. In our classes, we have to study a lot of things related to folklore, history, with dance as an integral movement culture, philosophy and it is absolutely necessary, because in Russian melee combat there are many movements that looks like other martial arts, but when we begin to examine them, then explain that its internal orientation they differ. This is due to many aspects, such as our genetic type, manner of moving, which can not be different from other peoples. B.I.: Are there any age limits for employment Russian melee combat? D.S.: The youngest guys we - 4.5-5 years old, the oldest - the retirement age. Yes, we are not a sports section and set goals to work "for the results. "So many come to us just move, communicate with peers, to their health. And the health benefits of such activities is huge, because we do three-dimensional movement, that is not just pump up muscles, and use exercises in which our body is constantly twisted, stretched, wrinkled, flips, that is expanding in all directions. The first trains vestibular apparatus and of course, raises the general tone of the body, working the entire body, even those muscles that are not usually involved . B.I.: Are there any restrictions on the state of health? D.S.: If we take the kids up to 12 years, all that is required it is a statement from a doctor that the child can attend sports activities. If adults come, then the responsibility lies with them. In this case, you just need to know your weaknesses and avoid


Arts Combat

“people often come to us strained - stress builds not only in body but also in life and we teach liberate your body, stress goes, a person begins to respond differently to life's difficulties. Respectively around the person becomes less of a problem because it solves them and does not accumulate. It takes the world as it is and has the strength to deal with it and not give up� exercises that can harm them. For example, if the person had a spinal injury, he should not perform those exercises where there is falling on a hard floor. And anyone can engage. B.I.: Who are easier to deal with - with children or with adults ? D.S.: Every age has its own characteristics and therefore our programs are designed with ageappropriate. For example, with children we can not parse some deeper things such as body mechanics, because they do not yet understand . But children are prone to contact the neighbor , so many children struggle - they need it , their body requires . Teenagers important competitive moment because they want to stand out from the crowd, to prove themselves. With these classes are built quite differently . Generally we have some mentoring programs, spent years and constantly refined. And when September starts regular school year and come to us new people , they begin to learn the basics. Recognize that such a movement , body mechanics and learn to navigate properly fall, tumbling. Also, we study the basic fundamentals of shock technology, are working on the ability to make impact, impact

resistant. And gradually complicate classes - begins defense knife, stick, avoiding grabs. So a lot of aspects of the program is extensive and of course, it's not immediately falls for beginners and gradually presented. Well, even in the classroom we have a fist fight , sparring, in which we learn to apply all learned into practice . This is very important if you have to apply the knowledge in everyday life, and such situations happen. Although it is worth noting that when you start working arts, changing outlook in general, and in a situation where you want to apply your knowledge, you get less and less and if they have to come into contact with the abuser, and you did not notice, how to overcome the critical situation - the body itself responds and does what you need. The fact that we do not focus on memorization of individual techniques and testing of the system of movements, understanding the psychology of the enemy, the ability to get out of a dangerous situation. As a result, at the right time you do not need to analyze which methods should be applied - the body itself reacts to the situation and selects the most appropriate action. But to achieve this, sometimes you have to change yourself internally - only body and soul will act together as one . B.I.: That is the lesson Russian melee combat change and man's inner world ? D.S.: Yes, it is. Outlook changes very often and at the same time changing and human life. This is not surprising,


“Classes are on hand to hand combat aimed at developing practical skills to combat the enemy in the melee, bringing up the courage, determination, initiative and resourcefulness�


Arts Combat

because if a person changes inside of me and its surroundings, changing the space around him. Many whole life radically rebuilt - the person begins to develop itself and as a result improve their lives, their careers , their education. In addition, people often come to us strained - stress builds not only in body but also in life and we teach liberate your body, stress goes, a person begins to respond differently to life's difficulties. Respectively around the person becomes less of a problem because it solves them and does not accumulate. It takes the world as it is and has the strength to deal with it and not give up.

Training Sessions on Close Combat Objectives, Principles and Methods Study Classes are on hand to hand combat aimed at developing practical skills to combat the enemy in the melee, bringing up the courage, determination, initiative and resourcefulness. The contents of the courses include: preparatory exercises, developing speed, strength, endurance and flexibility; techniques lanyard; racks and moving them, punching, kicking and how to protect yourself; painful holds, throws (discharge); ways to disarm, the binding and escorting ; ways of using improvised means (belt, rope, etc.). Under the instruction in a broad sense refers to the consistent transfer of knowledge, developing skills to develop and improve the physical and psychological abilities of the trainees. Training is usually in groups, sometimes individually. Partners for learning the techniques are selected about the same weight and height. Later, if the service life is desirable that the partners were of different weight and height.


Ways to move in high racks and techniques to master the self start already at the first class and include them in subsequent sessions. All submission techniques for teaching carried out without the use of excessive force and immediately terminated by signal partner (voice or bang on the carpet or the body), free throws are conducted from the middle to the edges of the carpet. Because of the nature of close combat, it is recommended to acquire practical skills in a strict sequence. There is a common step development of the following 13 topics: 1. Stance, battle positions (explicit, implicit). 2. Methods movements. 3. Methods of removal from the physical balance. 4. Crashes and lanyard. 5. Methods of release from seizures (girth). 6. Methods of protection against punches and kicks. 7. Ways of attacking hands down. 8. Throws, urging, discharges. 9. Training matches (in the mining topics and assigned tasks). 10. Methods of arms. 11. Methods disarm. 12. Methods of binding and escorting. 13. Work unit (two, three, five).

The first four themes - the base for the next The educational process for close combat includes planning, logistics, training of trainers and instructors to conduct classes and training, as well as periodic monitoring of the development of material on hand to hand combat (certification). Planning studies carried out on the basis of guidance documents. Schools battle for the Russian Siberian Viun "such a document is a handbook for instructors, providing fouryear training program. O rg a n i z i n g sessions on close combat, should be considered: • Contact the educational process for close combat with the nature of work and


Arts Combat


All these principles are interrelated and can be applied even in one lesson. In addition to these principles, there are three groups of methods of knowledge transfer: verbal, visual and practical. By verbal (verbal) techniques include: an explanation of the story content, or a combination of actions involved conversation with. Visual methods are based on visual and auditory sensations. These include: demonstration schemes, videos, etc., visual-motor training. Practices are focused on the kinesthetic sense and include repetition of acts at different rates with varying degrees of complexity. In addition, the training and use of instructional

“We do not focus on memorization of individual techniques and testing of the system of movements” personal goals of trainees (the Russian army, law enforcement, security agencies and companies, personal safety, home self-defense, sportoriented); • systematic and regular classes in unarmed combat; • uniformity of distribution of physical activity and training material during the week (month, quarter, year); • local conditions and terms of physical development of students, as well as logistical support. Education unarmed combat is based on respect several principles: clarity, systematic, gradual, comprehension and retention. The principle of visibility is realized in three ways (methods): • demonstration with an explanation; • demonstration of simultaneous repetition;

• using visual aids, videos and other teaching aids. The systems principle implies a certain consistency in training. The new material should and could be a continuation of the old, and classes regular. Material should be placed correctly and methodically used to assimilate all forms of employment. Principle of gradual and accessibility are the successive transition from simple to complex, from easy to difficult, i.e., gradually increasing the level of difficulty of the material, as well as in the constant return to the already gone material. The principle strength of assimilation means the repetition of elements and the whole action in various combinations and in various circumstances, with the mandatory testing and evaluation of knowledge acquired.


Arts Combat Organizational forms of exercise can be very diverse. Everything depends on the goals and objectives. It is important that the form is strictly compatible with the lessons. As part of preparations included: the organization involved (ad theme lessons, clarifying its objectives and targets, checking readiness for dealing with forms of occupation); walking, running, moving in combat positions (explicit and implicit), imitation of protection and impact as a whole - general developmental, special inlet and exercises. Selection exercises preparatory segment should correspond to tasks carried out in the main part of the study. Secondary exercises are performed mostly in pairs, for example, the transfer of a partner on his back, riding on shoulders, doing yoga exercises in the stands, sitting, using elements of the fight in the emphasis lying, kneeling, etc. Specific exercises include: flip-flops forward, backward and side, a flightsomersault, the self when falling in different directions. In the main part of the session addressed the most difficult tasks. We study the principles of elimination of physical

techniques, such as testing, mutual, insurance, etc. In close combat training adopted methodical sequence.

Regulation Load at classes Classes are on hand to hand combat is similar to other studies on physical training and consist of a preparatory, primary and final parts.

balance, methods of protection, are processed percussion techniques, painful holds, throws, discharges, as well as freedom from seizures (girth), methods of first aid, linking and maintenance. The bulk of training should begin with the most complex actions and methods. Running the main part depends on the volume and intensity of the load, age, working, time spent at the beginning and end of classes. Usually the bulk of play 45-60 minutes. In the final part of training is gradually reduced functional activity engaged in by performing the following exercises: Slow jogging, walking with breathing exercises and relaxation exercises. At the end of each session is always


discoloration of the skin, respiratory rate, type of sweating. The most common method of calculating heart rate (HR) as HR quite objectively characterizes the state of the cardiovascular system during exercise. HR need to count before, during and immediately after class for 15 seconds, then multiply by 4. You can orient oneself in such average data: lessons to heart rate 60-70 beats per 1 minute, during the occupation - 80-140; after class - 70-80. Heart rate varies in different people and depends on age, fitness, health, etc. To determine the value received by the load on the lessons of martial fight must take into account pulse rates of the cardiovascular system. The load can be: low - heart rate to 120-130 beats / min; average 130-150 beats / min; high - 150-180 beats / min maximum - more than 180 beats / min. These indicators should take greater account of the lessons the older age groups. In these groups performed less exercise, requiring sharp movements, as well as large power and static loads, in addition, more time spent on preparation and final part of the class.

summed up: measured steps involved are allocated individual tasks to self-preparation. Each session should be monitored by a coach or by working to assess performance over a period of one and a few lessons. The set of quantitative methods for measuring performance is ergometry. Ergometricheskoe measurements are usually carried out on three indicators: the intensity (power) applied efforts, the volume of executed tasks (distance traveled, performed mechanical work, etc.) during execution of motor tasks. Various motor tasks can be compared with each other and plan the work done in class. The state of the human body allows for an assessment of the exter nal indicators, such as


REF.: •SKOGOREV3

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SHIZEN TRADITION A JOURNEY THROUGH THE UNTOLD STORY (PART ONE)

There's no doubt that all those great visionaries who announced the coming of a time when everything would see the light were right. With the rise of the combat sports of modern schools and consequently, whether voluntarily or not, the withdrawal of the oldest currents that defended their concepts through legends and stories, the world is witnessing today a new era. Juliana and I both recall when the British BBC released a documentary on the school Katori Shinto Ryu, famous in those days, on the image of the great Otake Sensei. In Brazil, the land where we come from, admiration was huge in the eyes of those who saw the documentary, which undoubtedly made manifest its doubts about its martial references. Regardless of the era, the truth is that access to information has always been a way of elucidation and, therefore, proof of curious points. The arrival of the Ogawa family to Brazil speaking a language different from Japanese that was classified as Ainugo by some of the era -, outlined a curious parallelism in the relationship among the anthropological structures in relation to ancient Japan. Decades later, Takeo Nagaki (author of the first article about the Ogawa Sensei's school in a martial arts Brazilian magazine - (KIAI, 1994), by means of curious researches and through lectures and seminars, explained to the most interested the whole trajectory of the Hagumo, the supposed

background of what we know now as the Shizen People. Let's retrace the history for a moment. The first book on Japanese history was written in the early eighteenth century, first in one version, "Kojiki", and then in a broader one as "Nihon Shoki". The content relating to previous years is still under discussion, however, is deemed reliable the posterior content at the end of the seventeenth century AD. This brings us immediately to the fact that, differently from other countries, the historical records of the Japanese territory did not occur with the same precision as in other areas and, therefore, we can't provide here but a knowledge that has been transmitted as cultural traditions through generations, with no way to offer proper records that collaborate with the reliability of the information. Perhaps for that reason, tradition and culture of the Shizen belong to the realm of legends and mythologies of ancient Japan, without the ethnical features we know today, something that inhabits in the stories of the ancestors, with a similarity to those told around a campfire, on top of a mountain or in the middle of a forest; in a circle of Indigenous with their own characteristics, which could well be on the west lands of North America or any other region that in the past could have been populated by an ancient tribe. Thus, we invite the reader to know something about these stories as they were transmitted, like if he was a listener, reading about a legend or a story, since we can't provide no records, except a culture common to the ancient legends of the Japanese soil and that, although still existing, they have been adulterated or adapted over the centuries.


Let's take a brief look to the Japanese geography in order to locate our history. The Japanese territory consists of four main islands, but we will focus in the area of Hokkaido and Northwest Tohoku (Honshu island), the regions that were shared by the Emishi and Ashihase peoples. The Emishi who continued living in Hokkaido in the seventeenth century, known as Ezo at the time, were later called Ainu. Very little is known about what happened with the Ashihase people in the early modern period. It is thought that they were pushed further north by the Ainu themselves. There are three races or ethnic groups that must be considered in Old Japan: Emishi, Japanese (Yamato) and Ashihase. Japanese literature supports the theory that the Emishi were considered rebellious people and therefore a potential conquering goal, which, over time, divided them among those who underwent the Yamato standards as allies, and those who lived outside their authority and were seen as barbarians living beyond the borders. Here we begin to approach what has been transmitted as the Shizen people. Michinoku, name given by the Japanese Yamato to the Tohoku region (literally translates as "deep road", in the connotative sense of remote place) was the area where the Emishi rebels lived, far beyond the borders of the territories ruled by the Yamato people. The Ashihase were generally considered as a foreign people but nobody knows exactly who they

“Within the Shizen people, each village collaborated in a different way to the survival of their culture.�

were. Last surveys show a tendency to relate the Ashihase and the Emishi, in a kind of relationship similar to that between the Emishi and the Japanese. With the expansion of the Japanese conquest over Tohoku, the Emishi people moved to

Hokkaido. The Ashihase people, considered hunters of Asian features who lived on the banks of rivers, either moved more to the south towards Hokkaido, or were absorbed by the Emishi, of the Satsumon culture (name given to the Emishi group that would have been the ancestors of the Ainu) or even conquered, although it's not known for sure, as the Satsumon group migrated to Hokkaido and ensured their area at the same time. Others believe that indeed, the Emishi created the Satsumon culture. There are other facts and archaeological finds that seem to indicate that the Jomon race were the ancestors of the Ainu; still others, by the characteristics of the Jomon excavated skeletal, suggest that they were related to Mongolians or East Asian groups and therefore we'd be talking about a different breed. (Ossenberg 1986:199215; Kidder 1993:79,101). Anyway, the Emishi and the Ainu were the last peoples of the Jomon period who were conquered and, returning to history, we can see that the boundaries between the Japanese and the northern tribes experienced a retrocession to the


“Four villages determined the strengthening of this culture: Yabu, Yama, Tayo and Kawa.�


"The author of the first book on the spiritual Shizen tradition, already published in four languages and available to scholars in the field, is our director Alfredo Tucci"


south and there exists clear evidence on the subject. Focusing more on the Emishi, they were considered shaggy people by the Japanese conquerors, due to their body hair (Mojin or Kebito), a feature also shared by the Ainu (or Ezo, before the Meiji Period). This leads us to believe that, as a matter of fact, it has no sense thinking that ancient Japan was formed by a single ethnic group, even more when a consanguineous and cultural connection came long after the political unification. Thus, even considering the Emishi as ancestors of the Ainu, their culture was different from these or the Japanese. Despite the influence they left in the Yamato period, such as the using of horses in war affairs, and that the title of Shogun appeared due to the wars against them, the Emishi people certainly refused to join the Japanese and, to make it historically even more complicated, many Emishi separated in different ethnic groups or disappeared due to intermarriage with other ethnic Japanese groups. According to the information handed down along generations, the Shizen people, after the Edo Period, mixed with the samurai class and, besides preserving all their etymological and social structure and survival artifacts, they made the difference acting as negotiators. According to Takeo Nagake, they had their own specific methods developed throughout their historical trajectory which to this day keep attracting the attention of scientists and scholars from highly respected universities. Methods like strategy (Yugoka, in Japanese Senryaku), psychology (Hugoka, in Japanese Shinrigako), philosophy (Husu, in Japanese Tetsugako) and many more. Obviously, these Western terms can translate

neither the extent nor the real essence of such mechanisms. The truth is that all this alteration in social patterns at a secular level fostered a mindset that eventually became a line of reasoning on its own and a previously ordained culture. Even today, the main barrier that clearly defines the internal and external of each group of people who claim to belong to that culture is undoubtedly the language - compulsory trace in the schools of Shizen origin. Consisting of prominent members of society, thinkers, opinion formers, etc., since the nineteenth century, these groups always exerted a strong influence in the means through which they went through. According to professionals in academia, the Shizen culture establishes its own patterns within sophisticated rules even today. In the past, it's always difficult to establish anything with precise dates, but here, following the way of thinking of anthropologists, in the Kamakura Era, four villages determined the strengthening of this culture: Yabu, Yama, Tayo and Kawa. Inner investigations point out the Yabu as a pioneer village. Within the Shizen people, each village collaborated in a different way to the survival of their culture although, as we can see throughout history, by belonging to rebel groups, they all suffered persecution and were decimated. The transmission of what is known today was only made possible thanks to the integration with the Japanese, and their studies, reorganized through that perspective, were reviewed through small groups in different provinces. In the next article, we will discuss the Shizen cultural characteristics.


Combat Conditioning Let's talk about conditioning for real-life combat, and how it actually affects you. A lot of our students, and a lot of individuals I've run across, are prime athletes. They run daily, they have an exercise regimen, and they are in peak physical condition. They may be sports-oriented and be used to physical activity. But when we run them through a real-life scenario - say it's a carjacking, a robbery, a home invasion - within thirty to sixty seconds of reallife combat in a simulated altercation, they begin to shut down physically. They're panting like they just ran fivemiles, or played a full game of whatever sport they're involved in. And it was only thirty to sixty seconds. Why is that? Why is a conditioned athlete not able to take what he has worked on and transfer it into reality combat conditioning? The big answer is adrenaline - the adrenaline dump, the fear, the overwhelming situation that your body is going through, the fight-or-flight stages. All the running and all the basketball and all the cycling and all the spinning and all the cardio classes in the world cannot prepare you for what your body is going to go through in a real altercation. It's going to go through a shutdown phase. This is very important to understand. Adrenaline inoculation training is when you have an instructor screaming instructions and giving you attention diversion drills, you have a bad guy dressed in pads, and he's steering you left, right, grabbing, holding, sending you into the unknown. In the C.O.B.R.A. Defense Program, we train diligently on counteracting this physical shut-down by getting used to the adrenaline. Being able to fight through this is so very important. Now let's talk about the trained martial artist or the trained practitioner in a self-defense program. If somebody has a lot of skill but has not experienced real-time training or that adrenaline dump or the fight-orflight, they haven't learned to control this sensation. One of the things that adrenaline will do is take the techniques they've learned and trained diligently on, and throw them right out the window. It makes your skills immediately useless. It makes your hands feel like they're gigantic bricks. You feel like you're moving in slow motion, like you're stuck in the mud. It's the bad dream syndrome. “I can't move. I'm stuck in the middle of the street. Nothing's working. I'm hitting the guy

and it doesn't hurt him.” That's what adrenaline does. It makes your vision fuzzy, it shuts off your hearing, it makes it look like you're looking down the end of a straw. We have a home invasion drill that we do, where a student goes through a series of events. There are some attention diversion drills. They're striking some shields and some bags. They're engaging a bad guy. They've got to go through a locked door. They've got to shut the door, then relock it. All these different drills and scenarios which simulate an actual home invasion. In the middle of this drill we will shout out a color. (We call it color calling.) At the end of the drill we ask the student, “Do you remember your color?” Inevitably, the first time they do this drill, nine out of ten times the student has no idea what the color is. They're just happy they made it through. We had a class where we had several experienced martial artists, some at a high level. We had several officers involved in this class as well. And there was a distinct difference between the officers who have had the real-life experience, and the martial artists who have trained in a static atmosphere. Striking shields and pads and even sparring are done in a controlled atmosphere, and it doesn't lead to the fear that would be involved in real-time training. It makes a distinct difference. Even a lot of the law enforcement officers had a challenge with it. You're going through this entire scenario and you're confused, you're panicked, and it feels very, very real even though you're in a controlled environment in our facility. Your mind is your worst enemy at this stage because it shuts everything else off to really focus on what's right in front of you. They couldn't remember their color. After conducting this drill several times, even in the same day, the same students who could not remember the color when we yelled it right in their ear as they passed us, can not only remember the color, they can remember the color on several different occasions. They can remember every move they made, every strike they threw. I asked them to count how many strikes they threw. When did they end up on the ground? Where was the bad guy standing when they approached him in the bedroom or the living room or wherever the scenario was taking place in the simulated house that we build? They can recall all of this. What it is, is clarity in combat. The fog begins to lift. Your mind gets con-

trol of what's going on. This is of tremendous value to the practitioner. You can take the experienced martial arts student, or you can take the novice who has never trained in the martial arts before, or even had a selfdefense class - zero training whatsoever - and when you put them through this kind of training, they can recall the colors. They can recall every sequence that has happened to them along the way. Now you've created outstanding self-defense abilities, personal stranger awareness, proactive situational awareness, and the ability to focus in actual real-time combat. This is priceless. A former street cop, sheriff, and maximum security prison guard. Chris Sutton is the founder of CobraDefense in Clearwater, FL. Cobradefense is a law enforcement based self-defense system. Cobra-Defense is the official self-defense system of John Graden's Martial Arts Teachers' Association. MATA: www.MartialArtsTeachers.com. Instructor certification in CobraDefense is at: www.SelfDefenseCertified.com. Chris Sutton is availble for seminars and special training. He can be reached at 727-791-4111 or Cobra@CobraDefense.com


8 WORLD KARATE CHAMPIONSHIPS TH

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Written by: Mike Leeder Budo International English Edition Hong Kong Correspondent.


News “The last few months have seen Jean-Claude Van Damme making a welcome return to the spotlight in various forms of media” levels. I'd like to thank Mike Leeder for bringing me to the attention of Jean-Claude, Ernie and the rest of the Producers and pushing for me as always.” The film is being produced by Kirk Shaw of Odyssey Media, Jonathan Dubois and Henry Luk of Ace Studios, while I'm proud to say that I'm also onboard wearing my Co-Producer hat and a few others to ensure we get the best team for the project and deliver the best possible action flick we can! Budo Keep reading International for the latest and greatest news on Pound of Flesh, Van Damme and all of your favorite martial arts movie heroes!


Protection

ent Moyer, CEO of The World Protection Group, Inc. What is an Advance? It is a security survey of all parts of an itinerary to include hotels, restaurants, vehicles, other transport, hospitals, doctors, & routes of travel. The Advance is done by Executive Protection Agents prior to the arrival of the protective detail at each city, state, or country that the protectee visits. Advances are the most important aspect of Executive Protection. The Advance is designed to ensure the protectee's visit and daily schedule proceeds in a secure and smooth manner. The first concern of the Agent is that the protectee is safe, as a result the Advance imagines all possible threats to the protectee and includes methodical site surveys, meticulous planning and procedures and a game plan to address such threats were they to materialize.

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• Medical and Police response • First Aid The amount of time that can and should be spent on each Advance depends on many things to include external and internal threat level, relative stability and crime level of the area, budget. On some international protection assignments, the Executive Protection Agent should be in the ground several days before the arrival of the protectee. Many times this is not possible; on a recent assignment WPG did 36 advances in 4 days all while maintaining security on the client. In this case, when the client was in a secure location, the close protection team left to do the advances on the remaining

Advance work can be very complex and a high level of training and experience is required. Below are is a checklist of areas that must be considered as part of an Advance: • Pre-departure preparations • Preliminary Telephone Contacts • Protectee Biographical Data and Risk Survey • Threat Assessment • Intelligence reports • Arrival sites at the City of visit • Airport arrivals and departures surveys • Private and Corporate Aircraft • Hotels • Vehicles & vehicle equipment • Chauffeur responsibilities & guidelines • Setting up a 24/7 command center • Route Surveys • Travel contact information • International Travel plans • Building surveys • Restaurant surveys • Maritime survey Public Appearances • Crisis management plan • Bomb threats and procedures • Handling mail and packages • Weapons of mass destruction response • Technical countermeasures sweep • Hospital survey

itinerary for the rest of the event. Clustering advances by location and not chronological timing allows the team to be more efficient. If it is not possible to do an in-depth 'advance' ahead of time, some important work can also be done in the 5-10 minutes before the protectee arrives. In these types of Advances, you must prioritize what you must need to know in a short time: The entrance and exits, location of the rest rooms, meeting locations, identification of a safe room, and nearest hospital. Another important component in the advance is adding a medical response by the Executive Protection Agent. You must know where the best trauma centers are and how to get to those locations. In addition, if the protectee has a medical issue you may want to arrange VIP treatment with a pre-established doctor should there be a medical incident while traveling. All Executive Protection Agents must be CPR, First Aid, & AED certified and some are even Emergency Medical Technicians. A medical kit should be always on the protection detail. This is a short overview of Advances which we consider to be the most important area in Executive Protection work


Create your own makeshift weapon


Text: Peter Weckauf, Irmi Hanzal & Thomas Schimmerl Pictures by Mike Lehner

Using an everyday object for selfdefense can tremendously improve your chances during an attack. In this article I will deal with improvised - makeshift - weapons and show you some examples of how to do it.


Everyday objects for self-defense. the advantages of makeshift objects In recent years I have heard again and again that I have been able to inspire people to use everyday objects for self-defense purposes. In SDS-Concept we use all kinds of things to defend ourselves. These include real weapons, self-defense tools and everyday stuff as well as adapted tools - makeshift weapons. Makeshift weapons are objects which have been adapted or built and are used together with other objects.

Makeshift weapons There are certain things which are by no means effective weapons. Yet, there may be situations when it's a good idea to combine these objects into a weapon which will be more functional and effective as its parts. This requires plenty of time for preparation, but there are a number of advantages to this approach, the same advantages as there are for everyday objects. In many countries the law does not allow you to carry a weapon or a self-defense tool, and makeshift weapons may not be immediately recognized as weapons. Using makeshift weapons for self-defense is a particularly good idea against attacks which may lead to injuries or even threaten your life, especially when they are carried out with weapons. You are well advised to arm yourself in order to increase your defense's effectiveness.

Just like everyday objects, makeshift weapons can be used to amplify punches, pressure, and locks, and they can be used to stab, cut, squeeze or whip, and they can even be thrown at an aggressor. As I've said before, it is a major advantage of makeshift weapons that - legally speaking - you are not really armed, but you may still be better off than being unarmed. Let's not ignore the fact that a makeshift weapon can easily be disassembled and will then not be regarded as harmful. Still, there are some basic rules to follow. Mind the object's characteristics! When you decide to build your own weapon, keep the following in mind: strength of material, length and size, shape (pointed, dull,


sharp), weight, flexibility, danger for yourself, and, last but not least, availability. Always consider the danger of getting hurt and the weapon's effectiveness. You should also be able to use the object more than once. It should not break or fall apart if the required effect cannot be achieved immediately. Tactics - use everything you have for your defense! This includes punches, kicks, elbow strikes and knee strikes in combination with your makeshift weapon. Another option is to deceive your opponent until he feels safe and to attack him when he expects it the least. Only finish your defense action when the attacker (or the attackers) does no longer pose a threat or when you can make a safe escape. Sportsmanship does not count here. Your life is what counts!

Who should use this kind of defense? Thanks to its simple basic idea, the use of makeshift weapons is an

option for anyone and everyone. Tools are particularly helpful for individuals who usually feel inferior in a fight or under attack.

How to get an improvised weapon If we want to be ready and prepared at all times, and particularly when it counts, we need to apply a preventive technique called the "danger radar". This is achieved by recognizing dangerous situations, individuals and circumstances as quickly as possible. Only then is it possible to assess a certain situation and to react appropriately. On the other hand, though, we need enough time to acquire a weapon, whether it is an everyday object or a makeshift weapon. "Danger radar" also includes recognizing objects which can be used as or be turned into a weapon. This requires practice and knowledge of the use of certain tools as well as a healthy amount of creativity. "Use whatever works!" is the motto. Use whatever you consider a useful weapon in a given situation.


Everyday object or makeshift weapon?

What are makeshift weapons?

Any everyday object can be used to defend oneself if it's readily available and can be used as it is. We also want to • include atypical objects which are not clearly meant for self-defense purposes (cloths, socks, newspapers…) • improve an object's effectiveness • change and adapt an object to make it an appropriate defense-tool in a given situation • improve the object's reach, strength and flexibility • improve an object's durability in order to allow multiple use • to improve self-protection by making sure not to hurt ourselves • to improve the object's haptics (grip). Let's (briefly) consider the construction of such a weapon as this will also help us to understand how to use it, which, in turn, will result in a confident, dedicated and mindful defense.

Problem: potentially harmful situation, limited amount of time for preparation Solution: develop creativity to adapt, build, assemble an object so that it can be used effectively as • a cutting, stabbing or bludgeoning weapon • a whip • a missile • a cutting tool • a shackle etc. For example 1. Missile or "hitting missile" (sock filled with rocks, knotted scarf, bag with content, cloth with coins, etc.) 2. Melee weapon or stabbing weapon (rolled up newspaper, piece of paper or cardboard rolled up, folded and glued to create a sticklike object, pen with holder brackets) 3. Cutting tool (credit card or ruler)

Makeshift weapon 1 - cloth with coins To build this "weapon" you will need a cloth and a handful of change. Place the coins in the cloth's center roll up the cloth. Tie a knot around the coins so that they won't come loose when you use your weapon. Now tie the loose ends of the cloth together to give you a good grip. Makeshift weapon 2 - magazine This "weapon" is by no means new, of course. I still would like to introduce it, as a newspaper, a piece of cardboard or some sheets of paper may be the only things available to you. Cardboard can be pressed and folded, a magazine, or a stack of paper can be rolled up. Use Scotch tape or gaffer tape to improve the sturdiness and resistance of your makeshift club. You might also build a sharp-pointed object into the top of your weapon. For further information about seminars and instructors' courses go to www.sds-concept.com


Use of Force and a Defensive Mindset As a civilian firearms instructor, I often encounter an absolute misconception with respect to the application of force in the defense of one's self or others. While statutes between states vary, many people have internalized that because the law, as stated, allows them to use deadly force in the event of, for example, a home intrusion, they are totally justified in doing so. In most cases, these individuals have not thought out the repercussions of being involved in a shooting. Even if the said shooting is deemed to be justified, and therefore there are no legal ramifications, there are many psychological and social effects which will unfold which will be life changing. I will not delve into these within the scope of this article, but rather explain when use of force can be used. I am not a lawyer, so if you carry

a firearm for self defense, I recommend you consult a lawyer in your jurisdiction to get legal advice. I am strictly speaking from a tactical defensive perspective. One of the biggest misconceptions is that if one feels threatened (since statutes usually use this terminology in their use of force criteria), one must engage. This is an absolute misconception. To illustrate this, I will explain the differences in types of engagements. There are essentially three types - military, law enforcement, and civilian. Under the first type of engagement (military). a threat is identified, and our objective is crystal clear - engage and neutralize the threat. We do not have discretion as to whether the engagement is to take place or not, when given the order we have no option of retreating (unless as a result of the engagement that is the tactically sound option), and we are to use all

means at our disposal in order to neutralize the threat. Our objective here is to take the object out of the fight - either by severely injuring him (which will take additional troops out of the battle as they attend to him) or by killing him. Our second type of engagement is a law enforcement engagement. Unlike the military, the mandate of law enforcement, when a threat is perceived, is not to neutralize it by killing it, but rather to apprehend and bring to justice. As in the first type of encounter, law enforcement does not have a choice - it is their job to apprehend the threat. The approaches may vary, leaving discretion as to where and how to effect this. While normally it is not advisable to break contact with the threat, in some cases a tactically sound decision might be to break contact while maintaining surveillance, and apprehend under conditions which are more favorable to

Text & photos: Avi Nardia & Benjamin Krajmalnik - KAPAP Combatives -


Self-defense the law enforcement unit or where a lower level of threat will be present to the public. IF in the course of the apprehension the subject is killed will be a matter to be investigated as to the acceptable levels of use of force by the department. The type of engagement which we are concerned with is a civilian engagement, and I will go more into detail. Regardless of the legalese of any statue governing use of force in the defense of one's self (and this is more critical in Castle Doctrine states where individuals may feel that the law is “on their side�), we must be able to articulate a defense for our use of force. To do this, there are three components which must be addressed - the triangle of Ability, Opportunity, and Intent. If we can prove that the assailant or perpetrator had the ability, the opportunity, and the intent to inflict severe bodily harm or death, then one's deployment of deadly force will be justified. These three factors do not relate only to the assailant, but also to the person deploying force in self defense. Unlike the military and law enforcement engagements, as a civilian we have one objective - survival. Anytime you use force in self defense, you are going to have a level of legal liability, so the best course of action is always to flee. We do not carry a firearm for ego, and we do not engage to make a point. I do not care how skilled one thinks he may be - anytime an engagement takes place the outcome is unknown, and you may be on the losing side of the confrontation. Your best course of action is always to flee - and this is regardless of whether the use of force would have been with a firearm or empty handed. I will present a hypothetical scenario. You wake up in the middle of the night to the sound of something shattering in your kitchen. There are various courses of action you could take.

Option 1: You take your handgun and go down to the area where you heard the noise to engage the perceived threat. As


Great Masters you arrive to the kitchen, you see an unknown silhouette, and “fearing for your life�, you fire a shot into the threat and take it down. Did the suspect have the Ability to inflict bodily harm? It would depend. Let's take a scenario where you encountered a large male. After he was already on the ground, you see he is significantly stronger than you, and next to his body you see a crowbar which he used to break into your house. In this case, he would have the ability, since he had both the physical potential as well as the means to do so. Did he have the Opportunity? At this point, absolutely not - until you closed the distance to engage him, he was outside a reactionary gap which would give him the opportunity. Did he have the Intent? Well, from the data we have at this point, his only intent was to steal something from you - no overt threats were made. Unless the subject were to act in a threatening manner upon seeing you, if you were to shoot it might very well be deemed unjustified and you could be criminally liable. But now, let's make it even more interesting. After you take the shot and approach the subject you see that you just shot your son's friend, who unbeknownst to you, came back from a

party slightly inebriated and stumbled while trying to get some water. Now, we go into the social and psychological effects in the aftermath of the shooting. You just took the life of an innocent person, and more so of someone close to you. Do you think you will be able to live with yourself in this aftermath? What about the ramifications in your social circles? Life will indeed be very complicated for you post-conflict.

Option 2: You take your handgun and carefully go down in an attempt to escape. In the process of doing so, the suspect sees you and threatens you. The suspect is totally drunk and unable to walk straight. He has one of your kitchen knives. You are 5 feet from the door, and he is 30 feet from you. Do you engage him? First of all, by taking the course of action of fleeing, you have already shown that you had no intent at using any level of force. Now we analyze the subject based on our three criteria. Did he have the Ability? Well, that would be questionable. He did have a weapon which he brandished, and may be able to close in on the distance fast enough, but until

he begins to do so it is marginal at best. Does he have the Intent? Absolutely - he has made an overt threat and is brandishing a weapon. Does he have the Opportunity? In this case, it is very much like his ability - if he starts closing the gap faster than you can escape, then yes. Otherwise, no. Use of deadly force in this case would depend on the posture that the suspect took when he saw you were fleeing. Any attempt to approach you would indicate that burglary was not his sole intent.

Option 3: The layout of your house is such that you cannot safely escape avoiding detection. You dial 911 and call the police. You inform them of your exact location inside the house, o f t h e t h re a t t h a t i s i n s i d e y o u r house, and also inform them that you are armed. You keep the line open, and shout to whoever is downstairs that you are armed and any attempt to come upstairs will be construed as a deadly threat resulting in the use of deadly force. You take a tactically sound position upstairs such that if the threat comes up to engage you,


Self-defense you will have the advantage. By following these steps you have given yourself the maximum of coverage you could potentially have. You have called law enforcement for them to take care of the assailant, you have issued a warning, which is now recorded, as to your willingness to use deadly force only in the event he comes up, and you have taken a tactically advantageous position. The suspect starts coming up the stairs, in total darkness. You see an object in his hand. He has been warned about not coming upstairs. You are already in a defensive mindset. He is closing that gap, and he has been warned, so therefore he has the ability and opportunity, and since he has the object in his hand, intent to do harm. Do you take the shot? Rule #1 - you do not fire until you have identified your target. The “suspect� coming up was your son, coming from college for the weekend, unannounced. The object in his hand is his Ipod, through which he is listening to music and was unable to hear your warnings. Perception and reality, especially while under stress, are very different. But having a plan ahead of time, following it, and following basic safety an tactical rules will minimize the chance of you having to use deadly force. It is always preferable to have the threat come to you, and not the other way around. You do not know what the threat is comprised of - by taking a tactically sound posture you minimize the chance of being on the losing side of the engagement. You will not be taken by surprise. But even if you have taken all of the correct steps as in our Option 3, never fire until you have identified your target. A few months ago, a famous South African runner shot his girlfriend. She was in the bathroom, he claimed he woke up to sounds in the bathroom and thought someone had broken into his house. He fired his gun through the closed door killing her. I would hate to be his lawyer. I cannot know if it was murder or not - that is up to the courts to decide - but he is absolutely guilty of homicide, having fired without identifying his target.


Reportage

Combat Hapkido's Tactical Pressure Points - Target Activation In this latest Combat Hapkido Tactical Pressure Point (TPP) article I will discuss the methods and principles for proper anatomical target activation including the importance of intention. Close attention and constant review of this material will greatly improve and enhance your techniques and their combative applications. Each target has a specific method of activation and, although many (but not all) can be stimulated in a variety of ways, all have a most effective method. This is demonstrated in detail for each target throughout the five levels of the TPP DVD instructional series. This concept of proper, specific activation may initially seem complex, but once it is understood and practiced it becomes second nature. Keeping in mind that we are activating different types of nerves, we must sometimes use a different type of stimulus (method of activation). For instance, when attacking a structure such as the Golgi body nerve fibers, the physical anatomy of these fibers can be likened to a cluster of alfalfa sprouts. Activation of these fibers requires a particular type of stimulus. These fibers are most profoundly and easily stimulated by a rubbing motion whereas striking them is highly ineffective. The opposite applies to the Fusiform nerve fibers: rubbing creates little effect while striking them is the optimal and most effective method. Following are the general keys of

“I strongly recommend that you invest some time in researching the power of intention to enhance every stage of your development” target activation which were once regarded as the “secrets” of pressure point fighting: • Hitting or Striking • Pressing or Touching • Rubbing or Variable Pressure • Angle (almost always on a 45 degree) • Direction (follow the flow of the meridian for maximum effect) • Proper intent with the correct amount and type of energy. • Attacking a soft target with a hard weapon and vice versa (sometimes referred to as the Yin & Yang). • Include sound, visualization, and emotion. • Relaxation is essential to deliver energy into the target ( do not tense your body). • Fluidity & contact. A strike should be delivered so that the target is hit and the weapon used to hit remains in contact for at least a tenth of a second. This imparts all of the kinetic energy of the strike.

“Commonly, the mantra of mind, body and spirit can be heard or read in a variety of mediums but it is seldom truly understood and even less employed in practical applications”


Furthermore, here are some additional tips shared by Grand Master George Dillman for selecting, locating and activating anatomical targets: • The larger the nerve, the greater the pain. • Attacking smaller joints with the same force as larger joints increases the pain (and danger of injury). The force is divided around the tendons and ligaments which results in more torque over the area. • Attacking tendons at the origin and insertion points stimulate stretch receptors and are generally “rub” targets. • Attacking ligaments at stretch receptors nerves should be accomplished by hitting to stretch and twist the target. • Attacking the Golgi bodies (special nerve receptors) bypasses the brain and sends signals straight to the spinal cord creating an involuntary response. These general keys, tips and physical methods will help in enhancing the efficiency and effectiveness of your work. However (unfortunately often overlooked) INTENTION is perhaps the single most effective principle in all


Reportage “Intention attracts all the power or energy needed to physically, spiritually, and mentally achieve or manifest any outcome” endeavors when supported by the inclusion and application of consistent actions. Commonly, the mantra of mind, body and spirit can be heard or read in a variety of mediums but it is seldom truly understood and even less employed in practical applications. In the TPP program the alignment of your thoughts (mind), feelings (spirit), and actions (body) are critical to the proper activation of any target or technique. Think of this as a synergistic effect where the sum result is greater than the total of its parts. Intention attracts all the power or energy needed to physically, spiritually, and mentally achieve or manifest any outcome. Evidence of this can be found in the simple placebo (an inert chemical substance, often just plain sugar). When a subject believes the placebo is something else, it is proven to be the most effective pharmaceutical product ever. A placebo (or more accurately the subject's belief “intent”) has cured more ailments than any other chemical substance in the history of mankind. Once a placebo creates a physical or physiological response, it obviously is no longer inert. Our beliefs and our minds have profound effects on our body's neurohumoral and chemical reactions. As an example, how is it possible that a mother (or grandmother) of

slight build is able to lift a heavy car or object off of a trapped child? How often have we heard these types of stories? What is it, if not the alignment of her thoughts, feelings and actions that allows for this otherwise miraculous feat? Now, imagine that you can harness that type of power in your self-defense skills. “A gift consists of not what is done or given, but in the intention of the giver or doer.”- Seneca (1st century AD) For those who may be skeptical, it is useful to understand that, biologically, the body is basically comprised of many proteins and that these proteins respond to certain signals. These generic signals are physical, chemical, and energetic. A strike may be both physical and energetic (intent) much like an aspirin can be both chemical and energetic (remember the placebo effect). In both of these examples it is the synergistic response that creates the greater result. However, we often question the energetic aspect as “mystical or new age”, yet continue to acknowledge the physical and chemical reactions without a second thought. Did you know that if there was no energetic signal in the body (i.e.

electrical conductivity such as nerves), our hearts would not beat? It is beyond the scope of this program to explore in depth this s i n g l e c o n c e p t , s o I s t ro n g l y recommend that you invest some time in researching the power of intention to enhance every stage of your development. Demystifying t h i s a re a i s e s s e n t i a l i n y o u r recognition that it is our intention that guides the energy (known as Chai, Life force, KI , Qi, Prana, or C h i i n d i ff e re n t c u l t u re s ) t h a t ensures success. Of course this article cannot capture this subject in its entirety and you are encouraged to delve deeper to more fully understand this important area of self-defense. In future articles I will continue to expand on this important topic. Of course, you don't have to wait; all of this information is available in the Combat Hapkido Tactical Pressure Point book and the DVD instructional series, which you can order directly from Defensive Services International at www.dsihq.com and Budo Inter national at www.budointernational.net. Please train safe, live with honor, and be well. For certification, books, DVDs, seminars, or questions, please contact: info@dsihq.com

“Did you know that if there was no energetic signal in the body (i.e. electrical conductivity such as nerves), our hearts would not beat? ”


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

REF.:짜 TOYAMA1

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

ORDERS: Budo international. net


REF.:짜 KYUSHO20

"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


Alberto Gamboa, the forerunner for Hankido in Spanish-speaking countries Hoonsanim Alberto Gamboa is one of the pioneers in the world of Hankido, his interest, love and dedication for the Korean culture through Hankido, made him deserve the appointment as Hoonsa, that means: traditional Hankido teacher, which dominates the eight paths (Hosindobop, Muyedobop, Sujokdobop, Kiokkidobop,

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Kihapdobop, Byongsooldobop, Soochimdobop, Hwansangdobop). His central dojang, one of the largest in Chile or maybe in the world even, is located in Santiago de Chile, where he personally teaches over 100 pupils involving children,


women, men and elderly people. Hoonsanim is not interested in being a "sacred cow", for this reason he is not afraid of "mat" or getting his dobok and spend the whole day training. He was born in 1952, his parents were separated and being a kid, he won a scholarship to study in Europe. His mother emigrated with him and after studying in a boarding school in England for a year, he finished all his school days in Spain. How did you start in martial arts? That's a very common question, but surely we all have a beginning and mine was survival. I was a foreigner into a popular school of a large Madrid area, and although today it is fashionable, at that time there was also the “Bullying�. By request of my mother, I began to learn Boxing and other forms of street self defense until I arrived to a Judo school. Later, in Chile, at the Naval Academy (Chilean Navy) I was selected to Judo and Fencing Team specializing in Sable. And how did you come to Hankido ...? After leaving the Navy I practiced Karate for many years. Two harder styles, Kyokushin Sensei Victor Valdiv ia t o who m I o we t he foundation of my martial array and lat er S ho rin Ry u wit h S ens ei Brickman, who even made me an offer to stay to manage his school in Chile. But I got bored of the h ardn es s s t y l es an d I s tarted lo o kin g fo r s o met h i ng more spiritual, fluid and malleable. This is h ow I reach ed t he doj an g f irs t K o rean t each er who brou g h t Hapkido to Chile, Master Choi and later bring the master Byong Chung Moon that came submitted by K u ks an i m My on g Jae Nam t o "evangelize" with what I know now: the transition to Hankido. These two teachers broke up in the mid 80's and I continued the line

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of IHF with Master Moon, although it took a whole year to let me in, because I already had a high degree with Master Choi. Eventhough they had separated, any martial loyalty was not traded. In the late 80's the master Moon decided to emigrate to the United States and he authorized me to travel to Korea to take charge of the IHF in Chile. Meanwhile, Master Choi who taught Hapkido in Chile, disappeared under mysterious circumstances. So that, I sold my car and set off to meet Kuksanim Myong Jae Nam. You were lucky to be a direct disciple of Grandmaster Myong Jae Nam Kuksanim and had the privilege of living with him a while, tell us, how was it? I think my connection to Kuksanim marked my life, he trapped me in a masterful way. The first time I went to Korea, I did not bring any paper or parchment saying I was going to have a position in the federation. But when I went there again, he was a father to me. When he was alive, I never felt more protected by the Federation. We had neverending conversations by phone. He talked in Korean, we stayed happy to listen eachother despite talking in different lenguages. When I joined him in his tour around Holland and Spain in 1995, he looked for my mother. That fact annoyed some of the Koreans because in Korean culture, it was very unusual to do deference to women (nowadays is not like that). Kuksanim was a person who made lovings and hatings arise, and when that happens it means that he did not go unnoticed. Kuksanim is Hankido. How was the invitation of Kuksanim to join him to his European Tour in 1995 due to? Kuksanim realized that I was eager to spend more time with him, eager to learn. At that moment I had no intention of standing out; I was not even interested in teaching but I


Entrevista


wanted to learn. I did my utmost to save money year by year not to miss the opportunities turned up. That year, I traveled to Korea and trained for several months with Kuksanim and he just told me why not to join him around Europe?. Although I did not have the economic condition to do so, passions are passions, and I departed to Europe to join him. Things went hard for me in Holland, because nobody knew me. I struggled to gain the respect of Korean Hapkido Inns in Europe. By contrast, when I came to Spain there was something else, so to speak, and I felt at home. For me, the most important fact was that there was an even greater engagement between Kuksanim and my loyalty to him. Turning to technical issues, Hoonsanim. What are traditional and modern aspects in Hankido? Under my point of view, this is a commonly disputed point and I don't see the sense of this discussion. Everyone knows about the history of Korean martial arts and about the time the war related arts dissapeared due to the Japanese occupation. Precisely, It was at that time when people had to assemble the puzzle of Korean martial arts again. Saying that they did it well or criticize them because they did it wrong is history. What I am int eres t ed in, is being a faithful defender of the input of Hankido into the modern world as an innovative, modern art with tradition. It does not mean it is not traditional, in fact, there were documents about a prince of the Shilla dynasty performing Hankido techniques 5000 years ago. The Hankido tradition is engraved in KOREAN CULTURE, retrieving its ancestral roots. But we must return to the current historical moment. Kuksanim was a modern man, he died in 1999 when he was 60. Thoughout his life, he did many things, but the most important one was turning traditional Hapkido in innovated Hankido with Korean culture. There are many people who argue about controversy between Korean and Japanese martial arts. Martial arts' movements are common, there is no martial art with unique m o v e m e n t s , t h e d i ff e re n c e l i e s o n t h e philosophical background. In Hankido these are Taoists, Confucians and Buddhists. The heirs of this Hankido have to focus on the same principles that moved Kuksanim: Tradition and Innovation. Hankido a martial art of strength, art, reliability and especially identity ... From a practical standpoint , Kuksanim sent emissaries around the world with a concept of

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transition of Hapkido ... what finally turned to be Hankido . These people trained other teachers , but that was not Hankido yet . The first vision or presentation of Hankido was at the First International Games taken place in Seoul in 1990 . Kuksanim prepared an exhibition with an exhibition team of adults. By this way, he showed the


Entrevista world that Hankido was an art that had strength , reliability, and IDENTITY. That exhibition team was far from what is shown in competition now, when exhibitions consist of leaps and pirouettes. The vast majority (to whom I belong to) of pioneering teachers dared to be part of this challenge, arised during the 90's. At that time, the base was the unification, but many of them found it hard to understand the importance

that the unification of Hapkido and Hankido meant . At that time, they did not even talked about Hankumdo . From then on, the mission to change or transform IHF into HKD started. HKD is a concept that integrates Hapkido, Hankumdo and Hankido. What I understood of the desire of Kuksanim is in one word: INTEGRATION . He wanted that everything would be involved in a single concept : Hankido.

Being responsible for the Spanish-speaking countries, did you find it hard to insert this new concept into the martial artists world? Several years after started my practice, when I did my test of KwanJang Hankido to be in charge of Latin America in front of Kuksanim, I received all of the documents in a folder with the word HAN KI DO written in Hanja


(Chinese Characters). Under, there was the insignia of the IHF used at that moment, saying International Hankido Federation . Then I came back to Chile and presented all these documents to a experienced martial artists committee organized by the Ministry of Defense to grant or revoke my permission to be responsible of a style in Chile. As a member of this commitee there was even a Korean Hapkido Master who came to Chile many years before. The first thing they all said was: " They were wrong!! ... they misprinted!! The folder and the diploma have the same mistake in ... They changed the p into n !". General reactions showed me the lack of knowledge and culture that was in the air . This story proofs that people criticize and belittle without knowing what they are talking about . A martial art is not only form, is living it. It means: I have to grow, I have to learn about their culture, and at least, I have to know how to join a consonant with a vowel. Kuksanim was always saying: “First, Hankido must be: SIMPLE; Second, Hankido must have RHYTHM and finally, Hankido is for PEOPLE ABLE TO THINK�. In 2010, Hankido was officially recognized by the Korean government as TRADITIONAL martial art ... The great contribution that Kuksanim's heir son, the Doju Myong Sung Kwan, is the fact that in 2010, South Korean government officially recognized the cultural l e g a c y t h a t K u k s a n i m l e f t t h ro u g h t h e i r w o r k i n retrieving the roots of his people. Thus, Hankido today, is the second traditional martial art in Korea, so that culturally, this institution places HANKIDO in the same level as traditional Taekwondo. This phenomenon caused a worldwide "fashionable" partnerships and cooperations between these two martial arts. By this way, there are more than 600 taekwondo masters in Korea, who cared for learning Hankumdo and Hankido techniques at once. This tendence arrived also to E u ro p e a n d t o t h e U . S . a n d H o o n s a n i m A l b e r t o Gamboa has an opinion about it. What is your opinion about strategic alliances already made between Hapkido, Hankido, Hankumdo and Taekwondo schools and organizations? Do you see one future for this type of join? From a theoretical point of view, Hankido and Taekwondo have no point of conjunction, each of them operates independently and they do not share any organs, so what I see is that there is no problem about complementation or about getting alliances and strategies but inside this kind of alliances there are not only ideas and spirits. I mean, men are men and ambition and power are always near, as well as the rivalries about which comes first: the chicken or the egg. In short, the fact of looking at this from a positive point of view, is not only good, but necessary. Everything depends on us, on

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Entrevista our attitudes and on the revision of future strategic alliances that fulfill objectives of knowledge-sharing rather than on emotional goals. And finally, Hoonsanim ... we know that you will be in early May in Spain to give an open seminar and

also to measure the advance of Hankido there. What do you expect to see in Spain and what are your further plans or projects? I clearly see the scenario in Spain in practical and emotional terms. Undoubtedly the work that all of us involved in the reintegration of Hankido in Spain, should be practical, methodical as well as with our feet set on the earth. There are many people who appreciate the changes but they struggle for selfish and ambitional reasons and perhaps, for pride. There are times the change has to justify the sacrifice, that means TRAINING HOURS and sometimes it means to low the rank. There are people who do not accept this. Without any doubt, they d prefer the change to be softer and lighter and with faster administrative support. Talking about Spain , the progress has been good. I have no chance to be there more often ... except once a year . But from the first time I traveled to Spain I was willing to give the maximum from me to the ones dare to make changes, the braves. The transformers that logically get into the magic of what hankido is, but in the right way, not looking for prizes or recognition but fighting for something that in the shot or in the long term, is the entrance to a different world. That different world has been reached towards 10 masters that are working with faith and sacrifice. I mean wide range of sacrifices because I have to bear in mind the financial situation of Spain, which is not very good nowadays and this event rules the life of every spanish. Nevertheless they are working within their means , I 'm putting the maximum effort to achieve a greater exchange, a flooding of basic knowledge for them to have good foundations and a experience-giving. The kind of experience possesed by the ones who have been in the practise for many years and, of course, I struggle to create the motivation to develop hankido in a real way with the basic precepts that Myong Jae Nam Kuksanim had . I am a supporter of the traditional line my master had. Therefore, I am not in favour of athletic goals although I accept Championships' methodology as a mean to integrate Hankido in a more massive way, so that people know us but I'm not inclined to create parallel lines between martial arts' and sports' concepts. I accept it because I must accept it and because I'm a good soldier and that also means that my attitude towards my way of teaching is 100% MARTIAL. I hope Spanish people will be able to understand and believe it because vicissitudes of traininig are like vicissitudes of life. You do not know what will happen the day after tomorrow but you have to keep on fighting for what you believe or want, although future is uncertain.


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


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.

REF.:짜 KMRED1

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

ORDERS: Budo international. net


Kung Fu

The Leopard Techniques of Shaolin Hung Gar Kung Fu Leopard ( ): The techniques of the leopard train speed, coordination and endurance. They are based on the philosophy of the element metal and are useful in close combat. The leopard fights powerful and on short distance. In contrast to the tiger using its immense power to attack, the leopard is more agile and explosive. Its fast reaction and agility make the leopard a fearsome hunter in nature. Its attacks are unexpected and fast as lightning. On the other hand it's able to pull back quickly by jumping and dodging. The leopard is smaller than the tiger and therefore not as strong. It belongs to the fastest predators on earth. Once taken aim, it chases it's pray with tremendous speed. Relentless and with a quick and single neck bite it kills. For your ability to fight, quickness is one of the key factors too. Many quick, short and aggressive attacks hit the opponent like a hail of bullets making blocks or counter strikes almost impossible. The following pictures show Grandmaster Martin Sewer demonstrating the basic movements of the Leopard style. The movements are comparable to two grinding stones. The hands are open to understand the basic idea of the technique. The circular motion goes forward. On these pictures the typical hand position of the Leopard Kung Fu style is shown. It is a half-fist. This means the fist is only half-closed. Important though is the muscular tension in this hand position. This way the contact area of the fist is smaller and therefore more painful for the opponent.


“The leopard fights powerful and on short distance”


Kung Fu This shows the basic motion.

Sudden direction changes are, of course, possible just to change the direction immediately again. I recommend exercising the basic motion first in detail and then moving forward to changing the direction.


Kung Fu


And so the motion continues in the original direction: Well, after these movements are understood, fighting applications have to look like the following for example:

The direction change in battle:

As the interested reader can see, those techniques are extremely fast, very efficient and simple to learn. Traditional Kung Fu techniques are dangerous and better not underestimated.


Self defense for women must meet certain requirements . It should be simple effective and realistic. Eskrima can be simple very effective and realistic but not many women practice Eskrima . One of the reasons is because of the fact many women seem to think that you cannot bring your stick into the street. Eskrima is often practiced by people who already have other combat sports experience. Yet, my seminars are often visited by women. They first thought Eskrima to be strange because we start with weapons training. When I start to explain the principles of Eskrima they understand the beauty and the effectiveness of it. For instance they learn to understand that they can in fact use any weapon, like a comp or a purse. I see the smiles on their faces when they start to understand. I think any women can practice and learn Eskrima.


Eskrima FOR WOMEN Leonora Filipino fighter When I think of women in Eskrima, I think of my first visit to the Doce Pares Eskrima School in Cebu. I saw two eskrimadors sparring, full contact and beating each other with hard and fast combinations. What shocked me was the hard and the aggressive way of fighting of the two men. The smaller eskrimador made a series of combinations of hard blows to the head, and gave a series of struck to the body of the bigger fighter. This was the time to stop the fight and the bigger guy went down in his knees. And that was the time that I was shocked! The smaller fighter took off his helmet, and to my great surprise, I saw long black hair falling and the face of a young woman, with a big smile. She saw me and introduced herself as Leonora Rentuma. Afterwards I made some

inquiries and found out she was several times champion of the Philippines, World champion full contact sparring and several times world champion Sayaw ( katas ) She was part of the military team in Manila and the undefeated champion. At that time I never thought that Leonora was to be my wife , but that's another story.

I said in retur n that he did not understand the concept of Eskrima. The stick resembles other weapons, like a short sword. But the incident got me thinking. So I emphasize what Eskrima actually is and what it is not. It is important to understand the principles and why we train with sticks and what they resemble and stand for.

Wrong idea of Eskrima

Benefits of Eskrima

Years ago, a student told me that he was travelling by train and managed to defeat two guys in a fight. He had used his Eskrima sticks. I already read the story in the newspaper but never thought it was one of my students who trained with me for years . Of course I was not happy with this situation and asked the student why he travelled with his Eskrima Sticks. I thought it was a strange thing to do. He answered me that he always carried a Eskrima Stick.

For self-defense Eskrima is suitable for both armed and unarmed combat. But the way to learn Eskrima is different from other martial arts. In Eskrima we start with weapons, the reason is actually quite simple: when you get into a fight and you have to fight for your life, you have an advantage if you know how to handle weapons and this does not have to be necessarily a stick. You can use a variety of weapons which are legal to carry around. Like an umbrella,


a pen, bag, pocket-stick, glasses, scarf (sarong) etc. Off course you cannot very effectively block punches with a scarf. I mean you can use your scarf as a distraction and hit your opponent in the face and make a run for it. Also, a jacket is an excellent weapon for selfdefense , think of this scenario: throw your coat over his head and kick him in the knee or crotch .

Weapons in the street In the street there are all kinds of weapons at hand . Stones , small sticks , sand, all very effective. A bike for self defense can be put to great use as a shield between you and your opponent. The small bicycle pump is a weapon that you can use as an Eskrima stick. Think of it, weapons are all around you. Maybe you've never thought about it. Look around you how many weapons

you see right now. Garbage, stones, sand. Basically everything can be tur ned into a weapon. The only obstacle is you when you keep thinking small, think big and look around yourself, see the hidden weapons that the street provides.

Weapons in your house Very often I am asked by women ‚what they can do if they get mugged in their own house. My first answer, you have to feel safe in your own home but unfortunately it is becoming more common that street thugs enter your house to rob you and often severely beat you up or worse, also here in Holland. It is a big problem and the problem is growing. My answer look around your house and see how many weapons there. Knives , forks , flowerpots, tables, chairs , basically

anything that you can use, there are no rules for protecting yourself, your children and your loved ones. In America it is allowed to use firearms when someone enters your home. In Holland a firearm is not allowed and you have a big chance that you are going to jail instead of the intruder. A good advice is to make a lot of noise, for instance throw an ashtray or a vase of flowers through your window. Make as much noise as possible, intruders hate it.

Fixed weapons in home Because of my seminars and instructor courses I have to leave home a lot and my wife is alone with the children. Now I live in a village with basically no crime and it is not really necessary to hide weapons ( you do not want to be paranoid). But before we lived in a neighborhood with lots of


drug crime and it was necessary to take action. One of these measures was the installation of fixed weapons like sticks and knives. Of course my wife Leonora ( Filipino ) grew up with weapons. Her brothers and family practiced Eskrima . So stick and knife were and are her favorite weapons. In each room a weapon was hidden. (the kids of course could not reach for these weapons) for Leonora they were easy to pick when necessary. My advice for

Leonora was always, do what is necessary and to go to extremes to protect yourself and the children.

More women in Eskrima I am convinced that Eskrima is a good martial art for women. For selfdefense basically everything is there. Training with all kinds of weapons and becoming aware of the impact of weapons and getting used to weapons

and the training is good. Both physically and mentally. When using pangamot (total unarmed combat) all insights you have gained through weapons training are now used unarmed. Low kicks, crotch , knees, feet, fists, elbows, punches with fist open hands, stabbing with fingers to the eyes, even a head butt from a woman can be unexpectedly effective. Actually all your body has to offer can be used for defense. Of course you can train


Eskrima for the Art, it has lot to offer. Think of the beautiful Sayaw ( katas ) and think of the Arkos, the graceful movements of the stick and the many disarming techniques which only work in the gym! Or fighting with a sarong ( scarf ) all in all Eskrima has a lot to offer and is rightfully considered to be one of the most effective martial arts ever invented . For the women who read this, I hope my article appeals to you and raised the interest to know more of Eskrima and perhaps to start practicing Eskrima. Think of all the benefits of Eskrima as an extremely high form of self-defense , and moreover, it is good for health and fitness. All you need to do, is find a good teacher . The style does not really matter as long as you realize that what you learn can also be applied in reality.

Blade Camp Germany I would like to invite you for my upcoming Blade Camp in Bielefeld Germany on May 16 until 18 2014 . You can train and learn defending against knife , Knife disarming , Knife grappling , Knife drills , karabit , axe , sword , different training methods against knife , Knife against empty hands and more . To those who would like to be part of Stroeven Combat System and are interested to follow instructor courses ,host a camps or seminars you can contact me to sekan@zigoo.nl I wish everyone lots of success with his or her training and maybe we'll meet at one of my many seminars! I welcome you into my world, the world of Eskrima!!!


Professional

here are two main factors in determining the success and/or failure of your martial arts school. The first is your ability to find or attract new students to your school and enroll them. These are called enrollments. The second is your ability to keep or retain your students once they have made the decision to join your school, which we call retention. In order to succeed in attracting and retaining students, you must have systems in place. • Outstanding marketing/advertising program (materials are supplied by MATA). • Professional phone script or skills to get the prospect to visit your school. • A neat, clean and odor free school to create the right environment. • Informative and well scripted introductory lesson to create the desire to enroll.

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By taking care of these fundamental items first you will be setting the stage for a successful enrollment conference. When the prospective student first arrives at your school, one of your staff members should be waiting by the front door with a clipboard in hand. After introductions, you should ask the prospect or his or her parents to complete a student application. The application is important because it provides you with names, addresses, phone numbers, areas of interest and a liability waiver. One item that is taught universally in almost every introductory program is the concept of “respect ”. One of the ways we teach respect to our students is through the use of courteous responses, such as “yes sir” or “no sir”. Many people teach this concept at the beginning of their introductory lesson. I’ve found that I get the best use out of this concept by teaching it at the end of the introductory lesson. It’s usually the last thing that’s taught in the lesson and it’s a terrific lead-in to your enrollment conference. The end of the lesson may sound something like this: “Billy we’ve already talked a little about respect. We talked about ‘the bow’, and that we bow to each other as a sign of respect. Another way we practice respect is through the use of courteous responses. Whenever one of your instructors asks you a question or asks you to do something, I would like you to answer the question either ‘yes sir’ or ‘no sir’. If your instructor is a female, you should answer either, ‘yes ma’am’ or ‘no ma’am’. Now Billy, I’m going to ask you a few questions so you can practice responding, ‘yes sir’ and ‘no sir’.

Instructor: Was today your first karate class? Billy: Yes sir! Instructor: Did I teach you the guarding stance today? Billy: Yes sir! Instructor: Are you going to hit or kick mom when you get home? Billy: No sir! Instructor: That’s good. Are you going to remember the three rules of concentration? Billy: Yes sir! Instructor: Did you have fun today? Billy: Yes sir! Instructor: Would you like to get a brand new karate uniform today? Billy: Yes sir! Instructor: Would you like to take some more karate lessons? Billy: Yes sir! Instructor: Great! Let’s go into the office and talk to mom and dad about getting you started. It’s not important exactly what questions you ask the potential student. What’s important is that you ask a series of questions that continue to build the student’s enthusiasm and elicit strong positive responses. You want the parent to see that their child is not only going to enjoy taking classes at your school, but that they are going to benefit greatly from doing so. 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. www.MartialArtsSchoolOwners.com


Does the invisible world have a framework, a skeleton, an order?

The Shizen priests and shamans, the Miryoku, devoted their lives to give an affirmative answer to that question. Starting out from doubt rather than certainty or faith, their achievements in the spiritual plane developed into a unique and consistent knowledge treasure, precisely because of their determination in looking at the Unthinkable with open eyes and mind, thereupon checking their findings through the language of facts.

This attitude led them to penetrate deep into the mysteries of the Universe, those governing the organization of energies and tensions, through an extremely rich system based on the combination of analogy and empiricism. Their practices invaded every corner of the Shizen culture and made it an example of crude spirituality, devoid of fantasies, delusions or "saintly goodness".

The Miryoku sages called the forces by their own names and treated them all with the same respect, beyond any simplistic moral or ideological consideration. They had understood that just as you can't feed a tiger with milk, you can't nourish a baby with raw meat. Without ever judging the nature of the mystery, they moved ahead into the unknown with extraordinary fortitude. In this book, the second volume I write about the Shizen spiritual tradition, I would like to bring the reader to a greater and deeper understanding of a world and a culture which are extremely distant in space and time. References to their operating details, rituals and secrets appear now and then throughout the text and those who frequent them will immediately recognize them; but it's not my intention to disclose or teach them publicly (people would not know what to do with them), but, starting from the wisdom and discoveries they bear, amplify the reader's understanding through how much they reveal us about ourselves and the Universe, about the mystery of life and death, about the purpose of existence and the power of consciousness.

The Shizen were a sober and pragmatic people in permanent war with the Yamato invaders, and this forced them to focus their research in necessarily testable aspects of the unseen; the price was the survival of the people. Face of such pressure, the Shizen priests and sages, the Miryoku, had no chance of getting lost in morbid speculations so characteristic in the mystical activities of the spiritual world in ancient times, as it happened to many other shamanic cultures.

Shizen and ancient wisdom

There remains, however, a curious similarity in some of their forms with some ancient and still living cultures of diverse origin - African, American or Australian -, which leads us to think that a common substrate prevails in all of them that is not the result of any acculturation, possible contact or cultural contamination, since this is geographically impossible and historically improbable.


“The Miryoku sages called the forces by their own names and treated them all with the same respect, beyond any simplistic moral or ideological consideration. They had understood that just as you can't feed a tiger with milk, you can't nourish a baby with raw meat.�

Nevertheless, and unlike these other forms of religiosity, the e-bunto starts out parting from the doubt instead of certainty. This peculiarity was perhaps the cradle of its distinguishing features that make it unique within this group of ancient spiritual forms.

Its intellectual idiosyncrasy includes the so-called "Shizen-go", a language that was spoken with light differences in the four villages that made up the Shizen people, a culture that was ethnically linked to the Aino people. The four villages were: Yabu, Kawa, Tayo and Yama. The spiritual lineage to which I belong is that of Kawazuki Togo (the Kawazuki village), although the knowledge of e-bunto in our group came across a person from the lineage of the Yabu village: Master Shiniyuke.

Given the secretive nature of such knowledge, there are no books or any other information available. In Brazil, where he lived, Shidoshi Shiniyuki formed nine Shidoshi, but only one of them continued his way and teachings: Shidoshi Jordan. Life had many ups and downs so that our paths would cross in Spain and both of us, each one with his own likings, were convinced by destiny to restart a titanic work, and taking the last embers of our lineage, find new ways to the burning fire of a tradition as old as strange.

Perhaps the e-bunto (literally "The Great Strength"), as an initiation practice, is a path not for many; however its vast knowledge is a heritage of the wisdom of mankind and it should not be lost. Maybe its diffusion by

those few ones can create the appropriate conditions and framework so that future initiates can arise from among those that having accessed to part of its legacy, have been able to learn to appreciate the richness of this unique treasure of knowledge and spiritual wisdom of a powerful and extremely rich culture, spiritually speaking. Those chosen by life itself, or by their personal history, to live their relationship with the spiritual world through the e-bunto, will have in this way before them, now and in the future, the chance to fulfill their destiny.

Is this task what has pushed me to write this new book you, dear reader, have today in your hands. The texts that compose it are only a tiny part of an impressive knowledge as wide as complex that can only be fully accessed through initiations and an extended study of a variety of materials, from strategy to spiritual medicine, from food to philosophy.

The amazing discoveries of the invisible world accomplished by the Shizen, their cosmogony, the richness of their practices, make up a particular way of life which, of course, is not for many people. That's why their rituals and deep secrets of their internal practices will always remain within the scope of that small group of people inclined to live personally the experience of this path, although many other aspects of such knowledge can be openly shared to benefit of anyone who sincerely wants to take a look through its keys at the eternal mysteries and great questions of humanity.


“In the West, our new measuring unit is science, since religions are on the decline and most of the ancient knowledge in our cultures has been lost””

The initiates of the future will have ahead a huge task that those of us who love this treasure are already experiencing today in the first person: that of bringing together two times and cultures so distant and distinct, in such a way that respect for tradition does not contradict the comprehension and the necessary evolution of those living with it. This enables an indispensable transgression, nevertheless respectful of its essence and even of its forms, so that its practice may go beyond the idea of the blind and nostalgic cult of other eras, and all we can affirm with total certainty about a past time is that it was definitely previous, to put it as Les Luthier, but not necessarily better.

The virtue of ancient knowledge does not lie in the chronological, but in the contrast with which defies our "catalogs" of the world, placing them in our fair smallness. Because no matter how big a method like the scientific might be, it becomes small if it only lets you perceive a part of what exists, the material, what is measurable or visible, ignoring everything else. Science today is as blind to the spiritual world as it was just a few hundreds of years ago to the microscopic.

Ancient traditions as those of the Shizen people are still a great enigma. Woody Allen said that tradition was the illusion of the permanence. But from modernity, all we have is indictment and complaint about something we don't even receive any more. The traditions of the Invisible that were bequeathed to us by our grandparents in the West are mostly formal shreds away from all spirituality, a frame without a picture inside, or, at most, a set of pious superstitions all mixed up. The little

that resisted the historical onslaught of the religious fanaticism, hid in small secret groups and only now seem to begin exiting their burrows, but without losing sight of bonfire lovers - there will always be -, or fanatics, forever determined to convince others of what they don't even know or understand.

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

Still wondering why ancient shamans kept their knowledge secret?

For the Shizen sages, tradition had to do with what they called "the navigable rivers of spirituality", forged by an "intent" that men sustained throughout the passing of times, and in the well-aimed repetition of those ritualistic formulas of those who had found the correct lines of communication with the invisible and mapped those new and peculiar paths as egregora. These own maps are part of the treasure bequeathed to us by the Shizen, and maps are not changed if what they describe is correct; all


you do, if anything, is translate them into a modern language or, should you ask me, decorate them with touches of "colors" so that others who want to collate them later, can understand them more readily; all this preferably without falsifying or make them what they are not, that is, a religion. The e-bunto is the study of the cosmogony of the Shizen people, and this included a perfectly defined knowledge about the spiritual world; but, contrary to what many would think, spirituality is not analogous to religion. The spirituality of the Miryoku and the Minikui was a mysterious compendium of proofs and analogies contrasted by experience, that allowed them to interact with various levels of reality or dimensional. This ability earned them the respect and, why not saying, the just fear of their contemporaries. Against all odds, and in the midst of this materialistic world, the e-bunto is reviving and attracting the interest of many people. The wheel has begun to spin again, and we are talking about a big wheel! So big that it was very difficult to make it start, but once in motion, it will be very hard to stop it. My aim in this new phase is that it participates of the fate of those who own such right, and that it do it in the best of the circumstances. My aim in this new phase is that it participates of the fate of those who own such right, and that it do it in the best of the circumstances. I am determined to find the fit between its time and ours, and so accompany the due recognition and respect it deserves among the great science and wisdom bequeathed to us by our ancestors.

But I also have a special interest that it doesn't become a means to thrive for mystics, religious or mad people. So, please refrain, especially the latter; dealing with the infinite madness involving interlocking and the forces that animate the invisible world, requires, like Castaneda says, tons of wisdom, prudence and good sense.

If you, dear reader, are in the possession of these virtues, you will be able (not without effort) to lean out to see the improbable, to look at the abyss, and when the abyss looks at you, stay calm and see the bright light shining in the eyes of the dark.

Right: Shidoshi Jordan and Shidoshi Juliana with the author of the Shizen heritage and culture and spirituality revived in the West.


Karate BUNKAI. From the kata form to the substance Hanshi Tamas Weber 10th Dan is one of the senior most celebrated martial artists in all of Europe having started his martial arts training in the early 1950's and then becoming a decorated war hero in the French Foreign Legend. Soke Weber has a long and illustrious road of experience behind him and now he shares this knowledge with us all. Karate is a lethal art of fighting and it therefore necessitates both acceptance as well as a willingness from the members, to act with respect, humility and dignity toward all forms of life. During the time and the historical evolution of the art of self - defence karate it was importan...t to avoid any perverted kind of propagation; to keep the secrecy and restrained the diffusion was a tool for the style to - be only dispatched to a small circle of chosen individual. Only those who accepted the rules will personally be invited to join the “ryu-ha” by the grand master and therefore they could access to the knowledge and enjoy the training in the “dojo. A restricted propagation of the art permitted to maintain the control of the way it was use. A disciple will have to follow the rules the “dojo-kun” and strictly respect them. The goal of the intensive training was to weld together the mind and the body. The “Dojo Kun” is a very clear and defined ideological framework aimed at avoiding any potential misuse of the techniques. Karate skill should be solely used for self-defence in order to protect oneself or the society at-large. The kata for all karate styles was for the great master a tool to transmit to the Dojo members their specific approach to the Art, their knowledge and technical skill in heritance from the previous sensei generations and their influences. Their fighting experiences reflected several centuries of pragmatic approach in combat by training a shadow boxing and a complete range of techniques, The kata is as a concept stays how nearly unchanged (like the form of the wheel) because no one develops or fined a better functional and useful principle to roling. Over the years of a natural evolutions (the karate and the kata teaching) due to the structural changes in our society the knowledge passed tough a subjective interpretations of many individual, an

interpretations related to the one knowledge of understanding the link between technique, skill and the capacity to use the momentum giving by the combines movement and fluidity included to all the kata. We often see a discrepancy between the kata and the bunkai which encompasses the practical applications. The capability to understand and appreciate the underlined meaning behind every technique is solely a privilege of the dojo members. These variations of technical applications are called bunkai. Only a member of the school will get the key-card needed to unlock and access the heart and soul of bunkai which are deeply hidden behind the visual kata form. The karate bunkai tradition, the respect for our past heritage together with the fact that the knowledge in bunkai is an indispensable tool used to lighten the karate path for the generations how passed away, the living one and the one to come.


Siamese Boxing The original source of Ti'gwa? Without official documentation, reliable historical testimony or conclusive evidence to explain the precise origins and evolution of Okinawa's empty-handed fighting arts, much of their history is based on unchallenged anecdotal references, as fact. Having questioned various aspects of this diverse history [Bubishi, Koryu Uchinadi Vol #1 & #2, My Art of Karate, and Tanpenshu, etc.] the presentation which lies before you represents a combination of personal insight and empirical experience, which I hope might challenge accepted beliefs. With the exception of historical commerce with SE Asia, a little informal testimony from foreign visitors during the later part of Okinawa's old Ryukyu Kingdom Period, and a brief mention in George Kerr's book [Okinawa, An Island People; "... boxing (Karate) in which both hands and feet are used had come from Indo-China or Siam.” p217] there's just not a lot of published research available on the relationship between Te [ ] [aka Ti/Di, Ti'gwa/ and or Okinawa-te/ ] and Siamese boxing . *Karate enthusiasts should note that Cambodia, Laos, Burma, Siam, and Vietnam were, to varying degrees, historically influenced by China and Indian culture, prior to the time of Western colonialism; hence, the name, Indo-China.

*The Ryukyuan language is characterized by the existence of both prefix and suffix for diminutives; i.e., pertaining to or productive of a form denoting familiarity and affection... also triviality or smallness. The prefix is “guma” and the suffix is “gwa.” Both guma- and -gwa function to create diminutive words drawn from the base word. For example, in the case of old practices such as Kata and Ti, the suffix “gwa” was commonly used to denote familiarity and affection rather than triviality or smallness. I am inclined to agree with Kerr's observation and believe that Ti-gwa [ ]-- defined as the striking portion of Okinawan Karate-- comes down to us from old-school Siamese boxing [aka Muay Boran] and not kung fu [i.e. Quanfa/ ], the fighting art I have previously identified as the original Chinese source from which kata/ came.


Encounter of Dragons They are unquestionably the two biggest names in Martial Cinema: one, the creative genius, the original artist, the shooting star of the Martial firmament; the other, the king of perseverance, the unlimited friendliness, the humbleness and intelligence that has directed the most prolific and successful career at the box office of Martial Cinema. Both of them, in their own way, conquered the hearts of audiences and industry like nobody else in the genre. Throughout the years, Pedro Conde, our Bruce Lee expert, has managed to compile all the statements that Jackie Chan has been doing about Bruce Lee; a recurring theme, on the other hand, from their first meeting, where a 18 year boy from Chinese Opera, acted as a stunt man for Bruce Lee in a production that would make history, opening a new cinematic language called Martial Cinema. Several interviews and many years of gathering small quotes here and there make up this great product for action celluloid lovers and for the many fans that both characters have worldwide. Text: Pedro Conde & Gladys Caballero Photos: Pedro Conde & Budo International Archives ackie Chan was born in Hong Kong on April 7, 1954. In the Chinese horoscope, this year was under the sign of the Horse, the animal that represents strength and energy and is very close to the sign of the Dragon, in which Bruce Lee was born. Jackie Chan's family came from Yintai City, in the province of Shantung. People of this region, renowned throughout China for their size and aggressiveness, are fond of physical feats and have given the world great warriors and martial artists. And Jackie Chan has certainly honored the Shantung blood that runs through his veins.

J

Jackie Chan's father was an expert in Kung Fu, Siu Hung Kun although he made a living as a cook. In 1940 he moved to Hong Kong to enter a foreign embassy as a cook. In 57, when Jackie was a child, the commissioner for whom his father was cooking was transferred to Australia and he invited the Chang family to accompany him to this country. They accepted and that's how Jackie Chan spent his childhood in Australia, immersed in a British environment and education. It soon began the ordeal for Jackie Chan, when he was sent to school. No matter how much as their parents


Martial Cinema “In 1971, the film community convulsed with the news about the new actor Raymond Chow had hired by the largest sum of money that no one had earned so far, despite he had never starred a movie either in the East or in the West.� insisted, promised and threatened, Jackie Chan was not only incapable of being good in any school subject, but he also had real problems to pass the course. The only thing in which he really stood out was sports, he loved performing stunts; but whatever thing that had pages and letters bored him to death and repelled him. So much so that he was unable to even finish primary school. Jackie Chan returned to Hong Kong in 1961, to studio Kung Fu North under the guidance of a good friend of his father, Sifu Yu Jim Yuen. This teacher was teaching martial arts to a dozen children, bad students but excellent athletes and acrobats. And then there began the ten most difficult years of the life of Jackie Chan. In Sifu Yuen's school he learned the real meaning of the words Discipline and Sacrifice; training sessions didn't really have a beginning or an end because Yuen and his disciples made common life, so any time or situation was appropriate to test their physical and martial abilities. Sifu Yuen formed a group of students to perform at the China Traditional Opera and Jackie Chan was among them. Their name was "Ki Xiao Fu" (something like "The Group of Seven"), and it was formed by Yuen Lo (Jackie Chan), Yuen Biao, Yuen Wah, Yuen Corey, Yuen Miu, Yuen Tak and Yuen Ng Ming Choi. By entering the China Opera academy of Master Yu Zhanyuan - Yu Jim Yuen in Cantonese -, they became part of the "family", all students adopting the master's nickname. The group's performances consisted in representing traditional tales and legends, decorated by multiple and spectacular stunts. In 1970, Raymond Chow (Man Wai) left the Shaw Brothers to set up his own movie studio, which he called Golden Harvest. Jimmy Wang Yu, the most famous male star throughout Southeast Asia at the time, left with him. But Wang Yu wouldn't be the only one to accompany him, also director Lo Wei did. The new studio started from scratch and Raymond tried to hire, within its possibilities, the most selected and experienced ones of each guild; he knew all too well that apart from stars and managers he also needed a good choreographer and Han Ying Chieh was the best, so he contacted him and made him a great offer; his intention was to choreograph 10 films per year. Han Ying Chieh told him that it was impossible, that he could only handle three or four movies, five at

a maximum. It was clear that Raymond needed another experienced and fully reliable choreographer. Then Han Ying Chieh suggested him to hire his former assistant, Sammo Hung, who had some experience, apart from being his right-hand man. All this happened in early 1971. It had just been released "A Touch of Zen," the latest King Hu's work, that was unanimously acclaimed by public and critics and had been choreographed by Han Ying Chieh, in which he had reserved a villain role for him and his assistant. In three of the five highestgrossing films in Southeast Asia, Han Ying Chieh had performed the task of action director. Raymond Chow did not believe in coincidences, so he agreed to his requests reluctantly. Sammo Hung had just tur ned 19; he was beginning, so he would be relegated to lesser films in the studio. Most movies of Angela Mao Ying in Golden Harvest were a success, first in Asia and then in the West. All of them were choreographed by Sammo Hung, who, over the years, became one of the pillars of the studio. Thanks to him, many of his academy fellows found a job within the cinema, including Jackie Chan. In tho s e y ears , t he film industry was the cause of the serious crisis that the Chinese Opera was g o ing t hro ug h;


Jackie Chan has always been very respectful in his statements regarding Bruce Lee, recognizing that if it were not for "The Little Dragon", he and many other Hong Kong actors wouldn't have had the opportunity of becoming stars and, of course, reach fame worldwide. Bruce Lee opened a footpath that others turned into a real path. He was the first actor in the Hong Kong film industry to produce, direct, choreograph and star in his own films, including writing the script for one of them.


Martial Cinema “People have talked about him enough to fill thousands of thick books but still they don't render him justice. � Jackie Chan people preferred to go to the movies rather than going to a theater to see traditional tales and legends, which, in many cases, were brought to the big screen with better means and a lot of special effects. For these reasons, in order to survive, many members who fo rmed thes e o pera companies had to seek work in the movie studios. The company or the groups of Sifu Yuen were no exception: Sammo Hung took care that many of his academia "brothers" could get a job in the studio as cinema extras or stunt men for their martial and acrobatic skills. Jackie Chan recalls: "It all started in 1970, when Raymond Chow, a senior executive of Shaw Brothers, tired of the methods used by the studio, decided to become independent and founded the Golden Harvest film company, which came out from nowhere but distributed the work of independent producers. Raymond Chow knew he would need to do something big if he wanted to be taken into account by the film world. Then, in 1971, the film community convulsed with the news about the new actor Raymond Chow had hired by the largest sum of money that no one had cashed so far, although he had never starred a movie there or in the West. He was an American born Chinese, whose role in a popular American television series had turned him into a cult figure in America and Hong Kong. His name was Bruce Lee, Lee Siu Lung or "little dragon" (Lee, in Cantonese). The contract with Bruce Lee was an unmatched precedent in the cinematography of the British Colony. Raymond made a very risky bet that was widely commented on all media. "The Big Boss" premiered on October 31, 1971, in Hong Kong. Bruce Lee shocked the public in general and critics in particular, something really amazing and unexpected, because in Hong Kong, all were familiar with martial arts. Jackie Chan knew why it impacted everyone in that way: "Essentially, the film showed a new kind of hero, stronger, faster, and a type of Martial


Jackie Chan


Martial Cinema “Bruce Lee acted with his whole body, he had that quality, and such was his charisma and presence in the screen that eclipsed all those around him" Jackie Chan Arts combat much more exciting, as fast and deadly as a cobra attack". Unlike the stiff fighting style of swordsmen films that Shaw Brothers had produced, this seemed brutal and the blows were credible. Bruce Lee's character was not a stoical noble soul who lived his life searching for honorable revenge. He was a street fighter, a juvenile offender who had been thrown out of the house because of his passion for fighting. In short: he was a real man. "The Big Boss" was released simultaneously in 16 cinemas, something totally unbelievable and amazing in that time, especially in local production. It broke records since its first day of screening as it went on to gross 372,000 Hong Kong dollars in one day, with sellouts in all sessions. The film made history by getting raise over a million dollars in three days, becoming soon (19 days) in the highest grossing film in the history of the colony. That signaled many people working in the film industry and Jackie Chan was no exception: "When my academia brothers and I went to the cinema see the film, we found ourselves in the midst of a large crowd of people who had been waiting for hours in the queue in order to get a ticket. We wouldn't have been able to see the film if not for our acrobatic skills that guided us to an open rear window through which we sneaked in without anybody noticing. Despite the fact that we didn't pay to get in, we were psyched to hate the movie, we really were! After all, Bruce Lee was an overseas Chinese who had come out of nowhere cashing a hundred times our salary and had Hong Kong eating in the palm of his hand. We wanted to do the same, but we couldn't. The film was everything that our films were not. Possibly, "The Big Boss" doesn't look that impressive today, but for us, at that moment, it was a revelation." Indeed, it was a revelation to many; however to others, by envy or suspicion, he was not so impressive. Jackie Chan was among the latter:


Bruce Lee


Despite having worked in "Fist of Fury", Jackie Chan didn't appear in any scenes with Bruce Lee. In "Enter the Dragon" he was very proud because he was going to participate in an iconic scene, some close-ups in which Bruce Lee broke his arm. Jackie erred in full; in the film, viewers just focused in the expression and concentration of the "Little Dragon". It is now when these images have drawn interest to know the extra that starred them.


Martial Cinema “He was an incredible martial artist, as good as people said. I don't think I could ever have beaten him in a fight and, of course, I wouldn't have been so stupid to try� Jackie Chang


Sammo shook his head and saw us off with a gesture adding: "You don't know what you're saying... I bet this is the start of something big, and if I'm wrong, I'll swallow my words." "The Big Boss" was not only a box office hit in Hong Kong, but throughout Asia. Its success turned Bruce Lee into the biggest star of Hong Kong and thanks to him, Golden Harvest, a modest studio in the beginning, became a serious opponent for the Shaw Brothers. About that, Jackie Chan recalls:

"Just what I said - Sammo Hung said on leaving the cinema slamming his fist into the air -. A real fight, a true hero. I like him. "Bah, he's got nothing" - I said -. "If you think it's so real, how is it possible that when he fights against a large group of people they only attack him one by one?" "Exactly! That doesn't happen in real life said Yuen Biao -. We all have bruises that prove it."

"The Big Boss gave a total spin on the film industry in Hong Kong. Shaw Brothers had always been the undisputed king of Hong Kong cinema, practically a monopoly. They had the greatest actors, top directors and a larger budget, but the hiring of Bruce Lee by the Golden Harvest had changed everything. Shaw Brothers had made a mistake and now the studio had realized that it could be defeated. Everybody knew that Bruce Lee had first contacted Shaw Brothers and they had offered him a standard contract, which was barely enough to survive. Bruce Lee took his revenge on them for the insult millions of times, once for every dollar he put into the bank accounts of the Golden Harvest. Meanwhile, every independent producer, every executive studio and every movie mogul in Hong Kong, were searching desperately for any martial artist that resembled, spoke, acted or fought like the Dragon, trying to find the new Bruce Lee. This brought much frustration to everyone, including us, because when we got together in the evenings to drink and chat, the conversation always ended the same way: - What does Bruce Lee have that we lack? What is the secret of his success?" Like everyone working in the film industry, Jackie Chan wanted to engage in some film with the new phenomenon and see "live and direct" the secret of his success but, was there any chance? "It started with a call from my 'big brother': - 'Hey, Big Nose!' - Sammo said - 'I have an offer for you.' Sammo had been called from the offices of the Golden Harvest


Martial Cinema where he worked as a stunt coordinator. I listened with great emotion as he was talking to me about the new film that Golden Harvest was going to shoot, set in the time of the Japanese occupation in China. Fist of Fury was a story of revenge and rivalry between two schools of Martial Arts, one Chinese and the other Japanese. There were dozens of roles for stunt men. 'And if you want to, you can have one' - Sammo said. Before I could say yes, like if he was reading my thoughts. Sammo added: 'And by the way, the star of the film is Bruce Lee.' I started screaming like crazy and Sammo laughed at my reaction. "I guess that means yes, right? O.K., go to Golden Harvest tomorrow morning. If you arrive late, too bad! So don't mess around and don't forget you owe me a huge favor." That, Sammo would remind me every time he was on set, he never missed a chance to make me "kiss his ass" when we worked together, but if that was ever justified, it was in those moments. Of course, I would observe, I would listen and I would learn, and if I had the chance, I would also teach the Little Dragon what a boy from Shandong was capable of! When I got to the shooting the next morning, I realized that every specialist with some reputation had been hired for the project. A shout of "hello" drew my attention and then I saw Yuen Biao, standing with hands in his pockets. Near him was a lanky young man that I immediately recognized as

the older brother Yuen Wah. It happened that he had been hired as the stunt double for Bruce Lee, partly due to his impressive skills and partly to the fact that the shape of her body matched the thinness of Bruce Lee, fast and explosive as a whip. The differences between Lo Wei and Bruce Lee were known to all and, curiously enough, during the first meeting that Jackie Chan had with the "Little Dragon", a confrontation occurred between them.... "The similarity between Bruce Lee and Yueh Wah was even more obvious when Bruce Lee appeared on the set shaking his head with a barely concealed rage. What Yuen Wah could not match was the intense personal magnetism of Bruce Lee, even when he was just walking. The reason for his anger was that right behind him was the director of the film, the famous Lo Wei. He had rolled numerous successful films, including Bruce Lee's debut, "The Big Boss", and boasted of being the first millionaire director of Hong Kong. The stunt specialists who had worked with him had a different opinion about his abilities; more than for his boasting, he was known to them for falling


Martial Cinema “To me, he was not or is Bruce Lee, the mighty dragon; he was and will always be Bruce Lee, a great master, a good person and good man.� Jackie Chang

asleep in his chair during filming or, even worse, Lo Wei was a gambler who gave more importance to horse races than the scenes that were being shot; he even turned up the volume on the radio to better hear the Happy Valley Racing retransmissions. Furthermore, if anyone dared to interrupt the broadcast, his short temper immediately sprang up and he shouted whoever it was and threw him out of the set, so he could continue with his horses without anyone bothering. It was clear that Bruce Lee felt only contempt for the man who called himself "the mentor of the dragon". "The quote was out of context" - said hoarsely Lo Wei, who was behind Bruce Lee. "Those were your words" - said Bruce Lee "I never said I taught you fight" - Lo Wei replied trying to appease his star -. "All I said is I taught you how to fight in front of the cameras; the ability, the talent, that's yours, Bruce! I've only polished you". We watched the scene disagreeing, without knowing whether we should intervene or not. It seemed that something bad was about to happen, but what could we do? After all, we were just stunt specialists. What right did we have to get engaged in an argument between the director of the film and his star? The dark and angry look on the face of Bruce Lee made intuit that Lo Wei's days were numbered. Just when it seemed that the situation was going to explode, a small hand rested on Bruce Lee's shoulder, it was Liu Lianghua's, the director's wife. 'Please, Siu Lung' - she said -, 'do not take so seriously what my husband says, no offense in his words. Everyone knows that you are the master and we are mere students'. Bruce Lee put down his fists and relaxed his shoulders. By chance, Lo Wei side stepped and got behind the slim body of his wife. 'Okay, Mrs. Lo' - Bruce Lee finally said -, 'I will forget what happened out of respect for you, but if your husband talks again to reporters about me, I'll give him a lesson in how to fight." Then Bruce Lee left the set shaking his head in a gesture of denial. Lo Wei paled, "Is that a threat?" - shouted waving anxiously towards us. "Did he threaten me? You are all witnesses!" We specialists had observed with dismay Lo Wei taking shelter in his wife's lap and now we had nothing to tell him. Lo Wei looked at us, his face disclosing a mixture of fear and discomfort; we just turned around and continued our idle conversation.


Jackie Chan


'Come on lads, we have a movie to make!' Sammo shouted as he stepped in the set - 'Stop talking and move' - he told the camera man that was behind him. When Sammo and the camera man arrived, we quickly got to our feet, with our faces in alert and our bodies in attention. I think our attitude towards our new manager was very clear..." As Jackie Chan explained above, he knew that this was a great opportunity and he should take advantage; despite his youth (17), he would do anything to stand out among so many stunt specialists and show what a man from Shandong could do. He made a first brief appearance fighting with a girl in the courtyard of the Ching Wu school, however, it went unnoticed; it was the scene where he doubled the wicked Suzuki, in which a jumping kick makes him fly off crashing through the soji (house paper wall) and fall in the garden lawn, that would stick in the retina of thousands of spectators, although, unfortunately, his face was not seen. "To explain the scene, Bruce Lee had drawn what it would be Susuki's fall. The stunt man should go through the paper wall and land fifteen feet away. The only way to do it was using a cable; the problem was that they could pull from you with the cable, but they couldn't soften the fall. That's where the danger was, because the harness had to be centered in the back and falling on it could seriously injure the spine. Bruce Lee asked for a volunteer, but no one dared to do it, however I offered. W h e n t h e y w e re a d j u s t i n g t h e h a r n e s s o n m e , I understood why none of the specialists wanted to do it, but I never think about the risk, I just think that everything is going to be all right. When all was ready, Bruce Lee came up to me and checked that the harness could not be seen or noticed, and then he said: 'OK,

“He was really good as a martial artist, but because of his fame, his quality was extremely overstated.� Jackie Chang let's go there!' and coming closer to my ear, he said. 'Good luck, boy!' So I got on the table standing at the right height, and I made a sign to Bruce Lee who shouted 'Action!' Then I felt a tremendous pull and I found myself flying off backward. For a few moments, I felt I was descending, then I relaxed my muscles and turned to one side in order to roll and avoid landing on my spine or neck. I felt a great pain and a


In the two photos on the top left: Yueh Wah, Jackie Chan's academy fellow and an acrobatics expert, doubled Bruce Lee in the somersaults after winning Sammo Hung in combat. At the beginning of "Enter The Dragon" he also performed the back flip in the fight with Bob Wall. The "Little Dragon" was an expert in martial arts, not an acrobat.

"Fist of Fury" was released on March 22, 1972, with overwhelming success, unprecedented in Hong Kong filmmaking. It was clear that a new star would sweep the Southeast Asian cinema, but what was the opinion of Jackie Chan about Bruce Lee, after working with him?

“The dragon was not a fairy tale, nor a god: he was a man, a man you had to admire, but not someone you had to worship.� Jackie Chang mist darkened my eyes; when I woke up, Sammo Hung, Wei Lo and Bruce Lee were there all worried about me. With their help, I got on my feet and told them that I was fine; it was then that Bruce Lee said satisfied: 'Very good, boy, that's a take!

"When you got to know him you realized that he was an impulsive man, obsessed with self-perfection and determined to achieve his goals. During filming he worked for ten men, choreographing fights, instructing individually what he wanted from us and even looking through the camera to ensure that what finally appeared on the screen was exactly what his brain had imagined. Lo Wei could be the director of the movie, but Bruce Lee was in command and everyone on the set knew. Lo Wei was satisfied, leaving him take control, because that meant less work for him. Moreover, after the ugly incident at the beginning of production, Lo Wei was not going to get into a fight with such a temperamental and dangerous star. Almost everybody agreed unanimously that the film success was due to the 'Little Dragon', its star, although some, a minority, still believed to be due to its director in general, and Hang Ying Chieh, in particular." Bruce Lee was sick and tired of arguing and wanted to do things his way, proving to everyone that he was the sole cause of his success. In "The Way of the Dragon" he served as screenwriter, action director, director of specialists and lead actor. That was a great lesson that showed Jackie Chan the way to go...


"Much of Bruce Lee's success was due to fact that he was a good actor, he knew about photography and he could choreograph and direct a film just as well. Nobody at that time mastered so many subjects. Today is more frequent, because if you want to succeed, you must know every detail of this job." After another glorifying success, which surpassed his previous films, Bruce Lee would get involved in the filming of "Game of Death� that was interrupted by a more ambitious project, an USA & Hong Kong super production, the first co-production with a major Hollywood studio to be made in the colony. This great film required a large number of specialists and, of course, Jackie Chan participated in it... "During the filming of 'Enter the Dragon', I was expecting behind the camera, watching Bruce Lee prepare the choreography of the fight. When everything was ready, I had to make my attack. I got in and suddenly my vision blurred because he had hit me with the stick, just behind the head Jackie signals the exact spot -. He erred and miscalculated. I didn't do anything, just took the hit and fell down. I was dizzy. From the floor, I looked at Bruce Lee who made no move. He was observing everything

while he kept acting, then he turned and stood still until the director said 'Cut', then he turned around and said: 'Oh, my God!", and ran up to me, apologizing, 'Sorry, sorry ...' In front of a cluster of cinema specialists, he lifted me off the ground and began to express regret; I was sore from the blow, but I was beginning to recover; I was young and very tough - I came from Peking Opera -, but I pretended to be very hurt, I wanted to grab his attention and lean on him as long as possible. I kept complaining all day long; later, in the night, every time he saw me from afar, he asked me by signs how I felt. I told him I felt better and when he tur ned around I massaged the area as if it was still hurting." This scene was one of many in which he participated, like the one he attacks and is beaten by Bruce Lee with the Philippine Tabak-Toyok (nunchaku) and falls into the pool of acid. Jackie Chan also appeared in an iconic scene, when Bruce Lee breaks mercilessly the arm of one of the guardians of Han... "The life of a specialist was not easy even for a young man with experience in Chinese Opera. In those days there wasn't much work, salaries were not very high and working conditions were arduous; accidents, sometimes fatal,

were frequent; there were no trade unions and contracts were scarce. Neither were there computer special effects; you had to do it all by yourself, and if you got damaged or injured, you simply wouldn't work anymore. We cinema specialists had a very personal philosophy of life: live fast and enjoy every minute because it may be the last. In order to work several days in a movie, you had to respect two rules: Never show that you were better than the star and try to stay sideways or back to the camera, so that the public wouldn't recognize you. In this way you could be killed several times in the same film. In 'Enter the Dragon' I broke one of these rules; it was on the scene in which Bruce Lee breaks my arm in the basements. I was very young, I was 18, and for me it was a pride to appear on the scene in front of the camera so that everybody could recognize me, but I was wrong; the public only paid attention to Bruce Lee's concentration, the expression of his face and his muscles; Bruce Lee acted with his whole body, he had that quality, and such was his charisma and presence in the screen that eclipsed all those around him." At the end of the filming of "Enter the Dragon", Jackie Chan had a chance to meet with the "Little


Martial Cinema Bruce Lee was famous for his control, however, shooting this scene with the stick, he miscalculated and hit Jackie Chan, causing him a large bump on the head.


Martial Cinema Dragon". That would be their last meeting... "In July 1973, leaving the studio I met Bruce Lee and he told me: 'Hey, Jackie where are you going?' And I said: 'I'm going to the bowling alley', then he asked me if he could join, I was speechless. I was heading to the train station, as taxis were very expensive for me, but I was so proud... Bruce Lee going bowling with me! So we took a taxi. When we arrived in the bowling alley everybody looked at Bruce and I suddenly felt big, everybody wanted him to sign them something, so I was like his

bodyguard. 'No, no, no, go away. Stay away from Bruce.' He didn't really want to bowl. He just stood there, watching me play. I was a very good bowler, in fact I have many trophies and I wanted to show me off in front of Bruce, but every time I turned around to see if he was impressed, his eyes were blank, with a lost look... Finally he said he had to leave and called a taxi. When he hopped in the cab I saw how his pants went up leaving exposed a pair of boots with big heels. Never before had I realized how short he was. I've always remembered those shoes; they were

very strange. When we parted I told him, 'Goodbye Brother Dragon'. He looked at me as if he wanted to say something more, but he did not. That was the last time I saw him. Six days later I heard that he was dead, I didn't believe it. I went to the studio and they ratified it to me, then I realized he was dead and it was not a publicity stunt. After that irreparable loss, the film industry of the colony tried to find a successor, someone to continue generating thousands of dollars. Thanks to Bruce Lee, Martial Arts had been made known worldwide, and they had to continue exploiting that vein of gold...


Bruce Lee After the death of Bruce Lee, all the actors in Hong Kong thought they were the new Bruce Lee, everybody wanted to imitate him. I remember there was a time in which, outside of China where these films were premiered, there were many clones of Bruce, especially at a commercial level. There was Bruce Li, Bruce Lai, Bruce Liang, etc. Even I interpreted the second Bruce Lee (Fist of Fury II). If you looked at the poster on the marquee from afar, it looked like Bruce Lee was the protagonist, then, at close distance, you saw Jackie Chan. People passed by and said: 'Look, the new Bruce Lee film!' Then I started thinking how I could differentiate myself from him. For me it was a superhero, but I 'm not a superhero. When he hit he did it like this (he throws a blow with the tension and the face of Bruce Lee), instead I decided to do the opposite (now he hits and complaints making a funny face). He threw high kicks, mine were low, because I thought it was something he had done and that's it; it was his style and his way of doing things, but I decided to do my own things, adding new elements such as somersaults and stunts in fights, jumping among tables and other complex movements. I mean, I decided to create my own style or way of doing things. In Peking Opera I lear ned to sing, but also acrobatics and martial arts, it included not only kicking and punching, but also tumbles; we lear ned to handle spears, swords, weapons and other items that were combined on stage. It was like a fusion of Chinese Martial Arts and that was what I decided to take to the screen, but my way. I never tried to compete with Bruce Lee, he was number one. I wanted to be Jackie Chan." Indeed, Jackie Chan proposed to be himself and play another type of hero in "Snake in the Eagle's Shadow" and "Drunken Master", achieving what it was impossible for some: breaking the box office records of Bruce Lee films in Southeast Asia... in the West it took a little longer...

"Bruce Lee rose to fame as a large meteor: very quickly and suddenly. This explains that he was unexpectedly under a lot of pressure and I believe that he not always was able to handle the situation. People around him behaved almost in a hysterical way, raising him to a pedestal exaggerating everything, as easily as they would try later to make him fall with scandals and other stories. He was really good as a martial artist, but because of his fame, his quality was extremely overstated; for example, if he performed a quick leg technique in a film, there always was a group of people that immediately would say that he had actually thrown three kicks, but because of his tremendous speed we had not been able to see it. This sort of things happened frequently in everything concerning Bruce Lee. In my case, I think I've taken fame with a bigger calmness, in the sense that I got to it in a more echelon way; first as an actor in the Peking Opera, then as an action specialist, later as a supporting actor and finally as an actor and director of action and Martial Arts films. In addition, I met many great stars in the environment in which I grew up and matured, and I also witnessed their decline; I learned a lot from all this." Jackie Chan had the chance to work with Bruce Lee in two films, where he could know him, watch him and check out his martial quality out of the cameras. But what conclusions did he draw from all this? What does he think about the "Little Dragon"? People have talked about him enough to fill thousands of thick books but still they don't render him justice. He had an enormous charisma, a physical presence you just couldn't ignore. If he was with you in the room, it was just impossible not to pay him attention and it was hard to take notice of anybody else. He was an incredible martial artist, as good as people said. I don't think I could ever have beaten him in a fight and, of course, I wouldn't have been so stupid to try. Still, if you ask me what I learned from my time with Bruce Lee, I'd say I learned two things which have been very important to me throughout my life: The first is that a great success only comes with great ambition. Since childhood, I never had much interest in entering the world of movies. As a teenager, what I wanted more than anything else was the freedom to play,

eat, sleep and live as I chose. I would have been happy all my life being a just a cinema specialist or, if I had thought about the future, maybe a stunt coordinator. But in Bruce Lee I met a man who wanted to change the world, a man whose idea of success was being loved and admired and remembered by millions of people and that in a career of less than a decade, in the space of just five films, he achieved his goal. I guess it was at that moment that I realized that the horizon of what is possible was bigger than I had imagined. After all, if Bruce Lee could have done it, why not me? Because, and this is the second lesson I learned being with Bruce Lee, the dragon was not a fairy tale, nor a god: he was a man, a man you had to admire, but not someone you had to worship. When we were on set, he was always surrounded by people who tried to approach him; everyone told him: 'Bruce, you are the best, the greatest!' I admired him as much as everyone else, but I could never fit in that crowd. I stood 30 meters behind his fans, watching from a distance and feeling disgust when even specialists with years of experience were kissing his feet. After having worked with him, we had all felt his fists and kicks that were strong and skillful, but I knew people who were so strong and skilled as he, or even more... all the same, Bruce was Bruce and, just because of that, he was the best... Bruce Lee didn't demand such treatment from people, he was smart enough to know that these praises were empty, as they depended on the high position he occupied due to the amount of money it provided to the studio and all its sycophants. Later, when I got to success for myself, I came to understand the position in which Bruce Lee found himself. When you're a "superstar", whatever that means, there will always be people who will treat you like if you were not human. In memory of him, I don't make that mistake. To me, he was not or is Bruce Lee, the mighty dragon; he was and will always be Bruce Lee, a great master, a good person and good man. And you know what? I hope you also remember me so.�


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

REF.: • BIERMAN3

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

ORDERS: Budo international. net


HOW IS THE "FU-SHIH KENPO" OUTLINED Individual Simple Technique

Combinations, compound of techniques, to be realistic; if you have no time to train and dedicate your efforts to Martial Arts on a regular basis, there's nothing wrong with using the complex movement; apart from being effective, it’s very nice to see when correctly performed. Please remember that this movement can be only preserved as long as you continue to training. Failures or breaks in your regular workout lead to a decline in coordination, speed, reflexes, smoothness, balance and, above all, effectiveness. If, on the other hand, you do not have time to undertake an uninterrupted training, then individual techniques, which contain simplicity and effectiveness, are advisable. If you have any doubt about the effectiveness of the technique (style) you are learning, leave that school once and for all. Today there are lots of styles, masters, specialists, modalities and schools where you can always find that particular aspect with which you can feel at ease. This is something that will always help you in your progress. If you are uncomfortable you'll never have the motivation you need to become good. Simple techniques are taught to law enforcement personnel and security forces, special groups, anti-riot and intervention units, escorts, Green Berets, etc., because these movements do not require to be physically fit to be effective, although such professionals are generally in top shape.

WEAPONS

Unlike the Japanese systems, in which armed disciplines and unarmed disciplines are practiced in different schools, in the Fu-Shih Kenpo both arts are taught at the same school; this ensures the natural progression as well as the familiarization with both of them while the student develops a sense of respect and attention. Ultimately, weapons will move according to the personal capacity, mastery and skill that the practitioner might have on his (or her) own body. In Fu-Shih Kenpo, beginners start with the Short Staff (Kali / Arnis), and the Walking Stick; then come other weapons like the Yawara (15 to 20 cms),

Billy Club (22 to 40 cms ), Baton (40 to 75 cms), Tan-Jo (76-100 cms), Jo (100 to 125 cms) and Bo (from 126 cms). Subsequently, the program includes Nunchaku, Sai, Tonfa, Kama, knives, etc., these being the most characteristic weapons of the Fu-Shih Kenpo. Later are used all and any natural object which can be used in self-defense. As indicated above, the management, effectiveness and elegance in the use of our weapons is primarily based on the skill, aesthetics and technique that the student or FuShih Kenpo instructor might have achieved in his training and apprenticeship, as well as in his knowledge of the characteristics, applications, advising and history of each one. For example, in the use of the Short Staff, we will first indicate its features to the student; we take the basics, principles and factors of Arnis or Kali; then we will continue in our Kenpo line, carrying out with the Short Staff all kind of maneuvers and techniques which are performed with hands and feet. The technical series varying of the empty hand series of our training program get to give rise to Forms of Short Staff. We respect each weapons system, be it traditional or modern, and if any of our students decided to authentically learn Kali or Arnis, Japanese Kobudo, or Chinese Weapons, we would consider it very appropriate and we'd support him in his idea, since each method, as is logical to assume, is highly specialized in its own style. And this guarantees the achievement of high degree perfection in the chosen weapon. In Fu-Shih Kenpo, the student must have a sound theoretical knowledge of the Defense against Weapons before getting into the practice pretending to specialize. The essential rules for the Defense against Weapons are as follows: 1) Push away the opponent's arm and weapon from the body's defensive perimeter. 2) Isolate or secure the weapon. 3) Select a technique of counterattack under these priorities: a) End of any possible further aggression. b) Possible restart of the fight with the adversary disarmed (depending on his level of perfection and skill). c) Pick up his weapon from the ground. Keep it and use it against him, or throw it out of his reach.

Note: Never attempt any risky action such as trying to bend or

control the opponent's joints, opposing force against force, falling into unbalance situations, or relying on the words or on a possible misleading attitude of the adversary, for if a man is desperate enough to attack with a weapon, he will not surrender so easily to a passive aggression. In most accidents, or serious consequences of a poor performance, the main reason is always the negligence of relying on the enemy or being too concerned about not causing much damage. Working always with a certain degree of pain against the opponent, this is advisable. "In extreme cases, use extreme techniques and extreme behavior."

ATTACK WITH A GUN

When you are on the offensive in a fight, it is important to hit both the leading arm and the front leg of your enemy. This allows you to come safely into his body's defensive perimeter. Once the opponent's arm has been disabled, he will not be able to reject the assault. The next target is his front leg to cause him an injury; this detracts movement and his maneuverability is greatly reduced thus offering a fixed target. Remember that this is a priority for the Defense. Unless the enemy is also armed, there is no need to resort to simulated attacks, simple direct attacks will suffice.

Caution

There's no need of powerful movements, the weapon does the right job, and its correct use on your part leads to a successful attack. If you are shorter or lighter than your opponent, is not advisable to try to make a grip with the gun, as the height or weight can be dangerous against oneself, especially with edgeless weapons, such as batons. As in the unarmed attack, using blows to the head, groin and torso as main techniques, is not recommendable, since it is necessary to outdo first the defense line (defensive perimeter) of the adversary, making easy for him to block or grasp our arm or our weapon. The main goal must be always the defensive perimeter; this is not to be underestimated. Every fight well directed against one or more opponents depends on damaging or nullifying their defensive perimeters.


Text & Photos: Fernando Cruces

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GIL CATARINO "THE EVOLUTION OF BRAZILIAN JIU JITSU" "Back to the Future" On December 31, 2013, at the "Mecas Academy", Master Mark S. Sarsa's specialized training hall of Wrestling, BJJ / Grappling, MMA and K1, we were lucky to send off the old year with the always pleasant presence of the great Brazilian Jiu Jitsu Master Gil Catarino. This is the third time in two years that this amazing Brazilian Black Belt 4th Dan visits Madrid to impart another of his excellent seminars and supervise the progress of the assistants ensuring them a high level promising future The responsible for such fitting presence is Mark S. Sarsa (one of the greatest exponents of the Soft Art and Grappling in Madrid). Master Gil Catarino was "escorted" by Diego Cabrera (also a MMA professor) and Jonathan Vega, both of them Black Belts in the Gil Catarino's Academy. Of course, we couldn't miss this chance to prepare an interview.

"The origin of evolution" Gil Catarino was "forged" in the school of Ricardo de la Riva, in Rio de Janeiro, being one of his most

"I never use techniques other than those of my own; I don't look at publications of other masters or plagiarize movements of YouTube, or video, or anything of the like… I'm a gym man, a training man…” 3


Brazilian Jiu Jitsu successful and "clever" direct disciples. For those who still don't know him (difficult, if you are familiar with BJJ), Gil Catarino is the brilliant Master who has designed the whole compendium of technical work that bears his name now famous worldwide: Riva guard, Riva hooks, Riva scraping, levers ... As they rightly say, "De la Riva has made school", since these techniques, which are practiced in many gyms, have been put to practice in several competitions with proven efficacy. Catarino confesses that every morning, in his Canary Islands gym,

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he himself keeps developing his art and researching about the best ways of training, reinventing and constantly reviewing what needs to be readjusted in order to obtain the best possible results - and they are at sight: his movements are fluid, versatile and elegant. Nevertheless, he underlines: "I never use techniques other than those of my own; I don't look at publications of other masters or plagiarize movements of YouTube, or video, or anything of the like. I'm a gym man, a training man. Now and then, someone interested in my method contacts me

through the "net", and my reply is always the same: If you want to be part of the school you have to come to train in here, Internet is not the way, of course... " An eclectic spirit inherited from his mentor that has made his group become deservedly the icon of the BJJ evolution, with the basic principles of the old school.

"The Quiet Man" Master Catarino is a quiet man who speaks slowly and softly (as he confesses), that's why he often asks us if we have understood what he has just


Maestros del Jiu Jitsu explained, well aware of his dialectic mix of Brazilian and Canario. However, he takes the needed time to ensure that our ears have adjusted well to his words so that he can convey the basic principles of BJJ. "Not only should you know the techniques, feints or strategies, you also have to understand them." Master Gil Catarino prefers the mastering of just a few well-honed techniques, rather than knowing many fighting movements badly

applied and without a detailed knowledge of each. His motto: "Less is more", and hence his interest in correcting his disciples one by one, regardless of the belt they bear, something unusual in courses and a whole detail in itself. Apparently, he has a practical, methodical and very complete "arsenal" in his particular training program which is the result of an extensive martial career, perfectly structured at the prestigious "Academia de la Riva" and in the various competitions he has attended around the world, where he inevitably had the chance to experience the most suitable ways of finalizing his opponents and avoid being finalized by them.

"Training Day" Sensei Catarino's didactic courses are of a high technical quality and draw great interest among BJJ / Grappling and MMA lovers. This last seminar specifically was focused on his innovative passes of guard standing up with crosses of knees, passing to position 1 of "100 Kilos", and on the arm lever attack and its many variants: inverted lever; inverted lever feint to the other arm and back to first lever; lapel grip with "north south" choke; inverted lever alternating with knee lever or ankle dislocation... It amazes seeing his extraordinary skill in getting rid of feet hooks and strong grips, to then pass the guard to finalize with rather atypical levers from various angles, thus showing the difference between a normal lever and the one carried out with an attack of pass of guard - from the vertical guard position, with the retained energy and the silence that characterizes this charismatic Master. With a devastating action, he breaks the gap between the two opponents, trapping while holding together, with absolute control.

"2012" I recall that in his first seminar, in 2012, which he dedicated to his impressive scrapings, he equally passed the 100 kilos and said: "I do not like to pass directly to the mounted position; you have to go step by step." I was reminded of a quote from Goethe (that serves to illustrate this humble article and the reported concepts):

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"It is not enough to take steps that will lead us towards a goal; each step must be a goal in itself that makes us progress at the same time." One of these steps I especially liked, because he passed subtly (in an incredible way) to a lever that I had never seen in my long years of practice - "I don't want you to grab the wrist, these are fast levers", asserted (on this occasion he stressed the same principle for "fast chokes"), and without overlooking the smallest detail, he added: "You should know how to grab with your feet so that your levers have weight, and once carried to the point of no return, escaping will be difficult, even impossible." Michelangelo said: "Perfection is achieved by

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“If a student learns many new and advanced things, he might 'know' a lot, but he won't be able to even apply four strong and well learned techniques; neither his hooks will be properly polished nor his levers will be solid enough�

paying attention to the smallest details ..." His 2nd workshop was entertaining, interesting and varied.

"Taking up positions" Returning to the last days of the last month of 2013, master Catarino, while explaining the technique, made a little stop and commented that in his academy they lay great emphasis on the conventional base work and "drills" (fundamental repetitions): "In my gym we train in a basic way, every day we practice 20 successive levers, 20 passes of guard ... Especially for white belts, I don't like mixing the flap grip with inverted lever, for instance... because as it happens, if a student learns many new and advanced


Masters of Jiu Jitsu things, he might 'know' a lot, but he won't be able to even apply four strong and well learned techniques; neither his hooks will be properly polished nor his levers will be solid enough.� He also stressed out the importance of free fighting. In his academy, Saturday mornings are entirely dedicated to rolling (Randoriu), with a few breaks of two minutes. The noble Master invited us to his gym in Canary regardless of the degree we hold: "You are all welcome" - he said (some classmates and our professor Marcos have visited him several times to full satisfaction). Parting from the same base, he gave way to another variation. Again, it was astounding the way he availed himself of his fascinating flexibility to lower the positions in its totality, pressing the grips to then skillfully unfold and go through the body of his opponent using his own whole body and hips to perform such levers (that much reminded me of my dear Pencak Silat) and demonstrating with an extraordinary mastery that even those lacking such flexibility, have the option of varying their technique by applying the most suitable alternative - the existence of adapted variants so that it can be executed with the same effectiveness and even a bigger economy. An example: without necessity of moving the leg over the body (just levering the arm with the body and the legs, something very rarely seen). "Everybody can get here, everybody!" - He stressed. Undoubtedly, his performance of Brazilian Jiu Jitsu, with his endless variations and endings, are as spectacular as effective.

"A great guy" With his particular and unpolluted way of simplifying the technical combinations, something hard at times, and his ability to achieve full integration among the participants, Professor Catarino adapted cleverly to the situation; and so, ennobling even more this fine art with his technical staff, he injected generous doses of authenticity shining as one of the great unparalleled icons of the soft art of Brazilian Jiu Jitsu, and summoning all the sincerity of his body, principles and concepts, he managed to project extraordinary powers on each one of the persons who were present. See you soon, Master!

7


Krav Maga KRAV MAGA R.E.D. Realism thanks to the experience of its founders

In Self Defense matters, Krav Maga is today a reference discipline. Its original peculiarity lies in the fact that it was born from the choosing of techniques adapted to a ground reality from the experience of people who had faced real risk situations. However, like everything else, the Krav Maga has been forced to evolve with its times. Today, with the steady increase in the number of

practitioners worldwide, Krav Maga, like many other disciplines before, has had to face a sharing of powers and, consequently, a sort of multiplication of styles of which some have retained the pragmatic spirit of this discipline, but in other cases, it has resulted in something completely odd. When we talk about self-defense, we are talking about realism. Therefore, a teacher of Krav Maga must be able to demonstrate the effectiveness of his techniques and convince his students that he himself would use what he is teaching if he was in a situation of aggression.


Krav Maga Thanks to its founders, the KMRED group benefits from a unique experience in terms of self-defense, both civil and professional. In fact, when speaking of attacks today, for example, these are often associated with the night. Discotheques, bars and streets deserted at night are places easily related to fights, stabbings, rapes, etc. It is the own experience of the teacher in real situations, because he has experienced them, what must allow him to make a proper choice between effective techniques and dangerous techniques. Talking about realism with Christian Wilmouth, for instance, after 20 years in the private security sector and a long time frequenting and training people in the field of law enforcement, is very difficult that he teaches techniques devoid of realism. As for Faustino Hernรกndez, who has worked nearly 30 years in nightclubs and practiced English Boxing just as many years, you can count on him to teach you a Krav Maga in which you can trust.

Zahdour Dan, on his part, has accumulated a military experience and also in private security and government protection for over 30 years. It's therefore evident that he will not leave the slightest room for useless techniques. Finally, with Jerome Lidoyne, an eminent member of a Special Forces unit for more than 20 years, it is clear that you will not waste your time with imaginative techniques. This set of experience has gathered to form the KMRED program that wants to be a "Socle" program, concentrating the bases of what you need to know about self-defense. A pragmatic program, in which forming the student and workshops of simulations of real situations are the priority.

"We have no lessons to give anyone; we are not guided by our ego, all that matters are the content intended for the students, and that we are willing to share with all those who, like us, are constantly questioning themselves."


BRAZILIAN JIU JITSU: ANDREAS HOFFMANN:


BLACK BELT 3RD DEGREE OFFICIAL GERMAN REPRESENTATIVE OF RICKSON GRACIE 1994-2000

When the first Ultimate Fighting Championship (UFC) took place in Denver on the 12nd of November 1993, the attention of the whole world of martial arts was drawn to a new style mostly unknown by then, Brazilian Jiu Jitsu of the Gracie family.


“Born as son of Helio Gracie, the founder of the style, Rickson learned Brazilian Jiu Jitsu right from the cradle and grew up with martial arts� The Brazilian Jiu Jitsu competitors brought all their opponents of any style whatsoever down on the floor with ease and forced them to tap out. In 1994 I was invited to the States to teach Weng Chun Kung Fu. I took the opportunity and called Rickson Gracie, the best fighter of the Gracie family, to arrange some friendly sparring. I was curious whether he would manage to bring me down as well. Over the preceding ten years I had learned martial arts in China, where it was common practice among martial artists to visit each other and do some friendly training, according to the tradition of the "wandering knights" who would wander around to refine their martial art. In this spirit I intended to test the Ultimate Fights competitors. Upon arrival in Los Angeles we were picked up from the airport by Rickson and his wife Kim Gracie and driven to his home, a beautyful residence in Pacific Palisades, next door to some movie stars. . He invited me into his legendary "garage", where many well-known greats stars of the martial arts scene, like Paul Vunak or Fabio Gurgl have trained.

We immediately started with stand-up fighting in a very respectfull way: Rickson was shooting his sidekicks, trying to foil my kicks and punches and himself bridging the gap in an opportune moment. Distance control I already knew from Weng Chun Kung Fu, and during the relaxed and slow sparring I managed to neutralize his throwing techniques. Then we arranged to continue fighting in a kneeling position without punching. That s when Rickson really started to amaze me. Whatever I tried, he was utilizing my force, compelling me time and again to tap out. Even when he left out his arms, I didn t stand a chance while ground fighting. It was incredible, and I realized that I had to learn this as well. Thus we arranged the first private lesson. After sparring he invited me into his swimming pool. Together with his wife and four children, Rickson Gracie really made himself comfortable in his villa in the sunshine state of California. He has been training and teaching inside his garage and the academy, but whenever the waves seemed appropriate he left everything behind and went surfing. Within the Gracie family Rickson is being


treated as as champ of champs, as master among the black belts. Within Brazil and the world he successfully defended and protected the fame of the family even against the most dangerous opponents. After his victory over the Brazilian Vale Tudo champion Zulu, who remained undefeated in 120 fights, Rickson over night became a star throughout Brazil. Born as son of Helio Gracie, the founder of the style, Rickson learned Brazilian Jiu Jitsu right from the cradle and grew up with martial arts. He was six years old when his tournament career began, and with 15 years he started instructing. Aged 18 he obtained his black belt, and since then competed in more than 400 fights, be it Jiu Jitsu-, Sambo- and Judotournaments as well as the Ultimate

Fights, or streetfights in broad daylight. My training lessons with Rickson started the next day. He began with some rather particular kind of warm-up, a special combination consisting of breathing-, power-, endurance-, stretching- and balance- exercises, adapted from the Brazilian Jiu Jitsu basic drills as well as Yoga. The latter system became well- known in its advanced form called Ginastica Natural, developed by Rickson s friend Alvaro Romano. Rickson himself not only amaze me as fighter, but also as instructor, and he is not only teaching martial arts techniques, but also insisted to deal with balanced nutrition, Yoga, breathing exercises, spirituality as well as "emotional control". His "emotional control" was made especially famous by Hollywood blockbuster "The Incredible Hulk", where Rickson is portraying the martial arts teacher of the protagonist Bruce Banner/Hulk, also instructing him in his "emotional control"- breathing technique, and testing him by slapping him in the face. (to be continued)

“Rickson himself not only amaze me as fighter, but also as instructor, and he is not only teaching martial arts techniques, but also insisted to deal with balanced nutrition, Yoga, breathing exercises, spirituality as well as "emotional control"


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.

ORDERS: Budo international. net


What do we want to be? During the years of the WingTsun "fashion" in Europe, thousands of practitioners of this fine art approached the many schools that were opened in almost every city of the old continent in search of what marketing or promotion techniques defined as "the most effective self-defense system ever developed". Who wouldn't be interested in something like that? It sounds like "Do you want to learn to fly?"


“The bad press our style has among Martial Arts practitioners should not be imputed to anyone but us"

M

any people approached our style at that time, attracted by the dream advertising in the trade press had sold them and, of course, most of them soon gave up failing to achieve that infallible technique of self-protection that was superior to all other systems. In parallel, many instructors that had been formed and climbed aboard the "bandwagon" of the winning horse, little after left the ship and in many cases threw all their anger and frustration against the style that had failed to complete their expectations. At the end, it was just another of the many fashion that come, shine and fade away into oblivion. And after those years, just a few of us still stay here. As I mentioned in a previous article, these considerations take us to a time when the style rose to the top of the Martial Arts scenery in Europe to end up, not too long after, split into a thousand small pieces in the form of little organizations that in most cases live confronted one another, or as a minimum turning their back to the rest. A sad prospect for "brothers" who have the same origin. But, as a universal law defines: "What goes up ... will finally fall down", and so it was. Sometimes we look with a certain perspective at the WingTsun panorama in Europe and we must accept, like so many times, that the bad press our style has among Martial Arts practitioners should not be imputed to anyone but us. But far from wailing and try to point at others as responsible for our problems, or even (the option that many have chosen) leave it in the search of the fashionable style today, some people, like me, think that this unique style of Chinese Boxing still has many things to offer the Martial Arts practitioner. Undoubtedly, we must say categorically that‌ WE DO NOT TEACH ANYBODY TO FLY!!! And, of course, this style IS NOT BETTER THAN ANY OTHER (nor worse). Our proposals are in the direction of turning the WingTsun style into a way of

practice of CHINESE BOXING Martial Arts - to define more precisely what we do -, far away from all those grandiloquent statements with which we tried to capture large groups of students in the past. There's been many years in which it has not been too well defined what we wanted to be and perhaps, the old Spanish saying "from those muds comes this sludge" sets in perfectly the current situation of the style in Europe. One of my favorite quotes that I frequently use in my instructor training courses says something like: "Let's lower our head, let's shut our mouth and let's devote our time to sweat in the silence of a workout room." This sentence is gradually permeating among some of those who care for this style and have decided to continue studying and training this art that we love. There is a trend in some of the largest organizations of WingTsun in Europe, which are immersed in a fight and campaign to call themselves "the authentic and unique WingTsun". And I wonder why they insist on labelling themselves "unique and authentic". I am convinced that if they used all that effort in the training room, they would probably have no time or desire to engage in such vain discussions. Personally, I would like that our practitioners, instructors and schools were recognized one day for their MODESTY, seriousness and serious work, and not by the labels with which these characters try to bedeck themselves. Something ridiculous, no doubt. Focused on how to improve what we love so much and to which we dedicate a big deal of our efforts, I'd like to ponder in this month's item on a topic I have already discussed in some other articles in this magazine, or on my blog, which anyway I esteem very important to pose any road ahead: What do we want to be?

This question, that sounds obvious, it is not so evident if we look perspective the series of articles I wrote a couple of months ago, which I titled "In Search of a recognizable style", and although in my second book, which will be on the market within a few months, I dedicate a very important section to the subject, I don't want to miss the chance to pose you again a series of questions to reflect on them. I think it will always do well to us. When I launch my question "what do we want to be?" I am also putting forward an invitation to reflection, a clear statement of intent. First, we must recover the critical spirit. When I started the practice of our system, my master always insisted that I should never believe anything just for the sake of it! He used to say that I should be always critical and expose any doubt I could have, not accept anything without checking it first and never let myself get mesmerized by people who, exalted by a great grand master title, state and emit doctrines expecting only one answer: the agreement. This is a key point in the approach of objectives. This critical spirit has to be and stay present from now on in everything we do and, of course, it must always rule our growth and evolution.


WingTsun “There is a trend in some of the largest organizations of WingTsun in Europe, which are immersed in a fight and campaign to call themselves "the authentic and unique WingTsun". And I wonder why they insist on labelling themselves "unique and authentic". I am convinced that if they used all that effort in the training room, they would probably have no time or desire to engage in such vain discussions� The second major point would be ceasing to refer to great masters and t h e i r accomplishments. It is very common to hear people, even institutions, speaking about the successes their 'star' instructors achieved years ago, the battles and combats that they got to win and their great deeds. The "here and now" is the only important phrase to me. Needless to say I feel the utmost respect and admiration for those before us who worked hard and made famous style we love. We should give them a place on the shrines and greetings at the beginning and at the end of each class, but... all that matters is what we can do at this point: Make every effort to improve ourselves, get to the utmost of our individual development regardless of whether others are or were better or worse than us. Living on the achievements of others in the past can serve us only as inspiration, but little else.

We must rely on our own work! In that way we'll arrive at an important conclusion about our relationship with other people: what we are is independent of what others might get to achieve. So, talking (especially ill) of others in an attempt of magnifying our figure, besides being ridiculous, is very negative for the Martial Arts and life in general. The third of the proposals should be, in my opinion, that of generating different working dynamics. I'm surprised when a large number of practitioners of my WingTsun school (a branch of which I come) cling tightly to what they learned from their masters, with the hackneyed expression, "We do I like this because our master did it that way." I find it a dumb choice as minimum. A few days ago I read a phrase of the great Muhammad Ali that said something like "If you live at fifty the way you lived at thirty, it means you've lost twenty years of your life..." As usual, the great Ali makes us reflect on concepts like evolution and the absence thereof (involution). If in a dynamic, adaptable and versatile Martial Art, practiced by living individuals, nothing changes over the years, something is working seriously wrong in its transmission. One of the things I love about this beautiful system is how different it can be from one branch to another. And all

of them have a point. This is the evident proof that the styles are changing and generate views, works, and therefore different evolutions. And I'm sure that this is without doubt one of the greatest glories of this style of Chinese Boxing style: variety within the same style. Fourth and finally, I would like to refer to the title of this article: What do we want to be? Much too often we see how teachers roam along the practice from one place to another, dragging their students nowhere. And this happens because we've never ask ourselves a simple question such as what do we want to be? When I ask that question to my students, I intend to make them think about it. What do we want to be? Bull or bullfighter? Obviously, in the bullfighting simile I bring them forward I expect the answer number two: bullfighter, i.e., intelligence, versatility, and technical strategy to confront an enemy far superior in strength, aggressiveness and strength. If we agree on that, the following thing should be defining our working and training systems to achieve that goal.


The lack of goals results in a lack of identity, an absence of a recognizable style and thus the impossibility of a logical evolution. At the end we would forget again what we want to be The ultimate goal of the WingTsun style is the NO-FORM! This concept defines a way of acting and face an adversary.

To create a structure that eventually disappears by a constant change in pursuit of total adaptability. This concept may often create confusion among practitioners and teachers of our style. Perhaps many people forget that you don't reach the NO-FORM by taking short


WingTsun cuts, but through hard work and deep study. Neither is generated by "chance". And it's at this point that I stress out the importance of the WAY. Possibly some overlook that you have to take the road to get where you want to get. Frequently, Martial Arts practitioners spend their lives thinking or trying to imitate what some celebrated masters were able to do at the end of their lives (real

ART), and they forget that even the greatest had to go through a long road to reach the high position they had conquered. Next month, our article will focus on the work of Biu Tze Tao and its applications for combat. We shall try to give our humble opinion on the matter. Until then we can only preach with what we say: lower our head, shut our mouth, sweat in the silence of a training room and try to make ourselves known by two words that should govern each of our schools: Respect and Humbleness. Martial greetings!


HARDCORE JEET KUNE DO COLUMN Sifu Lamar M. Davis II or those of you that may not know much about me or my martial arts career, I have been training in martial arts for forty-six years. I am a certified Second Generation Senior Instructor of Bruce Lee's fighting methods of Jun Fan Gung Fu and Jeet Kune Do, and have trained in those arts for thirty-five years. I have been trained by several original students of Bruce Lee (from the Seattle, Oakland and L. A. Chinatown schools), and I have the entire curriculum at my disposal. I am certified as a Senior Instructor by no fewer than five of Bruce Lee's original First Generation students. I have my own unique approach to teaching Bruce Lee's martial arts, which I call Hardcore Jeet Kune Do. While some separate the different periods of development of Bruce Lee's martial art and teach from only one period, I prefer to teach the entire curriculum as one usable, workable system of “scientific streetfighting”, as it has often been called. Hardcore Jeet Kune Do is purely a real world self defense method. There is absolutely no sport or competition aspect to it whatsoever. All training is geared towards developing the practitioner's ability to effectively defend themselves in today's violent streets. While there have been several approaches to training and teaching Bruce Lee's methods, we try to stick to the “Original” Jeet Kune Do approach. In other words, we prefer the art just as it was developed, practiced and taught by Bruce Lee in his three main schools in the United States, which were all known as the Jun Fan Gung Fu Institute. Bruce Lee himself stated that Jeet Kune Do consists primarily of Wing Chun Gung Fu, fencing and boxing. While these three arts are the primary components of Jeet Kune Do there are a few elements of other martial arts in the formula. What makes Jeet Kune Do such a unique and effective art, however, is the brilliant mind of Bruce Lee and the way that he put everything together to form Jeet Kune Do. Through this column, I hope to better educate our readers on the subject of authentic Jeet Kune Do, just as developed, practiced and taught by Bruce Lee. This art has been extremely misunderstood, and my goal is to clear up the confusion, leaving you with a clear understanding of what the art consists of, why we do things the way that we do and what the purpose is for each of what Bruce Lee referred to as the "tools of the trade". With each upcoming issue we will delve further into the art, starting with the raw beginnings and going eventually into the more advanced stages of development, using both text and photos to help you along on your journey. Welcome to the world of Hardcore Jeet Kune Do, the authentic real world fighting art of the late Bruce Lee. If any of you have any questions, please feel free to email me at Sifu@HardcoreJKD.com and share what is on your mind. I will do my best to accommodate you in this column! Hope to hear from you soon!

F


Jeet Kune Do

Rick Faye: Following the steps of Dan Inosanto

Rick Faye is the Head Instructor to the Minnesota Kali Group (MKG). Guro Faye has been a student and instructor for over 25 years; he is one of the five Great Instructors of Guro Dan Inosanto, and the only one outside the state of California. His awesome martial curriculum includes: • Instructor of Jeet Kune Do Concepts under Sifu Paul Vunak. • Instructor of Jeet Kune Do Grips under Sifu Larry Hartsell. • Instructor of MuayThai under Ajarn Chai Sirasute. • Instructor of Grip and Submission Fights under Sensei Erik Paulson. • Wing Chun expert under Nino Bernardo, Francis Fong, William Cheung and Guro Dan Inosanto. Certifications of Police Organizations: • Instructor Certification in Control Tactics, Alexandria Technical College. • Defensive Tactics Instructor. • FBI, SWAT and Special Tactics Instructor • Minneapolis Police Instructor.

Text: Gladys Caballero & Pedro Conde. Photos: Antonio Mora.


Jeet Kune Do • Instructor of the Ontario Police School, Canada. Police and Security agencies that train with Guro Faye: • Federal probation officer. • Hennepin County Sheriff ’s Department. • Washington County Sheriff ’s Department. • Department of the FBI in Minneapolis. • Other local police departments.

The s c hool Headquarters is located in Minneapolis, MN, and has over 150 students, and a number of ins truc tors . A ll ins truc tors are certified by Rick Faye , ranging from

apprentice to master level; as he hims elf s ay s : " I opened the Minnesota Kali Group because it was assumed that this was not a s c hool, we jus t trained, then it began to grow and grow... we started having a few students and now we have plenty."

Rick Faye was born in Minneapolis, Minnesota, his life has always been spent there; he began practicing martial arts being a school boy. He trained some Judo, Aikido and other Martial Arts; in 1979 he met Dan Inosanto, who changed complete his view on the fighting arts, but how did he met him?

"It was by chance; my training buddy Scott, a great martial artist, went to the Aspen academy, in Colorado, for reasons that didn't have anything to do with Martial Arts, but there he saw Dan Inosanto. On his return he told me: You just have to see this guy, he's amazing. So we went to Chicago to see him and train with him. When I saw it I said to myself: "I want to learn this". So we took notes and pictures and when we returned home we started training. We went to see him again, and then again, and so on; there was a time when we were going to see him twice a month and soon we started to follow him everywhere. In those days


Interview there were big training camps, the first of them lasted eight weeks and you could train with any martial artist. So I went there to train with Dan Inosanto. Larry Hartsell was also there. Dan told me: 'Why don't you train with him?' So I trained a week with Dan Inosanto, next with Larry, then another week with Bill Wallace. I met many people in that camp; after that, we started attending different events and workshops. The first time with Dan Inosanto was in Minneapolis, between 1983 and 1984; neither of us remembers the exact date. In those days I did but one thing: Train and train..."

Rick Faye was Larry Hartsell's assistant in these seminars, therefore, many practitioners and supporters of JKD could meet him, including the undersigned, in the workshop I organized on October 4-5, 1987. Larry Hartsell specialized in grappling, and he was an expert in this field; unfortunately, sifu Hartsell died on August 20, 2007. To what extent, at a martial level, was important Larry Hartsell in the life of Rick Faye?

"Larry Hartsell was my mentor, my friend and companion. He really helped me; he was always very good to me. Want to know a good story? The first time we went to England, it was my first trip with Larry Hartsell, he took with him a green army bag that weighed a lot, and being his assistant, it was me the one who had to carry it in the airport, on the train, etc. I felt the bag was increasingly heavier and I was wondering what on earth it could contain. And there I was, in London, with the bag up and down ... then, when we finally got to the Hotel room Hartsell opened the bag and pulled out his dumbbells! Today I laugh, but in those moments I found it simply strange... I did not know how to travel, I mean, I had a passport but I only had a stamp on it, that's all. I lived many anecdotes with Larry Hartsell, some of them very curious, like the one I've just told you. He was extremely liable in spreading the Jeet Kune Do in Europe and England. Dan Inosanto started coming to Europe at the end of the 70's I think, in 1978 or 1979. As he was the big name, everybody wanted to learn

Jeet Kune Do and Larry Hartsell helped me; we toured Europe and of course we visited Spain, with Felipe Mercado for the first time, later with José Maria Fraguas, and also with you. Sometimes we had to sleep on a sofa, other times in good hotels... it was a great experience; thanks to Larry I saw the world." Curiously enough, and unlike most Jeet Kune Do practitioners and supporters, Rick Faye did not begin to train the art because of Bruce Lee's fame; although he knew him, he just considered him an actor; i.e., it was not the "dragon" who pushed Faye to practice the style.

"I was not a Bruce Lee’s fan; I am a big fan of Dan Inosanto, but not of Bruce. My father was a football coach. I grew up in a family where we practiced and knew different sports, so my sports idols were different. To me, Bruce Lee was just a movie star. Then, when I met Dan I started to pay more attention to Bruce Lee. I much respect the concept of Jeet Kune Do, but what I really like is Kali, Thai Boxing, I always liked that, but we continue to teach the Tsun Win Martial Art in our classes. And now is taking place a comeback to that, it's becoming popular again. And the reason of such popularity is the MMA; this generation has seen real fights, my generation only saw fantasy, practice. Now Jun Fan is seen because it has always been a real fighting style; that's Larry Hartsell." Fantasy or reality? Does the Jun Fan can be applied in actual combat? Can you actually grab the hand of a boxer or a mixed martial arts fighter?

"Oh, yes! - Rick states flatly -, you can grab a boxer and some boxers do it all the time. If you watch Klitschko, he makes grips with his Jab; it doesn't look like a grip but it is, although we didn't learn it that way. People say it all the time, boxers are very fast and they can't be trapped; but you must trap him, precisely because he is too fast for you. But we do not instruct our students in that way; we do it by feeling the pressure of hands, but, of course, you can grab a boxer. Surely you'll get hit, but everybody gets hit; the secret lies in being the last one who hits. "

The JKD practitioner explores every style to discover the concepts that generated them and take what is useful after discarding the ornamental. "JKD favors the no-form so that it can assume any form. And since it has no style, JKD fits all styles. As a result, JKD uses all ways and is not limited by any, and similarly uses any technique or means which serves its purpose." At this point we can analyze in a more fundamental way the controversy in which JKD has been debating for years. We are referring to the differences between the official arm of JKD, also known as "JKD Concepts", led by Bruce's successor, Dan Inosanto, and the other branch known as "Original JKD" (or "Jun Fan / JKD"), composed of a constellation of the first students of Bruce (Ted Wong, Jesse Glover, Jerry Poteet). The first group claims to be based on the application of JKD concepts to explore countless Martial Arts: Kali / Eskrima, Muay Thai, Savate, Pencak Silat, Gracie Jiu Jitsu, etc. The Original JKD is aimed to recover and practice the techniques and training methods as the Bruce raised them in the 60's/70's. In Rick Fay’s opinion:


"There are two different things: the current discipline practiced in schools, that is, the Jun Fan Martial Art, and the Jeet Kune Do; when you say Jeet Kune Do people have in mind the person of Bruce Lee. Bruce had his Jeet Kune Do, but you have your Jeet Kune Do and he has his Jeet Kune Do; I have my own Jeet Kune Do, but it's different. It is very difficult for people, for the public, to understand this. But Jeet Kune Do is something personal; being from the same source, still is an individual martial art. You go through the Jun Fan Martial Art and you learn this and that, so we all have the basic same knowledge, as in the school; but then it's like if you went to University which is full of knowledge; you'd choose some specific college subjects and I'd choose other specialties. But there are concepts, Jeet Kune Do principles that Bruce left us, as the development of the attributes, different types of speed, training

"I was not a Bruce Lee’s fan; I am a big fan of Dan Inosanto, but not of Bruce� methods... The two most important concepts are that you have to keep growing and gathering more information, sometimes only through experience; perhaps the following year you'll see the same martial art differently."

Bill Wallace once stated that perfecting three kicks and four punches took him years and long hours of training; in his opinion we should refine and train only those techniques we use in combat, and it

was a waste of time to learn more because there was no time to perfect them. Then, why learning and accumulating so much if you can't later apply it in a fight?

"That's O.K. because you don't use everything in a fight; sometimes fights are simple. Bill Wallace fought in a ring with rules. Currently, major competitions have no rules; even tournaments have changed. Regarding Bill Wallace, he was one of the best, but can you put in practice those fighting concepts today? If you want to learn whatever kicking technique as a person of the Jeet Kune Do, you search an expert on that field, so you'd go to learn from Bill Wallace. Then you can say that you have learned something. But can you really do it? Is that for you? So you gain the experience, which is part of Jeet Kune Do, and then you have to make decisions and ask yourself: Where does this fit me? Your body


Jeet Kune Do changes every five years; your life changes, perhaps you get married, have children, maybe you get injured. Bill Wallace kicked with only one leg, because he had had a car accident. Jeet Kune Do, same as life, is constantly changing and evolving." So Bruce Lee openly posed a practiced without a fixed structure, i.e., not subject to any arbitrary rule

or tradition. "Following the no-path as a path, having the no-limits as limit." Not imposing any structure means being able to explore all structures without getting stuck on any of them. "Empty your cup so that it may be filled; stay with nothing to gain the whole." The exploration of JKD does not consist of accumulating, but the opposite, exploring in JKD is simplifying, polishing, getting rid of

the superficial to get to the essence. Doesn't all this contradict somehow the arguments of the JKD Concepts branch led by Dan Inosanto?

"I personally think that if it is interesting for you and you enjoy it, then is fine. You always keep something, if even only to look at it; it's like Jiu Jitsu, I love the Machado family, but I don't fight like that;


Interview “I think Jeet Kune Do is coming back, is returning, because MMA is a competition and now people can see what fighting really is, which in turn brings us back again to what Jeet Kune Do is.�

nevertheless I enjoy taking classes with them, work with them, they are amazing!, so I take something from them, but I will never be a Jiu Jitsu fighter. I also love Thai boxing, but I don't fight like a Thai boxer, for me it makes no sense; they stand too close and I do not like fighting like that, but is perfect to train. It gives me an advantage in my physical conditioning, in my power, etc. You always learn something that can help you improve your martial level but is just a part within the whole. Occasionally you can learn something about Bill Wallace's kicks, for instance, or some Kali from Larry Hartsell. In the art of Kali there's twelve categories; for me is very funny when people tell me: 'Yeah, but you'll never fight with a stick, when are you going to have a stick in your hand?' Well, when I travel I always carry with me a stick that I can use at any time as a kali stick. Sometimes it is not just fighting, you can do something simply for health; for example, you can do capoeira only by its movement and rhythm and perhaps you can pick up a small movement that is useful for combat. You might know and understand concepts of many fighting arts and yet when it comes to fight you can be very basic. The fight part of Jeet Kune Do can be very basic. Paul Vunak is very basic, but he's amazing."

The first seminars with Dan Inosanto in Europe, particularly in Spain, dealt with Jeet Kune Do; in his lectures and classes, Dan spoke and taught the JKD concepts. In his later seminars, he focused on the Kali and the concepts of the great masters of this art and many were wondering what had all that to do with the Jeet Kune Do. Was he distorting the image of the style? On this issue, Rick Faye states:

"Everyone has something you like that eventually you might not like. The Jeet Kune Do that is taught in Jun Fan academies is a great Martial Art and many people like it, but you don't have to join it if you don't want to; it's like Silat, some people don't like it and, well, they don't need it, but others love it. For example, I want to play drums and my wife looks at me strangely like if she was saying: 'What are you doing?' But for me it's interesting. I think Jeet Kune Do is coming back, is returning, because MMA is a competition and now people can see what fighting really is, which in turn brings us back again to what Jeet Kune Do is. It's amusing when you see MMA on the big screen, and some martial artists say: 'Yes, but he can hit his knee or hit him on the ground!' Ah, then you should study Jeet Kune Do! All I want, I wish more people knew more about the "Curriculum" of Jeet Kune Do. We have a separation in the Jeet Kune Do family, we have what is called the Jeet Kune Do core, with Chris


Jeet Kune Do Kent, Ted Wong..., these people parted just because they wanted to keep doing Jeet Kune Do and nothing more, while others aimed to undertake new things; they liked Kali, Silat, Thai Boxing, but they are still doing Jeet Kune Do. Sometimes it depends on the school. You have people doing Jeet Jun Do at a 90% and perhaps Thai Boxing or Jiu Jitsu in a mere 10%, but there are other groups that are the opposite, there are schools that do a 90% of Kali and Thai Boxing and a 10% Jeet Kune Do. All the same. In his certificates, Dan Inosanto states that you do this Martial Art your own way."

At this point, the big question arises. Did Dan Inosanto split up with the Jeet Kune Do family?

"I would not say that; there is a group that separated from Dan Inosanto because he is the head of Jeet Kune Do. Some of the other Martial Arts are hard to practice, Silat is very difficult, as well as Kali. Each person has his or her own preferences and they should be respected."

For the neophyte on the subject, it seems that each instructor of Jeet Kune Do is doing a different thing, practicing a different fighting system from their instructors and training partners....

"They can do things their own way but if they call it Jeet Kune Do they must know much of the original system; there is a lot of material to work with. We're talking about Bruce Lee and Dan Inosanto, two very smart people who took something from here and there because it seemed practical and useful for JKD, so the JKD "Curriculum" they ended up with was excellent. To me it's the best, but only because I like it and is but one opinion; there are other good Martial Arts that can be good to fight and that other people may find more interesting; for me, the Jeet Kune Do curriculum is the best and so I practice it. Each person is different and has capabilities also different; for example, my son plays soccer, but he doesn't play in Real Madrid, he is not that good. Same thing happens in Jeet Kune Do. The only thing I could say is that when the separation occurred... how shall I put it without hurting anybody's feelings? There are very good fighters in the world and I

“I hope we understand the politics of Martial Arts, we are all different and you might dislike someone or something in his personality, but you have to be able to respect that�


Interview don't want to be disrespectful with them, some people tell them: 'O.K., but you don't know Jeet Kune Do as it was originally!' I personally think: 'Who practices now a fighting system the way it was practiced 40 years ago?' By addressing these issues you must be very careful, for when the ego of people gets involved, is no longer good. If they do it is because

they want to do it and they give their students the best they have. They're good people, I know them and I respect them. I have other ideas and I teach my students what I think is best, everyone has his own ideas that should be respected." In his first seminars in Spain, Dan Inosanto instructed us in the

concepts of interception, anticipation, the training of different types of speed, etc., in other words, in the purest essence of Jeet Kune Do. But in subsequent seminars, his teachings focused mainly on Kali and Silat; all this turned out to be a bit contradictory for us and same thing happened in other countries. What could have motivated this change?


Jeet Kune Do Some argued that Dan Inosanto didn't want to teach JKD publicly; moreover, a number of selftaught JKD experts had started to appear all over the world. Rick tells us about it:

"Probably Dan did what the seminar promoters wanted him to do. If you have Dan Inosanto in a seminar, he will ask you: 'All

"Larry Hartsell was my mentor, my friend and companion. He really helped me; he was always very good to me�

right, what do you want me to teach?', then people can say: 'I want to learn Kali', and he’ll teach that, but still he'll be teaching Jeet Kune Do, because its concepts can be applied in Kali. When Dan went to Minneapolis to a seminar he taught Full Contact and Kick Boxing; to me it's almost like Jeet Kune Do, with very close grips, although punches and kicks are


Interview "People ask Dan Inosanto on Bruce Lee; sometimes they ask embarrassing questions”

slightly different, but again, this is just my opinion. He went to another school and he wanted to teach Jeet Kune Do; Dan Inosanto is a very learned man in the world of Martial Arts and he was asked to teach Kali, he doesn't mind teaching whatever thing. Once we were a group of instructors and he told us that he wanted to promote the Kali. Then he added: ‘You can do Jeet Kune Do’. That's the good thing about the system; you are not bound to anything, you don't have to follow any rule or pattern." Some people believe that Dan Inosanto has moved away from the guidelines and concepts of Bruce Lee. Rick Faye doesn't seem to think so...:

"People ask Dan Inosanto on Bruce Lee; sometimes they ask embarrassing questions, forgetting that Bruce was his best friend and died, and they should be more careful because it hurts. You have to be extremely polite to those things. It's the same with Larry Hartsell, he loves talking about Larry Hartsell, but it hurts. You must be respectful; everyone has his or her own ideas about the direction of Jeet Kune Do and this should be respected. To me, the knowledge of Dan Inosanto is greater than that of any other person I've ever met; as an athlete, he is talented and devoted in his training, he is 77 years old and trains every day between 6 and 8 hours, so he is an example of health; now about fighting, I don't really know, because he's very noble and affable, he doesn't want to hurt anybody. I've seen a lot of fighters in my life and I've realized that many of them are just waiting for the right time to wound someone. Sometimes I go out there and they tell the stories of their experiences in fights. I just want to train and work out with focus, traps… that's enough for me. Returning to Dan Inosanto, he has had more influence in the Martial Arts than any other person and he's always been a most positive influence. He is in the front line of each Martial Art trend, each new style. When Rickson Gracie and his family came to the United States, Dan Inosanto signed their immigration papers and this has not been an isolated case."

Unquestionably, Dan Inosanto is an inexhaustible source of knowledge. But like Bruce Lee, will he be a unique case or there will be someone capable of succeeding him?

"I hope so - says Rick -, I do not know. Let's hope that he keeps active for a few years, after that, who knows...I think the best thing we can do is being thankful for having had him and try to remember him,


Jeet Kune Do look at the notes, because he teaches us and some of his most important lessons are not really about Martial Arts, they are about people, about the spirit, so I expect he continues this way. He'll probably live longer than us, we are very lucky to have him. Being a martial artist at this time is amazing, because you can go anywhere in the world, in 10 or 20 hours you can be anywhere in the world and Martial Arts are mixed now. When we started practicing Martial Arts, if you were a Wing Tsun martial artist you didn't attend Karate classes, there were no mixed martial arts; if you practiced Taekwondo, you wouldn't go to Shotokan classes. I had to hide to practice boxing; I didn't tell my Wing Tsun teacher that I was taking boxing lessons. But my brother was practicing boxing and I also wanted to do it. Now everything is different and I think Dan Inosanto has been one of the promoters of this change of mindset.� Indeed in recent years there has been a big change in mentality; now is normal training and combining several styles. Apart from the evolution at a technical level and in combat, what else will change? What future does Rick Faye foresee for Martial Arts in general and Jeet Kune Do in particular?

"I think it will be more oriented toward the field of health, Martial Arts will become popular and more people will practice them. Now is very funny, even children practice, you can buy now focus even in the grocery stores, but when we started, you had to know someone who had focus. Martial Arts will be more popular and hopefully more peaceful; I hope that people lose the desire to hurt others. A martial artist should be more peaceful, not more violent, I hope that be the case. This is the point in which I differ from the MMA, they are good fighters, techniques are nicely mixed, it's a competition; but is the general attitude what I mean, there's no respect, and they are aggressive, with tattoos‌ Sometimes I go to seminars and I find 20 year old boys with strong bodies and huge muscles ... please! I am 56 and I don't need to do this! I hope people can get along. I'll tell you something about Martial Arts, I hope we understand the politics of Martial Arts, we are all different and you might dislike someone or something in his personality, but you have to be able to respect that. You do not have to like each person you meet but you have to get along with everybody. When Bruce Lee died, Wing Tsun was in the position of becoming the best discipline in the world because it was the basis of Bruce Lee's Martial Art; the problem was that they didn't come to any agreement because there were not two Shifu of Wing Tsun who could get along together, people saw that and didn't like it."

Has not been the same with Jeet Kune Do? Admittedly, the discrepancies between "JKD Concepts" and "Original JKD" have not been a good image for the fighting system, especially when two renowned masters like Ted Wong and Dan Inosanto had some disagreements. By the

"JKD favors the no-form so that it can assume any form. And since it has no style, JKD fits all styles�


Interview way, what was the relationship between them? Yesteryear friends and classmates...

"I don't know what their relationship was, they were friends before... Honestly, I don't know. It's like with friends, when they get apart, each one has his own students and it's the students who cause the problem. You have people like Larry Hartsell and then you have people like Chris Kent, both of them are pupils of Dan

Inosanto and they know each other, and both of them have students who are the ones to create the problem. I also hope that people can make more money, because sometimes money is the problem. If one has a big school and the other has a small one, the owner of the small place will say that the other is not good for any reason, or he will find a reason, it might be that he doesn't like the bathroom or because 'he punches like this and I punch it like that'. When I go to

England, the English say: 'That person is very good, but....', and then they go on saying something bad. So I say, 'Get off the 'but' ... just say he's good and then stop'."

It's obvious that Rick Faye's only interest is to train and keep learning from his Guro Dan Inosanto; his philosophy is simple: why waste time on polemics and discussions? His priority is just to train and learn from his teacher...


Kyusho (the Vital Point) of Energy Development. Posture 13 “Big Toe Pose” Angusthásana This next posture is an incredible energy path opener, which can now be added to your routine once we have prepared the physical and energetic body properly. In the prior posture we released pressure off the organs and focused on stretching the lower thoracic and lumbar nerves, this is to enable the full potential of this next posture. On the physical standpoint this is a very demanding posture for your balance and strength of the feet in particular, developed slowly through prior postures. The balance we discovered not only increased the communications between right and left hemispheres of our brain, but also continuously communicated to our muscles as the myriads of antagonistic muscle reactions or tension and relaxation occurred. This continuous tension and relaxation can be thought of as dynamic exercise even though the postures are stationary. As an example; if we look at the muscles of the leg that are holding the balance when the feet are placed in close proximity, we saw how the front and rear (or outside / inside) leg muscles constantly switched from tense to relaxed to maintain that position. This is like doing repetitions with weight tensing as we lift and relaxing as we lower the weights. This time the weight is our body… with the added benefit of dynamic right - left brain function fluxing in conjunction with the muscles they control. The feet underwent prior posture conditioning for weight distribution, stretch, balance and now in this more

advanced posture, full muscle strength to support the full body weight in conjunction with the balance demand. This is needed to more productively open the energetic pathways by near disconnect with the ground. It is especially important that we get our heels off the floor to inhibit energy grounding and fully allow only a proportionate aspect of our bodies open more fully to strengthen them for greater future development, just as we have done physically thus far. Our prior energetic work has strengthened the nuero messaging from our bodies, brains, ground and atmosphere so that we can now escalate the cultivation of greater energetic capacity. Properly trained in the prior postures over time until correct and adept at each successive exercise (postures are both internal and external exercise regimes), has enabled us to now handle more energy without the serious ramifications that could have been realized if we did not prepare. As a side note, these ramifications in brief are; anxiety, stress, insomnia, emotional upset, confusion, shaking, hysteria and more. This is due to the release of the Kundalini in an uncontrolled manner or an unprepared state. This posture opens all three spinal channels of Shushuma, Ida and Pingala as well as the inner leg pathways, allowing energy to rise in all as it ascends to the Pineal Gland. As the heels of the feet are lifted the energy is only allowed to rise, as the heels pressed into the rear of legs as well as the compression of the rear knee area, seals and also prevent grounding. The soles of the feet and inner legs are stretched as is the perineum. This opens the base Chakra (Opening this energy gate is crucial as it is

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


the transfer point for the rising and grounding energies), as it also forces the focal point of the body to be the base of the spine. This is where the Kundalini begins the ascent through the sacrum where it also ties in with the Ida and Pingala. The side-to-side balance demands along initiate the energy movement as the right brain communicates and controls the left side musculature and the Left brain controls the right, both receiving and dispersing neural transmissions. This is accomplished through the main trunk of the spinal cord as well as peripherally via the spinal nerves exiting the spine laterally from the space between each vertebra. This same helix pattern of this energy depiction of the serpents of Ida and Pingala can be seen in the shape of DNA, as well as the more modern symbol for infinity. This hourglass shape and coil were also translated in Chinese Martial Arts in the form called Sanchin which is based on, cultivates and utilizes these same energies (Prana) of ancient Indian practices. These were regarded as the paths to health and enlightenment and are even in modern culture. They are even mapped out in Modern Medicine when they adopted the Caduceus to epitomize good health and restoration to it. As we look at the Caduceus (Caduceus, is adapted from the Greek word kerukeion, which means “herald's wand” the staff of the public messenger. It's related to the words

kerux and kerusso, which pertain to someone who announces information to the public like the doctor telling you the path to recovery. We not see so many symbols that relate to ancient cultures of Egypt, Greece and India carried through time to the early 1900_s when the medical profession adopted the symbol. Looking more closely as a comparative at this ancient symbol it is divided into several separate and integral parts: Staff: The staff is representative of the spinal column (Shushuma) and the energy that translates life from the brain as well as communication from the world to the brain. This energy in Indian practices of Yoga represents the Kundalini. Serpents: The serpents wound in double helix fashion (depicting DNA and the electromagnetic energy field that coils around and along a straight path of flow) are the energy representations of the Ida and Pingala as they represent the positive and negative, yin and yang, male and female or life and death (along with their battle to ascension). They also relate to the shifting of right brain energy to left body and vice versa. Pineal Gland: The ball at the top of the staff is the most protected part of the human body, encapsulated at the center of the brain under Pia Mater, Subarachnoid Space, Arachnoid, Sudural Space, Meningeal Layer of the Dura, Periosteal Layer of the Dura, the bone of the skull, the Periosteum and the outer skin. The pineal gland connects the endocrine system with the nervous system in that it converts nerve signals from the sympathetic system of the peripheral nervous system into hormone signals. Believed by many cultures from the beginning of record as the “principal seat of the soul” or the connection between the intellect and the body. As it opens along with the crown Chakra our awareness expands. Wings: Signatory of this accession to greater awareness and realms beyond the physical, once the cultivation, proper functioning and practice, of the entire system would give the fluidity of life within and without. This energetic realization and connection with the vibrations of the universe will then radiate out to others and give us freedom as symbolized by the wings. This is not simply a sign of physical health, but also a map to achieve it. This is the key to healing, relieving stress and becoming attuned to our place in the universe. In order to become truly healed (aware), we must first understand this ancient symbol, what it teaches and why it represents not only the proper method of Chi Gung, Yoga, Ki, and Prana… but our very existence and good health.

“Big Toe Pose” Angusthásana As we finish the equlateral postures of the prior posture, we slowly bring the rear foot up under the the hip and adjust the opposite foot to the same position. As the heels rise and the leags flded this prevents grounding and stimulates the upward transfer of energy through the now open inner thighs and perenium. From here it transcends up the three pathways. This further facilitated by the balance demands as neuro messaging increases to hold the body upright. The hands are brought up from the knees to the more advanced version depicted here. Palmsare placed flat together inan upright manner (signifying the Shushuma or Kundalini) with elbows raised and


outward. The feet show the connection with the negative energies of the earth while the hands depict the direction of the flow. We see the feet,legs, torso, arms, hands and head in an uncannily exact representation to the Cadueseus. The wings again wouldbethe chakras and auric field of energy eminating from the head as the rays from the sun (enlightenment, awareness, spirituality, expansion and light). As you hold this posture you will feel the concentration and power of the feet, spine, shoulders and head, all straightening and strengthening the life transmitting spine. You will also begin to feel a growing energy that starts in the middle of your head (Brain - Pineal Gland) and expands outward. Do not over burden the physical as you bask in the joy and wonder of what you are experiencing, take your time and expandthe lenght of the posture and it's effect gradually to avoid any health issues that could ensue.

Breathing and Intention: From the “Lunge Pose” Jánurásana, as you draw the rear foot inward, inhale deeply through the nose. Feel the perineum expand downward toward the heels as if pushing the perineum through the feet to the ground. Once in the basic position with hands on the knees, exhale again slowly and through the nose. Feel the contraction and upward pull o the perineum as you feel the energy draw up the feet; ascend the spine and 3 energetic paths. Repeat the inhale as before feeling the vibrations fill the legs and feet, as you then exhale bring your hands up into the more advanced posture (if possible or comfortable). During this breath and positioning, you will feel a greater vibrational transfer and a greater concentration in the Pineal Gland. Again repeat the inhaling procedure and concentrations of energy, but now with an increased sense of lightness in your lower body and the perineum expands downward. On the exhale repeating the prior awareness, you will feel a substantial increase in energy all through the 3 paths and into the center of the brain. Allow this to expand outward beyond the skull as if developing a halo. One last caution for this procedure is to be sure you allow the expansion out past the head… do not focus or retain the energy inside as this can lead to issues as mentioned earlier. Next Posture 14 “Bow Pose” Dhanurásana


FEBRUARY 23, 2014 The event that created a buzz among the martial arts community finally took place on February 23, 2014 at the Holiday Inn Hotel N.Y.C., an afternoon designated to honor Great Grand Master Aaron Banks the life, work and legacy. He was a man of many talents, a consummate martial artist, actor, comedian, talent agent, movie choreographer, famous for his creation of “The Oriental World of Self Defense� the show that paved the way to America Got Talent, where carefully selected martial artists performed their acts on stage with the hope of being

discovered for a major work of acting, modeling, TV host, radio. People which benefited most from the Oriental World of Self Defense where Chuck Norris, Lou Neglia 3 Time World Champion, Rick Lenchus, Maurice Elmalem 7 Time World Champion & 8 Time Guinness World Record, Carter Wong, Bill Louis, Ernest Hyman and many, many more prominent martial artists. Mr. Banks OWSD show performed in the World's Most Famous Arena worldwide, including Queen Elizabeth of England, Madison Square Gardens 12 years in the run with full house over 25,000 spectators each show. Nassau Coliseum, Apollo

Theater Carnegie Hall, Radio City Music Hall, Beacon Theater and many more were some of the venues Mr. Banks hosted his shows. He was a very unique and talented individual who devoted his life to promoting martial arts worldwide turning martial arts into a form of entertainment therefore reserving such an evening in his honor was a suitable moment to look back on his journey and livelihood. GGM Aaron Banks was featured in over 300 magazines and newspapers, TV shows, movies. The first martial artist to hosts a hall of fame in 1968 at the Waldorf Astoria and went on to have 48 Hall of Fames events, 450 tourna-


ments, 36 Oriental World of Self Defense Shows over the years I have learned a lifetime of experience and clever business ideas from my dear friend and Aaron Banks. I have endless respect for him, he was like my second father, my talent manager who got the best deals possible for commercials, TV shows, my Guinness world records, movies, Martial Art DVD production, endless articles in magazines, newspaper, radio/tv interviews, and much more. As guests, well wishes and friends of Mr. Bank gathered video presentations of past shows and interviews with him were shown throughout the

evening. A giant portrait of Mr. Banks was placed to the front of the stage so all could recognize that even though he was not there physically but present somehow. GM Tony Loupakis and his students graced the audience with their presence as the captured everyone's attention with a very electrifying gymnastic presentation. It was extremely impressive to watch their agility and enthusiasm while they performed. Grand Master Ernest Hyman and his team of young dynamic students brought their share of excitement to the audience as they each demonstrated their martial arts skills with a sense of pride kno-

wing that they too are part of Great Grand Master Aaron Banks pride and joy moreover his legacy. Dinner was served after which 54 inductees were honored with plaques and 3 certificates for their achievements and their contribution to the martial arts and community at large. Various ones expressed themselves, shared their memories of Great Grand Master Banks and took the time to extend their gratitude for the impact that Mr. Bank had on their lives and their martial arts career. The evening went well as everyone took pictures, and exchanged thoughts among themselves.


Sueyoshi Akeshi Japan is a land filled with tradition and ancient cultures. The martial arts of Japan are no different except that there is one martial arts master that is far and distant from the others. His name is Sueyoshi Akeshi. Master Sueyoshi Akeshi is the head master of Raku Yu Kai Iaido. He is also skilled in Naginata (halbred), Yari (spear), Kenjitsu (sword Fighting), Jo Jitsu (48� staff), shuriken and several other samurai arts. He has also practiced Tai Ki Ken a Japanese form of self defense.

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When we asked Master Sueyoshi how he felt about the katas in martial arts he profoundly said that he believes 99% of katas in Japanese arts are useless at best. He does not conform to traditional teachings of the martial arts yet he is also a Tendai monk who has the rank of Gon Rishi and in Shingun Buddism he is a monk who has earned the title of Ajari which translates to a Monk who has been enlightened. He is also a Shugendo monk. In his training he has been tested in many ways including living in a hole in the ground 4'x4'x8' for 10 days without food, starring into a fire

for 7 days non stop and repeating the same mantra non stop for 21 days only taking time for bathroom and food. These rare types of monks are called Yama Bushi which has been miss interrupted by many as mountain samurai when it actually means a monk who does his training in the forest or out of doors. He said his training in Buddism consisted of several different stints at the main temple for Shingun Buddism. It was during his stay in the hole that he reached satori or enlightenment as he nearly went crazy he said and he now understands what pure energy is,


Great Masters although he nearly died from heart palpitations and could barely breathe before he was taken out of the whole. Back to his martial arts though, he was a student of the various arts of the samurai under Kono Yoshinori and as well he received some training by the famous founder of Tai Ki Ken master Sawai Ken'ichi who was legendary for his technical skills that he learnt in China under Wang Xiang Zhay. His honbu dojo is in Tokyo Japan and although he still lives in Tokyo he is a world traveller as has visited and taught in over 20 different countries his martial

arts and Buddism. When we asked him why he was in Los Angeles and he told us that he wants to try and break into the film industry so that he can propagate both his Buddism and martial arts. Hopefully one day having a temple in the USA. He presently has students in Portugal, Spain, Norway, Austria, Brazil, England and here in the USA he is the personal sword instructor for Dave Lee Roth of Van Halen fame. His passions in life though are three fold 1. Is his love of Buddism, 2 is his love of martial arts and 3 is his love of falconry. He owns 2 rare birds a

Golden Eagle and a Barn Owl plus in his apartment in Tokyo he also has a ferret that he admits lives in hell. Although the ferrot has never been attacked by the two birds of prey. His skill with the katana is unequaled for speed and uniqueness as he demonstrates his techniques at lightening speed and it is sometimes difficult to understand how they can be of any value until you see him do them in slow motion against an attacked and then the practicality of the moves becomes self evident to all. His favorite techniques are his Ina Zuma which

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translates to lightening draw simulating lightening when it strikes. He is also partial to Gun Dari which translates to the Kundalini draw. He learnt these from his Iaido teacher close to 30 years ago. Sueyoshi Sensei as he prefers to be called, believes that the physic powers that he was taught while in his training to become a professional monk have helped him in his martial arts and vice a versa as the repetition of the mantras purpose is to wake up the hidden energy we all have within us. By doing martial arts and or the mantras we are able to relax completely so that this life force or energy can flow freely through out our entire body.

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When we asked him as a Buddhist monk why was the Lotus flower the symbol of enlightenment he said that in life we as human beings must go thru all kinds of difficulties and in the end we will hopefully become better people because of these trials and tribulations. This is similar to the lotus flower which grows in a pond filled with bad water and in terrible conditions. It ends up as a beautiful flower that beautifies the world. The author of over 4 books and 20 DVDs on martial arts he is continuing to demonstrate and teach his art forms around the world but never forgetting to make his regular pilgrimage to Kinpusenji temple each year where he makes his trek back into the Japanese

mountains to Nachi Seigantoji temple. This year only 6 dared to do the walk that has been going on sense 1200 and only three were able to complete the entire distance of about 124 kilometers thru some of the most treacheries terrain in Japan some days only being able to travel 15 or 16 kilometers and then other days as much as 30 kilometers. In summary it is obvious that Sueyoshi Akeshi is a true man of contrast as he is able to walk that fine line between Japanese way and the Western way of life and can move freely between the two back and forth and in and out in the true steps of a master of Buddhism and a master of martial arts.


Great Masters “in life we as human beings must go thru all kinds of difficulties and in the end we will hopefully become better people because of these trials and tribulations. This is similar to the lotus flower which grows in a pond filled with bad water and in terrible conditions. It ends up as a beautiful flower that beautifies the world�

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Fundamental Principles of Jiu-Jitsu: Timing et's see now the second principle of Jiu-Jitsu. In the course of a fight, if we are to gain control of a self-defense situation in the street or in a JiuJitsu sports combat, in which we throw the opponent to the ground, or being on the floor, we need to apply a fairly compact capacity. There are plenty of examples that occur along the path to Black Belt that explain why this basic principle is precisely one of the most difficult to achieve at its highest level: the links in this principle, due to the opponent's action as well as ours, and an additional number of different elements. Speed may serve to support this principle, but again, the third principle, namely, "precision", may deteriorate by the speed. One of the most common mistakes when practicing synchronization is not realizing that timing is not the only thing, although in relation to what in Japanese is called "Kuzushi" (breaking the opponent's balance) it does help much. Most martial artists know well the word Kuzushi of the takedown fights, like in Judo or Aikido, since breaking the opponent's balance before the real action is essential to take him down in an efficient way. But Kuzushi is also important on the floor and everyone knows that ground fighting requires a lot of intensity. Whoever believes that he can place himself a good position without breaking the opponent's balance, simply doesn't know how to fight on the ground. Kuzushi is an important part of timing training, especially when it comes to bring a heavier opponent from the supine position (guard position) to a mounted position, or achieve the objective (submission) by strength. The moment also requires from us to be in the right place at the

L

right time. It is often said that the fastest will win. However, in this case I don't use speed, but the socalled "natural flow of movement", to better explain these Jiu-Jitsu principles. Speed sounds to me like if I was running in a straight line and stopped, to make a short and accurate sprint in the right moment. So now, what is it that moves us in the first place? Is it thought or feeling? It is to be assumed that, as in real life, it's a combination of both. One aspect that is often underestimated in a combat is the mental factor. But in reality the true masters of Jiu-Jitsu have been very intense. Speed may serve only to make a single technique quickly, however, the natural flow of movement serves the idea and the movement united at the right time to put it in practice. An athlete trains elements such as endurance, flexibility, coordination, identifying opportunities and options, etc. In Jiu-Jitsu there's no need to undertake a specific training of these elements, as they develop in the very practice of the Jiu-Jitsu technique itself. Of course, you can do an additional training, but without guarantees that these elements will be actually improved. Once I saw Master Pedro Hemeterio in an argument when one of his athletes returned to the dojo after participating in a competition. He had had to leave the tournament in the first round because his opponent had defeated him. He complained to Master Pedro that he had been subjected by his opponent by means of an immobilization on the ground. In recent months he had concentrated on preparing himself to fight standing up because he had heard that now athletes specialize more intensively in Judo throwing techniques and he thought he should do it too, in order to counter a possible

takedown. The fight didn't end standing as he expected and he wanted to know the Master's opinion. However, Master Peter simply said, "If you had practiced defense techniques and not so many throwing techniques, perhaps you'd had won the tournament." Here, it might have been better learning some counter techniques against takedowns instead of practicing just a few takedowns... This is also a correct timing. As already mentioned, many examples and stories in which timing plays a very important role can be found in each one walking the path to Jiu-Jitsu Black Belt. Timing in Jiu-Jitsu also has something to do with "anticipating", so being able to identify the next action of our opponent is also important. Therefore, we are required to "see" the way our adversary moves in order to prevent or counteract any possible action from him. The feeling of serenity and balance and the years of experience influence simultaneously on the expectancy of our action. A false sense of security can lead us to make a wrong decision, even in a good moment. That's why we say in here that an experienced Jiu-Jitsu fighter will rarely perform a presentation technique in the first 30 seconds of a fight, but he is more likely to study the movement of his opponent to find a favorable position for himself, before undertaking any real action. This crucial period is used, because it determines the success or failure of our action. With practice and improvement of timing, it shouldn't be too hard concentrating on the "anticipation" of success. Observing the situation calmly and relaxed, is easier to deduce what the opponent is thinking and intending


Texto y fotos: Sandra Nagel, & Franco Vacirca


to do. People concerned with timing also perform exercises on advanced tactics so they can think of creating different options. In a real fight, you must have your risk-taking under control to better recognize your opponent's options. In a randori you can keep this risk taking controlled since you are fighting with relaxed training mates. In any case, any well prepared JiuJitsu fighter, for sure will acquire the

highest technical level to have the right timing. In recent years, by "exercising" (repetition of techniques and movements) I have managed to improve timing as much as possible. Exercises can be done in different ways, so in addition to repeating a given ovement, you have to work out the right technique at the right time. For example, you can make three techniques, the outstretched

arm ever, the American lever (shoulder lever) and cross chokes, all of them from the mount position. Let's go now into the third technique; the Jiu-jitsuka specifies with an order that the technique should be carried out in a methodical way. While we're working, for example, in the stretched arm lever, if we get to the third technique, for instance the "choke", then we must correct it


Jiu Jitsu immediately so that it works properly. We also work out what I call the "natural flow of movement", besides, here we also train to adapt spontaneously to the situation. Much too often, we tend to forget that we not only have to work out our technique. This is why I really love this theme... working the timing with the Jiu-Jitsu instructor and thinking of how to motivate and support students to simply improve their timing. The purpose of these "mental" exercises is to keep up their attention. With the right exercises we can also change the distance in a monotonous training routine. New and exciting ways of exercising open the practitioner's mind

and this also increases his fighting spirit. The Jiu-Jitsu instructor can also avail himself of visual aids such as a video camera - that make training exciting. In this way, students will be motivated to share and to carry out joint statements and debates. M y personal experience in timing training has shown me that there is a different way to work efficiently: 1. Tactical behavior - We have the split of a second to preview in our mind any possible technique of the opponent before he makes his move. This means having the ability to be one step ahead of your adversary. 2 Instead of waiting for the opponent to make his action, we get ahead of him by taking the first step. This variant is a very advanced one that requires a greater sense and knowledge and, of course, experience. Elite athletes do this so often that they know right away how to stop the opponent. Master Pedro Hemeterio was convinced that there was also a third version (superior), namely, an "Intuitive Preparation". He always told us that if we were sure of ourselves, we could move mountains, meaning that victory was already decided in our minds by the fact of being convinced of our techniques and being able to make feel our opponents what it could happen to them on the tatami. He always said that Grand Master Helio Gracie had exactly this charisma and conviction, and that his opponents were defeated before starting the real fight (mental). Master Peter used to say that in the process of bringing timing at the highest level, it was necessary to look for options and gaps in the opponent. So, we strongly believe that only Randori offers a real advantage in Jiu-Jitsu training. Timing training is very closely related to how we are mentally and emotionally prepared. Therefore, it is necessary to look ahead looking for options; we must rely on feeling and not on the foresight of a possible success; moreover, we have to reduce as much as possible our own risk and anticipate the opponent's moves. We should never cut back this "plan". After


surmounting the first basic principle (patience), we turn to the second phase, i.e., to act at the right time, in the right place; in this way, our action will turn into a success. Those who sharpen their senses in Jiu-Jitsu, will reach this stage, regardless of their physical and athletic characteristics or if they are male or female. The counter movement, be it an attack or a defense, is an intuitive measure and therefore can also reach the desired goal. If you learn to work your timing, thereafter you may improve many aspects of Jiu-Jitsu itself. However, when you are like in a bubble with a tunnel vision, it happens that our Jiu-Jitsu is not as spontaneous and efficient. Randori (sparring) is one of the most important exercises on the way to Black Belt. You must remember the following points:

The combat free of ego

• If you start too early with sparring practice, the result is likely to be frustration and habitual injuries.


Jiu Jitsu • At first, combats among Jiu-Jitsu students must be based on the sports aspects of the art nature and not necessarily on the street fight, even though the Gracie Basics program emphasizes these techniques. • On the way to Black Belt, combat is like a self-critical analysis. • The combat is highly reinforced if we talk about it with our training partner after each workout, so that there can be mutual learning. • If a combat between two students is carried out with the same degree of seriousness by both parts, the outcome of the fight becomes a real versatile and efficient tool to improve our technology and expand our knowledge. • You should always make sure that your training partner's safety is guaranteed; therefore, illegal techniques such as neck dislocations, Guard blows (dropping the opponent on his back), levers against feet, knees, fingers and wrists, as well as striking techniques - regardless of age and belt - without proper protection are strictly prohibited.


Borrowing Power is a “Force Multiplier” Hello, Budo International readers! In this month's column, I would like to explain another very important component of the 26 key concepts known in CRCA as the “A to Z of Wing Chun Combat Theory.” “Borrowing Power,” or Jyeh Lick, is considered “The Holy Grail” of CRCA Wing Chun. I say this because Wing Chun is a “Martial Art.” The word “martial” has its root in “Mars,” the name of the ancient Roman god of war. And in war, victory is everything. Since the main objective of any true martial art is therefore victory in battle, the best way to ensure success against a bigger, stronger opponent is to enlist his own help to defeat him. Before the idea of Borrowing Power can be fully understood, the serious student of Wing Chun must first understand the basics of Power itself, in terms of where it comes from, where it goes, and how to harness it for one's own benefit. As is viewed in CRCA Wing Chun, Power as used in punching and blocking is a force of nature like electricity, gravity, magnetism, air pressure, or water pressure, with properties, restrictions and qualities similar to other such forces. Most like electricity in certain respects, Power comes from the ground (originating in the heels - “Lick Yau Gyeuk Gun Sahng”) and returns in the most direct path possible to the ground. When energizing the lead punching hand with a rear foot pushoff and simultaneous front foot step, it can be easily seen that the punch will have much more power if it lands before the front foot hits the ground. It is during this brief moment of “energizing” that a strike or block will have more potential power. I compare this to the moment in certain video boxing games when your own boxing glove begins to flash, signaling that for that brief moment, you have a “Superpunch” that will do much more damage if landed than a normal punch that lands when the glove is in normal, non-flashing status. And when you punch the opponent midstep/slide, your punch will have much more effect than it would if you wait until your front foot hits the ground, or if you had not stepped at all. In t h e s a m e w a y, t h e o p p o n e n t i s “ e n e rg i z e d ” b y h i s o w n m o t i o n , especially when he steps, but also when he exerts any motion at all,

“Since the main objective of any true martial art is therefore victory in battle, the best way to ensure success against a bigger, stronger opponent is to enlist his own help to defeat him”

“Before the idea of Borrowing Power can be fully understood, the serious student of Wing Chun must first understand the basics of Power itself, in terms of where it comes from, where it goes, and how to harness it for one's own benefit”

particularly forward motion, such as when he punches, kicks or reaches with a block. I compare this idea to the early “Pac-Man” video game, when the ghost would flash, signaling that you could gain extra points by catching up to and eating him while he was still flashing, as opposed to the relatively fewer points you would earn by doing the same when he was not illuminated. With this same idea in mind, the opponent can be hit with considerably more force when he is “lit up” by his own stepping and/or striking/blocking motion. With a thorough understanding of these principles of Power, the Wing Chun fighter can learn to use them to his advantage as what is known in military terms as a “Force Multiplier.” Force multiplication occurs when you are able to steal something from the enemy and then use it against him in battle. For example, if you are able to sneak into the enemy camp at night and steal all his ammo, then shoot him with that same ammo the next day, you will have “multiplied” your own force. In close-range combat, “Borrowing Power” accomplishes the same thing. For example, you are facing your opponent in an Open Relationship. He picks up his front foot to step forward and in that exact instant, you pick up your own front foot and punch him with your lead hand before your lead foot hits the ground. What was accomplished was that he “energized” himself by stepping, and so in your mind, his head was “flashing,” and you in turn “energized” your lead hand by stepping, causing your own hand to begin “flashing” as a “Superpunch.” By striking him while both of you were “lit up,” you in effect “borrowed” whatever power he created by stepping, and used it in conjunction with your own power. In this way, Borrowing Power is like borrowing money from the bank; when you borrow $1,000.00, you don't pay back $1,000.00. Instead, you pay back the original $1,000 plus a percentage of your own money as interest. When you Borrow Power from the enemy, you pay back whatever you borrowed, plus some of your own power as “interest.” And in a case when the opponent is not in motion or no longer in motion, you can put him into motion by pulling him towards yourself, in effect “loaning him some money” that you can then take back from him, “with interest” added on by striking him while you are both “energized,” as is seen in photo BPc5. Imagine that you could


Wing Chun cause a transparent version of your opponent to step out of his body and walk over to your side to face him with you back-to-back. This is what Borrowing Power does for you; it allows you to fear no man, as no matter how big and strong he might be, YOU AND HE TOGETHER can definitely beat HIM, as you are not a negative. Imagine having your opponent's twin on your side, working against him as you Jyeh Lick - Borrow his Power to multiply your own force. This concept is a valuable weapon in the arsenal of any martial artist, regardless of style.

Borrowing Power Sequence 2: BPb1 - Zoltan Bathory, Lead Guitarist of world-famous Heavy Metal band Five Finger Death Punch, squares off with his opponent in a Closed Relationship. BPb2 - Without advancing his own position, Zoltan intercepts the opponent's lead jab using his own rear Pock Sau Slap Block. By not moving forward, he does not offer his opponent any power to borrow, nor does he decrease the distance by approaching an oncoming punch.

Photo Captions Borrowing Power Sequence 1: 1- CRCA Germany Chief Instructor Mario Lopez squares off against CRCA Duisburg's Thomas Schrödter in an Open Relationship 2- As Thomas advances with the lead jab, Mario also advances to the side and “borrows Thomas' power” by striking him at the exact moment Thomas' force was at its greatest, and with contact being made before Mario's foot hits the ground. This guarantees the greatest possible

potential impact between two opposing forces. BPa3 - Just as the rear punch is launched, Mario steps off diagonally using Ngoy Seen Wai (Outside Facing) footwork to add torquing power to his own rear Chop Kuen Downward Punch to the ribs, delivered at the exact moment that it can capitalize most on the opponent's own forward momentum, giving the effect of the opponent “punching himself.” BPa4 - Unloading his sunken weight and radically-twisted hip, Mario follows up with a pivoting left Choh Ma Cheh Kuen to the jaw.

3 - As the opponent follows through with a rear elbow strike to the head, Bathory backs up at an angle and pivots into a Hau Chong Ma Chahng Dai Jyeung (Back Bracing Low “Spade” Palm) to the ribs. In this way the opponent is forced to absorb the entire combined forces of both fighters in his very vulnerable rib area at the exact moment he intended to strike Zoltan, thus suffering a CRCA “Force Multiplication.” 4 - As the opponent attempts a weak Fun Sau chopping recovery, Zoltan steps off further to the outside

as he pivots into right Chop Kuen counterstrike to the already damaged rib area, once again borrowing the enemy's force and applying it to the return fire. 5-7 - Once the opponent has been unbalanced by the final strike, Zoltan changes his right arm into a Dai Boang Sau Low Wing Arm in order to keep his arm out of the way of his own Chai Wahng Gyeuk Stomping Sidekick that, because of the angle of delivery and the way the opponent is standing, will break both the ankle and the knee.


Borrowing Power Sequence 3: 1- John Simons, Chief Instructor of CRCA Virginia and Head of Security for Five Finger Death Punch, assumes the Bai Joang Ready Position against his opponent in a Closed Relatonship. 2- Without stepping toward the oncoming punch, John uses his lead Woo Sau Protective Hand to bounce o ff a n d d e f l e c t t h e o p p o n e n t ' s punch with a circular snap of the wrist.

“Force multiplication occurs when you are able to steal something from the enemy”

3- Using Gum Gock Ging (Touch Sensitivity) as the deflected punch begins to retract, John senses the next punch coming and, with split-second accuracy of timing, leans back to deliver the Jeet Wahng Gyeuk Intercepting Sidekick that catches the opponent mid-punch, causing him to be impaled in the kicking foot with additional force multiplied by his own forward momentum. 4 - Now, borrowing his own descending momentum, John quickly grabs the still-extended punching arm and strikes the throat before his own

foot touches the ground. 5 - Rather than pushing the opponent away from his follow-up strike, John instead jerks the opponent's right arm quickly a second time, which pulls Thomas yet further off balance and into John's Chahng Jyeung “Spade” Palm, which is assisted by a Kau Sau Hooking Trap to the shoulder that pulls the enemy directly toward the oncoming strike and shoves him into it, thereby giving the opponent some momentum that can then be borrowed and used against him.

“When you Borrow Power from the enemy, you pay back whatever you borrowed”


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

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

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

Martial arts magazine budo international april 2014  

Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue April 2015. 271 Year XXIII

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