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"You can't reach the dawn but through the path of the night. " Khalil Gibran


e are all blind, especially in regard to our sameness. Such blindness is never complete; like donkeys with blinkers on, we move staring straight ahead, which is where they let us focus our eyes... if only to prevent the carriage from falling down there... in the next curve However, in what concerns us, the general rule is that of the most complete ignorance. "Know thyself!” read the maxim inscribed in the frontispiece which crowned the entrance of the Temple of Apollo at Delphi. A truth as hermetic as improbable, because it implies an obvious transgression. Physically, the eyes are looking to the outside; so "looking inside" is somehow an "unnatural", forced and willful act; therefore, for almost everyone, the first way to begin doing so, lies in seeing the reflection of our actions on others. What others give us back is not a perfect clue, but is directly related to what we emit. Mom smiles celebrating a good deed of the baby... or she frowns and declares her displeasure. We use others to reflect back to us who we are... and so they begin to condition us. Reflexes may also be just that: reflexes. Negative people produce aversion; people flee the person who doesn't wash; clearly, there are many lies and many liars, but, as the old Spanish saying goes: "you catch a liar before you catch a crippled", or, the truth will out! So if everyone says it's blue and you see it red, there must be something wrong with your eyes. Extreme stubbornness can only be a sign of arrogance... or geniality. I have known many geniuses who possessed such a personal mass that they were very attractive despite carrying the differential component of a toxic person. There is no rule without an exception, but others, taken here as exponents of what springs near, are but distorting mirrors, because in truth, the mirror that reflects us is LIFE itself. Turning our eyes inward requires reflecting, in consequence of humility. Reflecting is an act of mind power. Pressed by immediacy, encircled by the urgent, imprisoned by the hyper stimulation of modern life, it is very difficult to get into that kind of attention. And if it is hard to look at yourself, it is far more difficult to do it without bitterness, without judgment ... with detachment and, above all, compassion. Caught by morals, the group consensus and what we've learned, our view is in general far away from the needed equanimity, the right generosity. Convinced that we have a reason that necessarily opposes to any other, we keep arguing and

"Deep rivers run silently, streams are noisy…" Indian proverb

maintaining our position as the one who really knows about something, and then, when we are caught in a slip, we try to justify ourselves hiding out in a dialectical confrontation in which we refuse to give in, arguing that opinions are like belly buttons, that is, everybody has one. Every life, every destiny, are unique; whether they share laws and scenarios with others or not, the way is always personal. And because of that, we can't do our experiences extensible to others; and thus, advising becomes a rather complicated art, where silence can dramatize and stage much more wisdom than any word or concept. Faced with glaring truths, wise men express themselves when their opinion is required: "Maybe... maybe not ... perhaps... who knows?!" A person, who is a tyrant with others, is only showing what he is with himself. It’s the other side and the same truth that teaches the saying "Tell me what you brag about and I'll tell you what you lack" ... we spend our lives following the outlined guidelines we have received, without even rethink of them, and that we can hardly evaluate. As if this were not enough, the mind is trapped in itself. Clarity, as an enemy of Castaneda’s warrior, acquires its full meaning. In front of this, unlearning becomes as important as learning. The spirit knows well about that, but to be "connected" it requires a lot of energy resources that we spend on other things, for which, of course, the mind will always find lots of brainy, imminent and totally unavoidable reasons. The mind, impassable gate, since every time you exit through it you re-enter again, is nevertheless the gate. A paradox in itself! The mind allows us to free ourselves from ignorance through learning and then learn that we must free ourselves from it. It is the resource "sine qua non", but it doesn't provide what it promises. Only the spirit, when it transcends it, handles those threads of KNOWLEDGE, in capital letters. A simply good, unpretentious knowledge, without conditions, empty of any intent. This silent knowledge is not reached with any particular technique, but all of them serve, because like Rome, all roads lead to it. It's the Ithaca of the spirit that, longing its original unity, impels us to the eternal return. Its stays are many; its stations are well marked. So, once overcome the physical directions of "onward and upward", the following is that of the mind: "Inward"; next is only of consciousness and spirit, that is, "toward the Whole". In the re-fusion, drops know themselves Ocean ... while remaining drops; drops that already were sea, cloud, tear, river...

Alfredo Tucci is Managing Director to BUDO INTERNATIONAL PUBLISHING CO. E-mail:

Chinese Styles Weng Chun Kung Fu is an effective traditional Chinese martial art, which combines the knowledge of the southern shaolin fighting monks about combat, strengthening and maintaining health with mental and spiritual discipline (Chan).

Weng Chun Kung Fu: The culmination of Southern Shaolin Combat Arts

ORIGINS According to legends, when the southern Shaolin temple was destroyed in the 17th century, the fighting monks carried their legacy with them and started to teach their art secretly, mainly on the red boat. There, the Weng Chun kung fu system was handed down from the last abbot of souther n shaolin temple Chi Sin Sim Si (meaning "extreme compassion Zen master) to the red boat opera performers Wong Wah Bo and San Gam (â—ŠPainted Face" Gam) and from them on to Fung Siu Ching, who in the 18th century became the most famous Weng Chun hero and kung fu hero in south china. In the Chinese cities Xi Qao and Fatshan Fung Siu Ching Fung Siu Ching passed the Weng Chun legacy to the Lo family and they passed their legacy to Wai Yan, who became (with Chu Chung Man) the most famous Weng Chun master of the 19th century in Hongkong. Grandmaster Wai Yan built the Weng Chun Research Academy in Hongkong named Dai Duk Lan. Andreas Hoffmann from Germany was the last student of the Dai Duk Lan Research Academy and the only western student of Grandmaster Wai Yan. Between 1986 and 2002 Grandmaster Wai Yan passed on his Weng Chun heritage to Andreas Hoffmann, his only western student ever. In the beginning of the 90s Weng Chun Kung Fu, like many other Kung Fu styles in China and Hongkong started to die out. Grandmaster Andreas Hoffmann founded the International Weng Chun Kung Fu Association and introduced Weng Chun in more than 12 countries. Today he is guiding more than 500 Weng Chun instructors worldwide. Under his direction Weng Chun Kung Fu maintains its strong Shaolin identity and combat effectiveness.

WENG CHUN KUNG FU IS A CONCEPTIONAL STYLE Weng Chun Kung Fu is not a technical style - it is a conception style. It is a guide to the core principles of Southern Shaolin martial arts and to the understanding of real combat.

Chinese Styles As a combat system, Weng Chun covers all ranges of combat including many kicking, fist and open hand striking, elbow/knee, shoulder/hip and head, joint locking and throwing techniques, the use of long (long pole) and short weapons (double knives, s wo rds ) - all direct ed by t he principles (Yiu Dim - important ideas). The core interrelated principles are: the 18 Kiu Sao, 6 1/2 principles, 16 words, 10 wisdoms and Heaven, Man and Earth concept.

HEAVEN, MAN AND EARTH THE FOUNDATION AND UNDERSTANDING OF THREE-DIMENSIONAL COMBAT Real Combat means for a Martial Artist the capacity to handle any possible fighting distance or fighting situation. Any Martial Arts System that claims to prepare its students for self-defense must contain this feature. Awareness is the basic skill to feel in all direction and in all dimensions. In Weng Chun, the space between two combatants is divided into 3 distances and three heights: Heaven - Man Earth. Heaven is the use of weapons, hand and foot strikes in the long distance. Furthermore in combat it represents the situation with no contact. In Weng Chun terms: "Mo Kiu Mahn Yau Kiu" -without a bridge, ask for the bridge. From the height perspective Heaven represents all actions to the upper body. From a range perspective Man represents elbow and knee strikes and in combat the situation in which one has contact with the opponent. In Weng Chun terms; â—ŠKiu loi

Chinese Styles

Weng Chun kiu seuhng gwo"- if the bridge is held, cross and control it from above. From the height Man are actions to the middle body. From a range perspective Earth represents head, shoulder and hip strikes and in combat the situation in which one has contact with the trunk of the opponent or the situation in which one can control the opponent. In Weng Chun terms: "Lei kiu bin jik da"- if the bridge is withdrawn, strike directly. From the height Earth are actions to the lower body.

THE BRIDGE (KIU) - CONTROLL YOUR OPPONENT WITH A LITTLE FORCE In Weng Chun Kung Fu the bridge (Kiu) means that the Weng Chun fighter always adopts a position with respect to the attacker, or uses timing in such a way that he can achieve the greatest possible effect on the attacker by applying relatively little force, so that he is able to control him effortlessly. The Weng Chun bridging exercises are taught according to the 18 bridging concepts in 9 relative "Yin and Yang" pairs.

1. TIU - BUT: USE THE SITE ANGLES AGAINST YOUR OPPONENT Tiu is an inside angle with your arm, shoulder, leg, weapon which allows you to control your attacker. It is an action or position from outside, from which you use the power of your attacker through a windshield wiper like movement.

2. DA - PUN: STRIKE AND FOLD YOUR OPPONENT With the Da Kiu exercises you learn the situations and timing to strike efficiently which the strikes of Weng Chun. With Pun Kiu one learns to bend the arm for defense after striking or to attack with another part of the body, for example striking with the elbow after a punch. Another meaning is that you fold for example the arms of your opponent in order to control him.

3. JAAU - LAI: PUSH AND PULL, WENG CHUN PUSHING HANDS Jaau is the push with your whole body through your arms or other parts of your body. Lai is the pull.

4. SEE - CHE: SHOCK YOUR OPPONENT With See the attacker is pulled and struck at the same time. This approach

Chinese Styles renders the force for striking or throwing enormously effective. With the Che action one uses a "fast pull/jerk/ to disbalance an attacker.

5. KAM - NA: CATCH AND CONTROLL YOUR OPPONENT Kam means to catch your opponent's arm in an arm lock. Na is the skill to control an attacker with your lock, take down or choke.

6. FUNG - BAI: ALLOW YOUR OPPONENT NO MOVEMENTS With Fung Kiu opponent's limbs or body are trapped so that he cannot move. Fung also means to stop the blood from flowing. With Bai you build a barrier so that the attacks of your opponent cannot reach you. You build an umbrella as a safety zone.

7. BIK - HUP: CORNERING AND OVERRUN YOUR OPPONENT Bik means to use a "force angle" to an attacker or just to squeeze as in choking. Hup is the feeling to use a small hole in the defense of your opponent to overrun him with strikes or follow up attacks.

8. TUN - TUO: SWALLOW AND SPIT THE FORCE OF YOUR OPPONENT Tun teaches the Weng Chun follower to destroy the attacking energy at his highest level by swallowing. Tuo is like the movement of the wave, it is usually easily possible to follow the swallowing Tun by striking the attacker with the recoil, or to "skewer" him.

Weng Chun

9. BOK - SAAT: GUIDE YOUR OPPONENT BY ATTACKING AND DON’T ALLOW HIM TO GUIDE YOU In the Bok exercises you learn to guide and surf your opponent with your attack. Saat is on the one hand the final attack to control your attacker and on the other hand to destroy the attempt of your opponent to guide you.

WENG CHUN KUNG FU IS AN INTERNAL COMBAT ART 1.“BE ONE WITH THE ATTACKER" The fundamental idea of the internal styles like Weng Chun is that the attacker provides the force which the defender can take control of. The internal method is effortless for the practitioner, but for the opponent it is without compromise. He is being controlled at his most sensitive places with the force of a whole body and becoming shocked by the whipping "inch" force generated by the Weng Chun fighter.

Chinese Styles

Chinese Styles

Weng Chun 2.“DEVELOP THE POWERFUL SPIRIT (SHEN) OF A WENG CHUN FIGHTER" Even the best method of combat is useless if the mental and emotional condition of the defender makes it impossible for him to apply it. For this reason in addition to the physical training, the Weng Chun method contains mental training. In Weng Chun Kung Fu as a fighter you need to melt the concentration power of your thinking/judgment mind (Yee) with the power of your emotions and transform it into the spiritual mental power which has qualities like: fearlessness, calmness, clearness and awareness.

3.SHAOLIN PROMISE If one uses the above mentioned method the mind gets stronger and is ready to take the shaolin promise to protect helpless people in a combat situation. The person is ready for the ultimate test to become a spiritual shaolin fighter: to protect people and oneself in the riddle of aging, illness and death.

OUTLOOK Nowadays, in Europe and the USA thousands of enthusiastic students are undergoing the Weng Chun Kung Fu training under the leadership of engaged teachers and masters. This brings the art to a new blossoming. Many Weng Chun Kung Fu followers have been able to win inter national competitions using their knowledge in educational activity and to give help in order to protect themselves and others from violent attacks (women_s selfdefense, special police and army units, protection of property, etc.). Since this art can be practiced by persons of any age, by men and women, there is a great hope that many people will decide to practice Weng Chun Kung Fu and therefore will live their lives more consciously, more fearlessness, more powerful. Their lives will be enriched and brightened up; they will be able to protect themselves. International Weng Chun Kung Fu Association Grandmaster Andreas Hoffmann:

Chinese Styles “In Weng Chun Kung Fu as a fighter you need to melt the concentration power of your thinking/judgment mind (Yee) with the power of your emotions and transform it into the spiritual mental power which has qualities like: fearlessness, calmness, clearness and awareness�

MA Cinema Stars

A True Hollywood Story Englands Scott Adkins Text & Photos: Don Warrener Scott came into the Hollywood Radar scene around 2004 when he sent me an old VHS tape of himself doing martial arts, acting and gymnastics. After writing several articles on my dear friend Jean Claude Van Damme it seemed everyone and their uncle thought I could make them a star, which of course I can not do. I was receiving 2 or 3 VHS tapes a week of wantabee martial artists who either had no acting abilities or were simply not even in the right world as they were out of shape, too old, or technically useless. As a joke I used to give them to my friend and partner Isaac Florentine just to see him get disgusted and vow to never waste his time again with these tapes. Then one day I received a brown envelope and a tape inside asking me to give it to someone who could help him with his career. It was from Scott Adkins. I pushed the tape in and watched it and I still remember

saying to my self “this guy is good”. Then he did some acting in a BBC show and not knowing anything about acting I remember Isaac saying that if he could just find someone who was equally good in martial arts and acting. So I decided to ask Isaac to watch the tape. He at first said “no Don I have had enough of these people, it is a waste of time”. I pushed him again and finally he said OK I will watch 15 seconds and then throw it away if it is no good. About an hour later I got a phone call from Isaac and he was screaming at me in the phone saying, “Don this guy is good, he is very good I am going to call him right now”. I said “Isaac it is 3:00 am in the morning in England” he said “I don't care I am calling him now slamming the phone down”. An hour goes by and he calls me back saying “Don the kid is great and I am going to put him in my next movie” “Special Forces”. Now Scott has starred and co-starred in nearly 30 Hollywood films with names like Arnold Schwartzennegger, Sylvester Stallone, Jean Claude Van Damme, Jason Strathan, Jet Li, Jackie Chan and a wide host of other action stars.

He is now poised to be the one to carry the torch of the next great Hollywood action star after Bruce Lee, Chuck Norris, JCVD Steven Seagal and now Scott Adkins. As Leo Fong (Bruce Lee's friend) said “Scott has it all, he is handsome, he is great shape, technically talented he can act and most of all he is a humble nice person�.

MA Cinema Stars

Scott just finished doing a new film with Kevin Costner and now Close Range with his favorite action director Isaac Florentine. He is already signed to do a sequel in the Undisputed series as Boyko the Russian MMA fighter who is a bad guy, good guy cunumdrum. It is scheduled to be shot this year so look out for this one people it will be amazing. I can tell you this about Scott as I have known him now for nearly 15 years. He is a true English gentleman and an amazing family man who is like a little kid around his beautiful daughter who has him wrapped around her little finger as he is mesmerized by her and her mom. They are truly the perfect family and as Scott says they keep me grounded and don't let my head get too big. Who knows but Scott just might be the next action star that will be the one that brings the spot light back on martial arts like Bruce Lee and JCVD did. But we can tell you this that if it does happen it couldn't happen to a nicer guy. Scott in an attempt to promote martial arts is doing seminars all over the world in between films in a hope to fill schools and expose more people to the benefits of real martial arts of which he is an honorable ambassador. For further information please contact the writer at

THE RICHNESS OF STRATEGIES HEIHOO Strategies have always determined the difference in the combats or wagers in which the opponents or rivals mastered technique. Among the great warriors, the dispute stopped focusing on the skill and precision of the pure movement, since both contenders had such dexterity and both acted in the mental field. The one who better developed a strategic thinking, combined with the technical expertise, would expand the chances of success in a fight. Therefore, training the mind was considered as important as training the body. Mind training is carried out by practicing fast, malicious thoughts, through the implementation of risk analysis and surprise elements. Regardless of weapons or circumstances, one thing is essential for Heihoo - the ego must remain outside. Here are some of these things.

Tsukeru no Heihoo Among the most advanced Seiteigata studied in the chuden graduation, some definitions characterize these application ways. Tsukeru no Heihou refers to all the techniques used to stick to the opponent during an attack. For centuries, these forms were characteristic of the classical schools, which attributed to these techniques the best form of defense in hostile environments such as paddy fields , mo unt ains , s wamps , tav er ns , et c. In s o me Seiteigata, these techniques are widely used in Shinken Shirahadori - techniques that refer to defense against real blades. Let's see:


The Seiteigata present techniques referring to various forms of attack. In all of them it instigates Uke, who is armed with a katana, to make a decisive attack, so that he is certain of his move. I will give an example through makkouchi, to make it easier to understand. As soon as Uke takes the position Furikaburi - sword above his head - and starts his attack, tori must move forward steadily and firmly, moving his right arm into the arms of uke. As the hilt of the katana is in Uke's forward right hand, precisely for this reason Tori must move his left leg, so he embraces Uke's neck with his right arm and this allows him to position himself laterally, supporting any opposing force. In this position, Uke is prevented from lowering his sword. It is worth mentioning, however, that there is the right time to achieve Tori executes that move. Seconds of delay may represent failure and, in the case of actual combat, death. But returning to the technique, Tori should stick his head in the shoulder of Uke and separate the Hara, creating a space that works as a subsidiary to move the axis out of the hips of the opponent. The lateral position will keep him safe from Uke's left arm counterattacks and will allow him to take command of the opponent's movements, parting from the neutralization of the upper part of his body. Thus, although the attempts to move in any direction, that position will remain the guarantor of security in relation to the blade of the sword. Once separated the Hara, Uke's body center moves down. Thus, it positions the center of his strength so as to cause Kuzushi in the opponent's spine, trapping the neck and making the lateral choke in Chi-Tomeru - (blood stop). The Seiteigata is specific in this movement, in relation to the choke. It should be done on the side of the neck and not on the front, which is characterized as Tomeru Ki interruption of airflow - and not of blood. If that happens, it


can be considered as an improvisation, nothing more, because in the history of that aforesaid sequence of Seiteigata, the movements are repeated emphasizing the Chi Tomeru. After this, there are many possible completions. Each sequence maintains its own form and, depending on which, one outcome or another will occur. Let's see it in Teika no Heihoo. Many curious movements can be good example of the imagination of the great men of war in the middle Ages. This kind of strategy is a great example of this variation of thoughts that usually took their opponents by surprise. "Teika" means to lower, to fall down ... This specific form was used against weapons the size of a katana or bigger. Many schools and masters prefer to adopt this form and, with the help of Tessen or Jitte, diversify the initial movement of Tori. One way or another, empty-handed or using weapons, this form consists of using the ground as a tool after an attack. Let's see: 1 - Without using weapons - Uke attacks mightily with his katana in MakkoUchi. Tori uses such exposure to induce his opponent's attack to his head and in a time reduced to two thirds, in relation to the speed of Uke, he performs a diagonal Irimi movement so that his hand is at the Uke's biceps height. Right away, he seizes the Uke's katana by the Tsuka, neutralizing his force. Then he lowers violently Uke's katana, knocking the blade against the ground, so that the impact reverberates in the hands that hold the Tsuka. (Within the Seiteigata, these forms vary in direction, such as the angle of the katana, which must touch the ground). In general, Uke would resist by placing the concentrated force in the Hara. In this case, the katana blade should be placed in a lateral angle, so that the movement of the front


fist influences the balancing force provided by the Hara, when Uke bends or lowers his body. 2 - In the case of using weapons. Jitte - holding the weapon in an inverted way, he proceeds in the same manner as above. He executes an Irimi movement on the left side in relation to Uke, which enables to grasp the right hand which is in front of the Tsuka. Then he immediately changes the angle of the forearm that corresponds to the hand that holds the Jitte - the right - to protect his body well. He turns over his head holding with his left hand the Tsuka, which is between Uke's hands. He turns and bends down violently, so that the blade hits the ground, reverberating its strength toward balance projected into the arms of Uke.

We can truly say that: If you see a thought as soon it arises, This awareness will destroy at once, Any state of mind that might come, It will sweep it away, it will break it down.

Another interesting part is the Henka Musha no Heihoo Main attribute of certain Seiteigata involving Futarigake two people attack - Henka Mu Sha is every technique that involves the transformation of a situation. Literally translated as "Person of the war that changes" or "change in the person of war", this way of thinking is used to reverse the unfavorable situations when two armed or unarmed opponents carry out attacks on Uchi (blows) and Toru (grips). We can visualize it in the following example:


In the Seiteigata there is a sequence in which Tori is grabbed from behind by Uke One, with Ushiro Tekubi Morote Tori (grip from behind with both hands), which prevents him from drawing his katana. Uke Two, standing in front of Tori pulls the sword and assumes the Furikaburi stance. With an exact movement, Uke Two attacks in MakkooGiri. Then Tori moves his right leg forward on the diagonal of the same side, so as to stick to the back of Uke One (which is grabbing him) through an imbalance (Kuzushi). That Kuzushi will allow him to protect himself against the attack of Uke 2, not being in the cutting line, but in the back of Uke One. Then moving the Tsuka circularly inside out, Tori releases himself from the left hand of Uke One, that was holding him (remember that this was achieved by the MakooGiri). At this time, Uke 2, having failed in the first cut, tends to retreat to carry out a new attack. It is precisely in this half time that Tori moves forward his left leg and pulls in Gyaku Kesa Nuki, reaching the right arm of Uke Two at the height of the elbow - in Seiteigata he would be returning to the position "In no Kamae". Once Tori reaches him perpendicularly at the height of the elbow, he immediately executes Kiri Otoshi, changing the base and reaching frontally Uke Two, ending kneeling before his body. Chiburi completion and Notto must be executed even in this position. There are many ways of moving the Hara in this reflection. If we analyze the above example, first we must maintain it heavy and dense to allow breathing to return to normal (imagining a factual situation, where breathing is the first thing that is altered). The Hara should avoid contractions at that time, though involuntary, so as to provide stable hands a basic requirement for unsheathing and cutting. We must


emphasize that one of the most common things that alter the nervous system is the polarization of the central power, which becomes yin. This is manifested as a pressure drop, stagnation and inability to react. Its specific effect in our hands is a set of tremors and cold hands. Therefore, breathing must be done slowly and deeply, to stabilize the body energy. As we can see, the topic on Heihoo first encompasses the understanding of nerve function from within and the way to executing accurately the techniques in a moment in which a second can be the difference between life and death. For a full understanding of this Heihoo, it is worth noting that one aspect that much concerns us is the repetition of these techniques by instructors who teach without the proper thought and attention to the details that make up the proper absorption of these forms. Historical facts have an immeasurable research wealth that goes beyond simple body movement. The studies of Heihoo are a fundamental part of the instruction of a pupil. Typically, these studies are reserved to the higher technical levels and it isn’t difficult to understand why. Strategies must be applied with perfection. In a situation that requires strategy, there is no room for technical errors. The mind should be at full attention, it should not be diverted from the body coordination movement. The process of technical literacy should be already complete, so that the mind can focus on the analysis. The body will obey the mind just as a tool for a particular purpose. The winner will be the one who has the more refined mind, regardless of the danger of the opponent's weapon.


Great Masters FU SHIH KENPO IN 5 DIMENSIONS The RaĂşl GutiĂŠrrez Column One of the basic premises when conveying a Martial Art is that of passing on our students certain patterns of body movement in accordance with a specific hand gesturing and a way of breathing; and all of this put together allows us to "shape" and "inspire" certain characteristics that lead us to grasp and combine the human movement, to understand our relationship with space or environment around us. A Martial Art must be coherent and consistent with such principles of movement, with its technical and tactical basis, with its methodology and work program, all of which will produce a personal evolution in its followers toward a progressive development. This martial consistency leads us to "unify" the universal technical principles within the system. In the present case, Fu Shih Kenpo, its great gestural and technical richness allows adaptation and adjustment to any environment and martial training necessary for a complete, progressive and comprehensive martial education. Therefore, from this point of view, it's not about learning and teaching Fu Shih Kenpo for Kata, for Self Defense, and then having to resort to any other street fighting art or police defense system, since we would be far away from the martial consistency above mentioned and which marks a huge difference between an Art and another. In the case of Fu Shih Kenpo, we can say without doubt that this is a "very consistent Martial Art".

Kenpo TAKING AS A BASIS THE SELF DEFENSE OF FU-SHIH KENPO In this sense, and if you analyze any of my videos posted on YouTube, Facebook, Blogs, Websites, etc., which date back from the 80s, for example, you'll find a way of working rather connected with the type of school training and Martial Art of those years. This means that we developed a program strictly structured that way, but without the experience of having put it into practice in the various real circumstances of street encounters, combat sports or police action. I have often heard opinions related to my martial work, which at no point belittled my skills, speed or accuracy, although, in the view of some, it was very nice but it didn't adjust to reality. This at first worried me, and although I had my own explanations, I couldn't help being left with a vague sensation of emptiness and uncertainty. Clearly, a street thug needs no art or school, he has learned to survive on the streets, where he can move deftly and expertly under circumstances in which he has found the shortest way to inflict injury to others. "Causing damage is always easier than avoiding it." What is really difficult is to control a "violent" situation, begging God with hands in the prayer position. Styles focused solely on the different sports modalities also have built their ways of training to win fights, events, medals and trophies, seeking the shortest way to achieve such an undertaking and risking as little as possible. That's why I started to revise my own techniques. Later, my own destiny took me to collaborate with law enforcement units and years of street circumstances dealing with common bandits, as well as my contacts with professional mercenaries, I began to understand that many years of traditional martial training, plus the help of my own genetics, had helped me achieve a quite acceptable technique among others that never got it, and that the skills I had developed, allowed me to exhibit myself in front of a sparring partner who didn't manage to return any of my chained and harmonic blows. Almost like when we hit against a sandbag. One day, a serious diving accident disabled me from all those skills that I brought by birth, "straight from the factory". So, from then on and for many years, another reality forced me to work on my physical, physiological, mental and even moral and spiritual recovery more than anything else. I had to learn to walk again with over 54 years, then to run, jump and kick. All this, and as the only exit I had for my own survival was that of trying to hide the most of my "then limitations", pains and other things, it made in a natural and forced way, that I exhibited myself less, but my actions were more effective than ever before. Years passed and one day I started hearing that I had become an Instructor excessively hard. Then I also learnt that I had caused injuries to other Black Belts in Belgium, Italy and Portugal in each of my appearances. This was something I didn't like either. I'm not violent, on the contrary. Then I started to be very careful in my subsequent seminars, courses or sports-martial events. But

“Clearly, a street thug needs no art or school, he has learned to survive on the streets, where he can move deftly and expertly under circumstances in which he has found the shortest way to inflict injury to others.�

Great Masters

Kenpo “One day, a serious diving accident disabled me from all those skills that I brought by birth, "straight from the factory". So, from then on and for many years, another reality forced me to work on my physical, physiological, mental and even moral and spiritual recovery more than anything else.�

Great Masters in the process I discovered instead that most of the practitioners of the different styles that came to me were not really prepared to hold the belt they were wearing. I remembered how hard it had been my first training years, back in the 60s. When I came to Spain I continued with that form of hard and serious training. I also remembered that in the 80s, I started actively my journey of courses not only in Spain but in Europe and South America. My intensive weekend courses especially in Spain began on Friday afternoon for 3 hours, Saturday morning and afternoon (minimum 6-8 hours) and then Sunday morning four continued hours. People followed me enthusiastically and when they went back home after the courses and seminars, all of them were thrilled and looking forward the next date to continue learning. Over time, they took off Friday afternoons, because people came to me from various cities in Spain and they got tired from the trip. Later, teaching hours were also reduced on Saturdays and Sundays. And so I came to travel thousands of kilometers to give a course of just 4 or 5 hours. And what does all this mean? It's obvious! Many modern martial artists or sportsmen will attend seminars because it's a good chance to travel, meet new cities, new people, have a good time, take a lot of pictures and videos ... but train just a little bit. So today it's normal that you face guys apparently "tough and strong" with many Dan stripes in their belts, but actually "soft as butter". And, of course, they get injured ... and then "you are a beast", an animal, a violent and aggressive master of Martial Arts. Serious mistake, folks!

THE VARIOUS FIELDS OF FU-SHIH KENPO A) The school art: It's the Fu-Shih Kenpo program that develops different series of techniques before various physical attacks with or without weapons. It leans on a lot of resources with long, swift, coordinated, smooth and apparently effective techniques. It is the "artistic program", for exhibitions, exams and martial skills. B) Using different weapons: Something similar to the previous one. The only difference is the handling of various weapons such as: Short Baton, Yawara, Long Stick, Knife, Kama, Tonfa, and Nunchaku. The skill lies in the hands and in our whole body. If you have a lot of skill and resources, you can better manage any device you might have at your reach. Weapons don't move alone. C) Combat: Our Combat art is divided into two forms. Traditional full contact with bare hands and feet. Anything is valid, punches and open hand strikes, as well as elbow and knee strikes, kicks, sweeps, levers and controls. And modern, very similar to the Kick-Boxing. D) Street Defense: It's the "Realistic" training program. Our comprehensive program seeks simple, direct and effective actions. Short techniques, application to vital points, always taking into account the effects and consequences that these

Kenpo can cause. If we can defeat rapidly our rival in a real encounter, this will be better and healthier for both parties. E) Film Action Choreography: Action movies seek choreographies which are very spectacular, varied and rich in resources. Use of physical and technical skills, as well as the various elements of the action scenes environment. Generally very colorful and entertaining, but most of them surrealistic, absurd and out of place. Films will be films. F) Police Defense: Our program fits the acquired knowledge for obtaining success in the various circumstances during the performance of police functions, which must take into account the legislation in each sector, as well as the parameters on the use and proportionality of police intervention, that is, what is permitted and what is forbidden. Here is the same, the most effective, martially speaking, and what really works is forbidden by the law. So its application is very limited, although, once within that restricted field of action, a very practical and effective system can be developed. The execution of the school techniques pursues basically generating a technical strength and adapted physical endurance, in addition to achieve coordination, ensure the Art or System patterns, etc., which are certainly the roots from which emerge the subsequent evolutions and developments tailored to them (weapons, street defense, etc.), which should give rise to interpret not only certain technical gestures and movements, but also to know the why of each one of them and the offensive actions they seek to avoid. In the case of the school technique, beyond the technical description set forth above, we will delve into the why of each of those actions. We have stressed out on more than one occasion that one of our cornerstones in Fu Shih Kenpo is the use the octagon as the basic displacement pattern, combined in this case with the schedule pattern, always looking to maintain appropriate distances to each action, and the angles of security for each maneuver.

“One of our cornerstones in Fu Shih Kenpo is the use the octagon as the basic displacement pattern.�

Great Masters

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.


Combat Hapkido Combat Hapkido and the Warrior's mind “Those who are victorious plan effectively and change decisively. They are like a great river that maintains its course but adjusts its flow‌they have form but are formless. They are skilled in both planning and adapting and need not fear the outcome of a thousand battles: for they win in advance. Defeating those that have already lost.â€? Sun Tzu 100 B.C.


he objective of this article is to educate the reader on the importance of incorporating a survival mindset also known as a Warrior's mind in the practice of whichever art or style they prefer to study. This concept will be illustrated through the science of self-defense known as Combat Hapkido as this mindset is the consistent outcome of sincere study and perhaps one of the art's greatest benefits. In the study of Combat Hapkido the practitioner begins to quickly realize that the physical techniques are simply methods to augment the development of their highest potential

weapon; which is the warrior's mind. Sun Tzu's eloquent writings of timeless wisdom as quoted truly encapsulate the key elements of our training goals in regards to being prepared with scalable solutions for ever changing situations and environments. Before we begin a basic introduction to Combat Hapkido will be required for the reader unfamiliar to the art for a better understanding of the subject matter that follows. It is an extremely versatile and comprehensive discipline of selfprotection that includes an extensive variety of strikes, kicks, joint locks and other physical martial skills. Combat Hapkido also has several additional components such as Ground Survival, Pressure Points and Weapon Disarming. The result is an effective system, which is exciting and safe to learn while

Combat Hapkido providing practical solutions in real life situations. Combat Hapkido's dynamic concepts are based on scientific principles of anatomy and biokinetics as well as psychology, strategy and consideration for legal and moral implications. It is well suited for men and women of all sizes because physical strength and athletic abilities are not essential. It is ideal for individuals of diverse backgrounds and occupations. For example the system provides the base for specialized military and law enforcement specific programs. If you are interested in more in depth information BUDO International has published Combat HapkidoIntelligent Self

Defense in several languages and is highly recommended. As we address mindset awareness should not be overlooked, it is a key attribute in any credible self-defense program. It is appropriate for instructors to continually reinforce awareness to their students. It is an essential skill that needs to be developed like any other, however it unfortunately does not provide 100% assurance of the ability to avoid a dangerous situation. Of course this is why so many of us train in the physical skills through styles or arts that we have chosen based on the hopefully rare

eventuality that we must apply our knowledge. It is important to note that we need to be ready for situations that are surprising, chaotic, and threatening also known as a “dynamic critical incident” as defined by renown military and law enforcement firearms trainer Rob Pincus. The characteristics of a dynamic critical incident allow for virtually any possibility which would require proficiency in an unattainable

number of techniques if proficient training were merely the result of physical repetitions of set responses to a specific stimulus. A true reality based system will identify the most probable scenarios and place the focus on developing proficiency in the understanding of universally applicable principles. This is why Combat Hapkido emphasizes the Warrior's Mind throughout all of its training modalities. When it comes to preparing for the challenges that life presents us with we must develop adaptability with an equal emphasis on our ability to plan and to ultimately know ones unique abilities and resources. As I have experienced from over two decades of training and teaching, it is the empowerment of self that ultimately allows the practitioner to achieve a higher level of proficiency. In Combat Hapkido an essay is required for any individual attempting to attain the rank of black belt. This is not intended to be a literacy assessment or simply task to complete as an additional “to do”. It is of great importance that the instructor is able to identify if the black belt candidate

has attained a true understanding of the art as well as the value it has provided the candidate personally. My observations in reading many of these essays have revealed that the majority contain three consistent themes of practicality, confidence, and preparedness as being of the greatest personal value. These themes are developed through the Warrior's Mind and realistic practice of how to apply martial arts training in the modern world specifically to one's own circumstances and environment. In previous BUDO articles I have reinforced the importance of “intent” in both training and application. However, as many practitioners have experienced anxiety the challenge of fear management is crucial in being able to actually apply intent when selfpreservation is a priority. Belief and confidence help to minimize the natural psychological enemies of doubt and fear. This is accomplished through purposeful and practical training in which success is honed through experience. It is fool hearted to hope one will rise to level of their best training day in a well-controlled learning environment. We will most likely fall to

Combat Hapkido the lower level of our preparation, anything more is a fortunate experience. A key method to emotionally and mentally prepare for a dynamic critical incident is by concept focused training with the understanding that the techniques are illustrations of highly adaptable evidenced based principles. Training in this manner allows for the acquisition of a proven pattern of success that facilitates victory before the battle ever ensues, thus “Defeating those that have already lost�. Belief and

confidence are a prerequisite for having a Warrior's mind, this can only be developed through combative experiences or realistic training. Of course realistic training is the safest, most accessible and highly preferred route for many of us. Choose your training wisely as there is a key differentiation of the Warrior's mind from the Aggressive or Primal mind is the ability to plan and adapt. A Warrior's mind allows us to execute defensive tactics instantly in the context of an overall survival strategy. Whereas some systems or styles over rely on adrenaline fueled responses resulting in primitive gross motor bludgeoning. While these can be very effective in the moment, they simply don't allow for any moral of legal considerations creating much higher risk to the individual from the ramifications of blind aggression (Post conflict incident management is part of the study of a comprehensive selfprotection system). In stark contrast of animalistic aggression, think of the Warrior's mind being a likened to the Assertive mind, the outcome or

destination has been decided in advance and all that remains as a variable is the actions or path to be followed. Our goal is not to maim or kill, our goals are to stop the attack, while protecting and come home safely to those we care about. We will not permit any obstacle or person(s) to prevent us from achieving those goals. 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 a future articles we will continue to expand on the Science of Self Defense through the teachings of Combat Hapkido. Of course, you don't have to wait; all of this information is available through the Combat Hapkido Books, Online University, and DVD instructional series, which you can order directly from Defensive Services International at and Budo International at Please train safe, live with honor, and be well. For certification information, seminars, or questions, please contact:

Self Defense

Climb The Mountain Don't Walk Around It! Š Copyright 2015 Hanshi Patrick McCarthy, Kyoshi Avi Nardia & Tim Boehlert ong travels to Australia in March met me again with favor while I visited with my lifelong friend and mentor, one of the best-ever teachers of the fighting arts: a very knowledgeable person, a historian as it applies to the fighting arts from traditional, to sport and combatives, and also one of our originators who also helped to develop KAPAP Combatives. Hanshi Patrick McCarthy, is someone important enough to always mention in my books, seminars and DVD's. In spite of all that he's accomplished in his life with the fighting arts [e.g. remarkable competitive career, author of many books and DVD's, featured on dozens of international magazine covers, recipient of countless awards, sought after seminar instructor, successful businessman and director of his own worldwide organization, etc...], I was surprised when he said to me, "Avi-san, one of my biggest fears is to die unaccomplished!" Never one to rest on his laurels, McCarthy Hanshi's work ethic is incredible... the man just never stops! His 'Bubishi' translation became a best-seller and he has developed so many two-person drills, functional application practices and conceptual ideas over his lifetime that they've become templates which other seminar instructors use as their source of inspiration. My student and friend Shihan Borut Kincel describes McCarthy as "The teacher who brings pride and respect back to the art of Karate." McCarthy Hanshi is one of the few instructors of traditional Karate who can show how it is used not only for practical self-defense but also a most useful source to influence Mixed Martial Arts(MMA.) This is especially important as we are currently in the midst of an era dominated by cage fighting and the might-is-right mentality! In this narrow mindset it would appear as if the true value of any art is only measured by an ability to fight. I am of the opinion that anyone can learn to 'fight' irrespective of the 'style' as much of such skill has to do with tenacity, mentality, instinct and physical prowess. Learning an art, however, is really something, which requires insightful leadership from an experienced and knowledgeable instructor. As Brazilian Ju Jitsu and the ground applications became more popular McCarthy Hanshi showed us how Karate applications could be used in the same way and especially in MMA or in the street for self-defense. Not so many remember that he was also the in-house trainer/sparring partner for a generation of Japanese shoot-fighters


Self Defense and submission wrestlers, which predate the UFC, including Carlos 'the Ronin' Newton, UFC champion among his Black Belts. Karate can be so effective and so much knowledge can be explored if you know how to read the book called 'Karate.' Living in an era where Karate and Martial Arts are just a 'business', as some Krav Maga proponents advertise: "For business opportunity, join us", is very shocking for me, not that it's bad to earn money, but because all of this marketing today in Martial Arts gets much more popular, rather than concentrating on finding and developing real teachers. Instead what we see is those that wish they were more accomplished Martial Artists and somehow more losers (just business people driven exclusively by profit) that try to make sales based solely on hype, fear and by manipulating buyers by appealing to their egos. The fighting arts stemmed from a valued code of the warrior, a code of respect, and to be a teacher was an important mission.

This reminds me of the accountant that was asked, "How much is 1 + 1?"... he answered, "How much do you want it to be?" It's the same now as we need to answer in the Martial Arts: "How do you want it to be, do you do it for money only or do you do it to become an accomplished Martial Artist?" While visiting the Steve Erwin (RIP) Zoo with McCarthy Hanshi, we both agreed that Steve had set a standard for others to follow, and succeeded in teaching others through his life's calling. He passed away far too early. Bruce Lee (RIP), was also a great teacher and while many 'teachers' will call what they teach Jeet Kune Do (JKD) maybe if Bruce was alive today he would simply smile as he would and say, "It's totally not Jeet Kune Do." "In the land of the blind, the man with one eyed is a king." Looking at the Israeli Martial Arts today we see 24-year-old Rambo's writing their ego-driven biographies, as if they'd lived a full and accomplished life. We see students and even yellow belts in Karate who claim now to be Grand Masters in the Israeli Martial Arts, riding on nonsense, and this is definitively NOT Martial Arts, but instead a lot of childish marketing with slogans that only display their egos at work, and having nothing to do with developing a more spiritual Martial Artist. It seems that anyone that has been rejected by their teachers has now become a Grand Master in his teachers' style - over night with no character, no skills, no knowledge. You only need to add words like 'Krav Maga, Rambo, Military, Tactical, Bodyguard' and some others in your marketing push and you will get all of the 'wannabes' and be able to put their money in YOUR pocket easily! We say: "You cannot put a Crown on a Clown, and expect a King!" Somehow there are so many kings today, but in the 'old days'

you actually had to follow some ethics and morals and stand for your skills and you were expected to defend it like a Samurai. If you failed or lost respect for the code, you had to pay the hard price, which could include the loss of your life. It's a shame, but it seems today that we've lost integrity, respect and honor, but we earn the shame and 'shame' is not a shame anymore, as many embrace and employ it and it looks like a great business model for them, but to keep the code seems like the wrong thing to do. Teaching today is all about "let's look for a business opportunity" but I'm looking for the right students that want to come study for the knowledge and to be a student, and not looking to become a Grand Master in two weeks or to use the experience as a business opportunity. There is a saying: 'When the student is ready, the teacher will appear.' When you are ready to learn, then you will learn. The concept of 'teacher' is simply a metaphor. It

does not need to be a person to be a teacher - life is a teacher, nature is a teacher. This is why - "Always student, sometimes teacher." The wish to study is the wish of being a good teacher. KAPAP's original name is 'KAPAP: Israeli Krav Maga', and this is how it appears on Israeli Gover nment documents, as an open Fellowship with the agenda of teaching Israeli Martial Arts and BUDO. When I moved to the USA in 2001, some 'business people' decided to try to trademark what they didn't own and some tried later to trademark 'Kapap.' I am the founder of Kapap and no one had ever used the name KAPAP since the old days in Israel, but I renewed it. The whole idea of suing was not for me, so I decided to

"You cannot put a Crown on a Clown, and expect a King!"

"The concept of 'teacher' is simply a metaphor. It does not need to be a person to be a teacher - life is a teacher, nature is a teacher. "

only use the word KAPAP in my work and teaching. It started with only one on the Internet claiming to teach Kapap, 15 years ago, when there was only one school (my school.) I then started to write books and set my art to DVD. I started see afterwards new 'Founders' to my system that claimed to be the 'real one', and I'd smile, shake my head and say "whatever!" Beginning in 2014 I now call my KAPAP by the name ANA - Avi Nardia Academy. I certainly hope that no one can claim now that they are the real Avi Nardia! Only time will tell. It's no longer a world built around respect and honor. Too many 'business people' bring no respect, no integrity into their work. For them it's strictly about looking for opportunities to capitalize with minimal investment - in you and through you. It seems the main problem is the

students. We call them customers, and once you don't promote this 'student', they are likely to go to another school, or in some cases graduate themselves, and then promote themselves as the new Grand Master in your style. Loyalty is forgotten, and discarded. I always love to see my teachers, like McCarthy Hanshi, as each time I think it's only happened to me, but I see it's also happened in his yard. This too makes me sad. I had hoped for many years that as you got older and as you taught for more years, that it would happen less. But it seems that the further you travel, the more you get, and we teachers need to be ready for this. So many talk and slander behind our backs, but remember, "Even a broken clock will show the right hour twice a day." That's what I see mostly today. Yes, some have

Self Defense "It's no longer a world built around respect and honor. Too many 'business people' bring no respect, no integrity into their work. "

"Don't worry about those who talk behind your back They are behind you for a reason."

Self Defense "How do you want it to be, do you do it for money only or do you do it to become an accomplished Martial Artist?"

knowledge, but it's not enough to be called a Grand Master without your ability to support that claim. Based upon the writings of Arthur Schopenhauer ["All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident."] McCarthy Hanshi said to not forget the 3 circles: "First they'll turn their backs on you and call you a fraud and claim your Karate (or in my situation, Israeli MA Krav Maga) is worthless or unimportant, next seeing that you've attracted many students who are fascinated by what you do and how you teach, they purchase your DVD's, books and even attend your seminars to study your work, all the time they're undermining your credibility with half truths and outright lies. Finally, they try to copy it and pass it off as their own work in spite of the obvious mistakes in their transmission. Their defense, if and when questioned as to the authenticity or source from which their new learning comes, is to boldly state that they've always known such teachings or that they were completely evident to anyone who took the time to study it!" These are the 3 circles

when you are a creative and innovative Martial Artist. As my Rugby friends say, "When you run with the ball, the rest will all try to tackle you." "Don't worry about those who talk behind your back - They are behind you for a reason." Keep up YOUR good work. Keep building on it your work, your ideas. Stay positive and do it the right way since it's your way. Smile when you see the copycats go astray and remember: "We all climb on the same mountain, but it seems that many just walk around the mountain and never climb." Š Copyright 2015 Hanshi Patrick McCarthy, Kyoshi Avi Nardia and Tim Boehlert ANA - Avi Nardia Academy Avi Nardia Kyoshi 7th Dan Patrick McCarthy Hanshi 9th Dan

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 experi


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.


National Technical Director BELGIUM Black belt 5th Dan Aikijutsu Mail - Tel. - +32.494.773.812

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Silat God makes them and then they come together! Cass Magda and Bob Dubljanin are probably two of the best minds that I have encountered in the world of Martial Arts throughout my long career as a journalist. Without undervaluing anyone, it has always seemed to me that their reflections are in that space where one arrives only in order to open doors, break padlocks, and air out the bedrooms. Their flirtations with the traditional Arts have never been trivial. “Being open is not to say that anything goes,” declares Bob. “One thing is JKD and the Arts of Southeast Asia are something else altogether, be they traditional or modern.” Perhaps this is the distinction adequate for someone who considers that freedom does not contradict respect. Quite the contrary to what it might seem, everything is already invented, and the problem is knowing how to put things in their place and understand what lies

Southeast Asia underneath the apparent. To remain in the technique is a limited and limiting path, to pursue the essence behind it, there lies the way. Teacher and student have known how to open many doors to those who have had the privilege of having contact with them over the past two decades in one of their seminars throughout the world. Without a doubt, both were tremendously influenced by the great Inosanto, and like him, have given ample demonstrations of great passion for the Arts of Southeast Asia. “I have found in them a continuous source of inspiration to see things from different perspectives,� Bob Dubljanin tells us. However, his approach has always been open and full of infinite curiosity, showing how JKD has affected him as well as Cass Magda forever. Frequently present on our pages, Bob is by no means unknown to our readers. He has recorded a number of videos with us and all of them have been well received by the public, and, what is more important, have had the approval of the experts; however, it has been a while since he has brought out a new one, which today we have the pleasure of pr esenting to you on these pages, a project that we are sure will be a source of inspiration to any student of JKD or of the Arts of Southeast Asia. Alfredo Tucci

Buka Jalan Silat The art of directing the fight The main doctrine in Buka Jalan is to actively and offensively take over the responsibility for the fight. Buka means to open, Jalan is the path or way, so Buka Jalan translates to open or make the way. To make the way in your fight is the most important conviction from which all moves, techniques and theories are produced where they become the physical expression of this one single central theme. Buka Jalan specializes in civil self-defense applications, so the idea of making the way proves to be excellent in uncontrolled and wild street type scenarios. In this type of situation one should not try to react but actively direct to protect and defend oneself. This insight and the necessary skill to direct your opponent determines all techniques and applications in Buka Jalan. There are a number of principles that support and reinforce the main strategy of making the way, since they are conceptualized to work in unison with each other. In this article we are going to introduce and describe the first two ideas.

The different methods of directing To be the director and let your opponent be the one directed is the first principle to take over control in a fight. Instead of guessing or anticipating what the

Silat “Techniques and theories are produced where they become the physical expression of this one single central theme.”

“Buka Jalan specializes in civil self-defense applications, so the idea of making the way proves to be excellent in uncontrolled and wild street type scenarios.”

ABOUT THE AUTHOR: Bob Dubljanin is an instructor of the Southeast Asian Martial Arts (Kali, Buka Jalan Silat, Muay Thai) and Jeet Kune Do in the MI Association under Guro/Sifu Cass Magda. Dubljanin currently operates the “Southeast Asian Institute of Martial Arts� in Mannheim, Germany and teaches seminars in Europe. For his current seminar schedule, visit us in the web at: or reach us via email:

opponent is going to do, the Buka Jalan player dynamically accepts the commitment to the confrontation. This principle can be applied in two ways: A) By exposing and baiting B) By forcing with a set-up attack to counter his counter attempt In the first umpan (baiting) variation one can observe the Buka Jalan player exposing the chosen target or line, usually the head or upper torso, in order to “invite” the attack of the adversary. The idea is

to draw a committed attack so that the trap can be efficiently closed. Proper sense of distance and superior timing are developed in your training for this umpan method to succeed. The second variation of being the director is used against an opponent who is defensive or a counter-fighter not trying to attack but waiting for your attack. Here we will use a “negative” attack so the other side starts his defense to immediately

counter his reaction. The “negative” attack is not designed to score like a “positive” punch but to force him to block, defend, back away, clash, grab etc. and this reaction will be countered. In this method the one who is initiating becomes the director since he is in control of timing and tempo of the encounter. Not trying to wait but initiating the fight to force the opponent to attack is one key for making the way for your fight.

“Buka means to open, Jalan is the path or way, so Buka Jalan translates to open or make the way.�

Silat After the initial entry, be it by exposing or forcing, a pukulan (punching) blitz of punch and elbow strikes will usually follow next. The strikes are used to strike down, stun and unbalance the opponent; they are used to start putting pressure on the other side. This pressure is to be kept constant until the end of the fight.

Constant forward pressure The creator of Buka Jalan, Guru Cass Magda, describes the second principle as such: In Buka Jalan, constant forward pressure means attacking your opponent to keep him in a perpetual state of unbalance. Instead of being able to counter, your opponent becomes concerned with trying to regain his

Southeast Asia

Silat composure, footing and equilibrium. As he’s trying to escape or counter, he’s already being countered. Because he has no base to renew his attack, you can trample him with your counterattacks. Constant pressure is a Martial Arts water-hose blasting punches, kicks, elbows, body shoves, traps, leg sweeps and trips. It is hard, brutal, unrelenting, and unmerciful. There is no good way to counter – it’s even hard to breathe! Constant forward pressure allows you to find or create openings, set-ups, various follow-ups or footwork placements. It doesn’t mean trying to move your opponent straight backwards, but rather pressuring them in the direction of your technique. Your attack must guide your opponent into your future hits, locks, sweeps and takedowns. It’s safer because you are not waiting for incoming blows, but instead actively overwhelming your opponent. Psychologically, this also puts you in a superior frame of mind. You cannot apply this pressure intermittently. If you do, your opponent will push forward into the space you give him. In an encounter, an attacker will constantly probe you – pressing, hitting, and trying to get in and find a weak spot. If he senses you’ve let up he will move in violently, without compassion. Constant forward pressure is a fundamental tactic taught in Buka Jalan. It means total commitment. If the enemy is physically off-balance and struggling, his is also mentally off-balance and struggling, and often he is desperate. When he attacks in a wild frenzy you must not give in. Cracking under emotional pressure is

the worst thing you can do because you’ll end up covering-up, helpless, praying the attack will end. The emotional pressure to quit can be kept at bay by pressing forward; otherwise, when an opportunity comes to counterattack, you will have no emotional reserves left and will be unable to take advantage of the opening. Proper training and discipline will ensure this never happens to you.

From theory to application The punches, kicks, sweeps and throws of the different school of Martial Arts do not technically differ very much from each other. The real difference is usually in the theory and tactical application of these techniques. The theory becomes the manual, so to speak, of the physical execution. In Buka Jalan, form follows function, so all techniques are grouped, trained and developed with the aid of these described ideas. It is a truly principle-orientated Martial Art that is led by the execution of these tactics. The techniques follow the principles and enable the Buka Jalan student to fight his fight without guessing what comes next. The deeper understanding and experience with these theories become knowledgeable “glue” that holds together all technical components and lets those function effectively in combat application.

Silat “The punches, kicks, sweeps and throws of the different school of Martial Arts do not technically differ very much from each other. The real difference is usually in the theory and tactical application of these techniques.�


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.


The "Kyusho Tactical Control Program" (KTCP), was designed for Subject control escalation with Legal, Medical and Tactical Deployment research, field-testing and coordination. The scope of this program is for use by but not limited to, Law Enforcement, Security, Emergency Medical or Response, Coast Guard, Military, Governmental Agencies, Body Guards and Personal Security. This Basic Module is comprised of one set of 12 primary targets and integrated into 4 modules of escalating force restraint continuums. There are several weak structures in the human body that can be utilized by an Agent to simply gain control of a perpetrator more efficiently than conventional use of force methods. This would be in the protocol should a situation escalate past the verbal command stage. These Kyusho (Vital) points are where the Agent can make use of internal systems of physical control such as, Nerves, Tendon Structure and natural Nerve Reflexes of the body. Not requiring heavy force Fine or complex motor control or even sight… all of which is subject to failure and loss in high adrenaline states. This information is dedicated to the Brave and Resilient Members of these Agencies around the world… Thank you for what you do!


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.


Kyusho Confronting a knife, pocket knife, c u t t e r, o r a n y k i n d o f e d g e d weapon, is one of the nightmares that all security experts fear. To confront the situation with discernment, good sense, and with the appropriate technical fundamentals I the proposal of the known exper t in Kyusho Jitsu, professor Evan Pantazi, director and founder of Kyusho International. In a thorough and serious way, he has addressed this dilemma, backing himself up, as he has on previous occasions, with his knowledge of vital points. The vital points describe places that are especially accessible on the human body. Attacking them in one way or another produces different effects and various reactions that we should not overlook in questions of selfdefense. Looking for the maximum efficiency is essential when what we have in front of us is as gravely threatening to our physical integrity as is a cutting object, and professor Pantazi knows it. In this magnificent article, he analyzes the question and highlights the most useful points. For those most interested in the subject, and in the video that we present along with this article, he pr oposes multiple tactical and technical solutions to resolve assaults in front or from behind, and in multiple angles of attack. The technical combinations that are an effective and devastating arsenal for self-defense, no matter what your martial style is.

“At the time of need is not the time to rely on thinking or useless techniques perpetuated in training halls all over the world.”

“The method you use must work with for a more realistic or reliable method will be based on a multi-directional, free flowing barrage of slashes, stabs and hooking maneuvers.”



he blade has long been a devastating and highly used weapon not only from accessibility, but also it’s efficiency and psychological impact. It is as fast, as subtle, as brutal as the hand that wields it and the mind that guides that hand. Many cultures and styles revolve around this simple tool that has been in existence almost as long as man. It is all this and more that one must not consider when facing a blade, but must have trained diligently while considering it. At the time of need is not the time to rely on thinking or useless techniques perpetuated in training halls all over the world. Training for static or single attacks using complicated arm and joint maneuvers is dangerous and setting the user up for failure under duress. The method you use must work with for a more realistic or reliable method will be based on a multi-directional, free flowing barrage of slashes, stabs and hooking maneuvers. A major consideration that many do not know or think of is the primal affects of stress, where the surge of adrenaline will hamper fine motor reflexes as well as strength, clear thought, vision

and deep psychological fear. We must also consider that if you have sweaty hands, or even bloody, the slip factor for grabbing and retaining the arm of the assailant is very high and probable. All of these factors will prohibit the defender from the very intricate fine motor skill techniques that look so great in the training hall in a calm cooperative environment. Another problematic occurrence if you do manage to get a hold on the assailants blade wielding limb, is what their other hand will then do. Will it grab you to restrict your motion, or bring you into a grappling match with you preoccupied with the blade and then at severe disadvantage? Or will they strike you so that you are now being attacked on two fronts and incapable of carrying out your defense? There is also another major problem when you grab a hold of an opponent and that is their reflex responses. When you quickly and firmly grab a person there is an automatic withdrawal reflex. This will cause the muscles of the grabbed arm to tighten and pull back as the rest of the body also tightens and also withdraws. This withdrawal reflex can get you seriously injured as


the blade can be retracted across the hands or arms you are restraining them with. You have also just placed them into a fight frame of mind as well as initiated a survival mode of their own. This will kick in primal and illogical actions from them‌ something extra you do not need to deal with. One other thing to consider is that if you do get cut across the wrist or arm, your grabbing and control of your hands becomes impossible. If you worked all your defenses on grabbing and controlling, you are then at a severe disadvantage. Typically people are also taught several methods of handling various attacks, this in itself is problematic. Not only have you multiplied the difficulty factor but you will be placed in the disadvantage of needing to react with a proper action, under stress when the mental faculties are severely limited as is your probability of success. Also if there is even slight variation from trained technique, it will more often than not fail adding increased stress and if not trained for mind numbing surprise. The more efficient method would be a single approach so no matter which direction or way the opponent comes at you, thinking and choice is limited and direct response is taken.

Kyusho Also most training includes dropping or throwing the opponent‌ which becomes a fight unto itself with a withdrawing and tightening opponent. But what the defender must also be aware of is as the opponent is falling, with all their body weight, is the probability that the defender will loose grip or ultimate control of the weapon. They may even become unbalanced to fall with the opponent or pulled into an unbalanced situation where the opponent again has a possibility to cut or stab with the blade. Or you could have dropped the opponent only for them to start slashing at your legs and ankles where there are major blood vessels that can be severed. There is another typical training method taught in most styles or programs and that it disarming the opponent. With all of the above mentioned difficulties and reflexive instincts, disarming is a very dangerous proposition. But even saying the defender is able to disarm the weapon without getting stabbed or cut, there is the problem of their fingerprints also on the weapon. In today’s litigious society the probability of you going to court when the beaten defender sues you for assault, there is now a question as to who was the original wielder of that weapon. One last caveat to address is the training devices so many use as well that yield less realistic scenarios. When training with wooden, plastic or even metal training knives does not help with the psychological side of the equation. Using real knives such as the flip knives, balisongs, machetes and even box cutters (dulled for safety, but still feeling and appearing to the body and mind as real) will add the necessary component to the training program. So what is left to work with under such brutal and stressful attack with a bladed weapon? Instant dysfunction, reversal of mentalities of the attacker to the defender and simple reflexive responses that will remain consistent with increasing stress levels or laceration of hand, wrist or forearm muscle and tendons, or even to

the body and legs. We must also limit our responses so that there is only one method to be employed which will eliminate critical or panic thinking demands posed by random irrational motion from our attackers. It must also not be based on grabbing or restraining in any manner, but rather simple striking actions that even if the wrist or arm is cut, remains possible with gross motor skills. There are two main methods we can train in Kyusho, it is up to the practitioner to work with both and choose their preferred method. Then to train their selected or preferred method only but now under all types and levels of bladed weapon attack. These are arm destructions to dysfunction the weapon wielding arm, then following up to the legs, body and or head if needed. Or attacking the source of the attack bypassing the arm and weapon altogether. In both cases we must not consider the blade as it is not the problem, the problem is in the wielding opponent. So we must affect that person in a way that renders the blade as the inadamate object that it is. So we will address both methods here so you can gain insight on your preferred or natural tendencies. This is critical as if you fight your natural instincts or mobility, then you will be far less effective. You must find and hone your own natural skills rather than being forced to train someone’s prearranged techniques. Understand that there are never guarantees you will not get cut in an encounter with a bladed opponent, to think otherwise is foolish. But train how to survive the attack with minimal possibility for injury as well as quick incapacitation of the attacker.

Method 1 The arm destructions are more beneficial for those that would prefer to keep distance and work more defensive offense. Since this is the modality that most people naturally have we will start

Kyusho with it. The main target is the Kyusho Points (nerves of the arm), to dysfunction not only the arm of the opponent, but when performed well the entire body and even levels of consciousness. To start the pain that these targets induce can be enough to alter the mindset of the opponent to a defensive mindset and less likely to continue. But with this pain also comes the dysfunction of the arm muscles as well so that they cannot swing or maneuver the weapon, even if they are still able to hold it. Again this will change the opponent to the one at disadvantage and possible hasty retreat. But if you reach a level of altered consciousness or whole body dysfunction you have become the victor as opposed to the victim. This type of training must start with slow action, but with a constant spontaneity from all angles, weapon position or grips and with as many different sizes and types as possible. The intensity and environment should also be changed so that more unfamiliarity, challenge and stress must be introduced. The practitioner must become very adept at reaching, deploying and successfully dysfunction the opponents arms under this imposed stress, spontaneous angles of attack as well as long continuous attack before ever thinking of additional targeting on the head or body. Too often people want more rather than better with what they have‌ this must not happen as the dysfunction of at least the arms is imperative in this method. Let’s now look at the targets that will be the most efficient and disabling for the opponent. Starting on the back of the hand there are nerves in between each of the metacarpals (small bones on the back of the hand) that when struck will cause the hand to involuntarily splay open so that the grip and control of the weapon is not possible. These are mainly extra points not labeled as the typical acupuncture points as they were found after the standardization of the points 3000 plus years ago. But they all are actual points that affect the neurological functions nonetheless. On the wrist we have so many points that choice or even very accurate targeting are necessary, because hey are so numerous and close in proximity. These points located all around the base of the hand (LI-5, TW-4, SI-5, H-6, P-7 & L-9) and yet another group or circle of points two finger widths further up the wrist. These will all weaken the hand so that the weapon will either be released or held so loosely that cutting or stabbing will not be affective. The angle and direction for these points can all be straight in for pain and limited dysfunction, but even more efficient and disruptive


dysfunctional reactions can be accomplished by striking them toward the hand will be best. At mid forearm, right where the forearm muscles end are again a grouping of Kyusho targets that will cause the same reactions on the opponent (L-6, LI-7, SI-7, M-UE28 & P-5). Also two finger widths before the elbow is yet another ring of targets (LI-10, L-5, SI-8, H-3, P-4). On the upper arm two fingers from the elbow is another ring of Kyusho Points that now must be struck straight into the bone (with the exception of TW-11 which is still best to strike toward the hand), to completely dysfunction the arm and body, nauseate the opponent and cause dizziness or altered consciousness. These points are (P3, LI-13, SI-8, TW-11 & H-2). One more set of targets again in a band like position around he upper arm around

the head of the biceps. These are all best struck straight into the bone for maximum affect, including all the dysfunctional and physiological affects mentioned earlier. These points are now (LI-14, TW-12, P-2, L-3 & L-4). If you are getting the idea that the exacting targeting and or names of the points are less important due to the sheer number and proximity, then you will understand how possible and probable it is to use Kyusho in such need.

Method 2 The second method is for those either more experienced or confident to close to the real source of the attack being the mind of the opponent themselves. This takes years of constant training and targeting as well

as timing, distance recognition and proper response to the opponents undetermined actions. In this method we are now totally offensive and will not consider attack or defense to the opponents arm at all. But rather we will penetrate immediately to attack the head targets to get immediate physical dysfunction with altered levels of vision and consciousness. The opponent will no longer be able to retain the weapon or make attacking motions if you are in a continuous barrage of strikes to their head and neck. Again we have to forget the desire to grab and control the arm as many problems and difficulties will arise. We must also forget the notion of disarming or the arms altogether as they are not the main source of the problem. The problem is the mind and intent of the

assailant and all centered in the brain itself. If we can shut down the source of the intent and functions, the whole body will now be incapacitated and the attack stopped. By working with specific angles of attack in beginning practices we can learn the rage and path the blade can take. By working again with timing and distancing, but now on a relatively stationary opponent as compared to the rapid and unpredictable arm motions, we can launch an offensive straight to the source. In this method you must instantly get inside the arch of the attacking arm to get in as tight as possible. You must also remember to keep our back toward the incoming arch if from the side as there are far less vital structures or chances for life threatening injuries. Receiving a slash or even a stab to the back will have the

Kyusho benefit of less bleeding and less likelihood of penetrating into internal organs and other vital structures. You will also not see the attack occur nor the blood which will send some people into a state of shock that will severely limit their ability or even consciousness. As you close the distance on the attacker it is important to also lift the knee of the leading side of your body and raise the elbow to the knee, with forearm up palm facing inward at the same time. This will add speed and several other protective positions of the human structure. As you lift the knee as the main inertia of the entry this will bring the rib and hip structures closer together so that if a slash does occur it will only be superficial and not able to penetrate into the internal structures. It will also compress the ribs, Increase the density of the muscles and even compress the fat and skin to that side of the body. The raised forearm with elbow by the knee will not only lessen the chance of a slash to the body but also protect the vital areas of the neck and head. This posture will also enable you forward momentum to continue even with a slash to the leg. If your opponent slashes the muscles and or tendons of the forward leg while standing on the ground, the leg will be less able to be moved forward toward the opponent. If however it is cut in the air from the entering motion, gravity will still allow the forward motion, body weight and inertia to continue toward the source of the attack. As you descend into a straddled leg position on the opponent you must keep your arm over the attacking arm of the opponent. So as you stay body to body, as it will severely limit the mobility of their arm (and weapon), as well as maintain both hands at their head level to deploy continuous multiple pressure point attacks. Keeping forward pressure as you barrage the head points of the assailant will place them in a confused, limited and helpless position. The idea is to strike the opponent into unconsciousness, loss of weapon or preferably both.

“So as you stay body to body, as it will severely limit the mobility of their arm (and weapon), as well as maintain both hands at their head level to deploy continuous multiple pressure point attacks.”

“Where the assailant has been able to place the blade on you in a threatening manner is even more desperate a situation and requires high level of skill to not be seriously injured. ”


Pressing Attacks Where the assailant has been able to place the blade on you in a threatening manner is even more desperate a situation and requires high level of skill to not be seriously injured. It is not readily possible to simply dysfunction the opponent before they can slash or stab you once the blade is against you. There is one Kyusho method that will allow you to get past this problem and then dysfunction the opponent. If you grab, or strike an opponents arm that has a blade pressed firmly against

you, their reflexes will fight this hard aggressive motion. This will strengthen their muscles as the struggle against the force and you will be inured in the process. However as improbable as it sounds, if you use lighter pressure or against the arm, the reflexes do not immediately come into play and you will gain the necessary distance between you and the blade to then apply the attack. Again we see the principles of Yin and Yang (Positive vs. Negative), come into affect. And again with dedicated practice, it becomes second nature.

“Again we see the principles of Yin and Yang (Positive vs. Negative), come into affect. And again with dedicated practice, it becomes second nature.�

Always with the Ochikara, "The Great Strength" (called e-bunto in the Shizen vernacular tongue) or secret wisdom of the ancient Miryoku Japanese shamans, as a backdrop, the author takes us into a world of genuine reflections that are capable to move at once both the reader's heart and head, thus placing him continuously in front of the abyss of the invisible, as the true final frontier of personal and collective consciousness. The spiritual taken not as religion, but as the study of the invisible, was the way of the ancient Miryoku sages to approach the mystery in the framework of a culture as rich as unknown, to which the author has wholeheartedly devoted. Alfredo Tucci, Manager Director to Budo International Publishing Co. and author in the past 30 years of a large number of titles about the Warrior's Way, offers us a set of extraordinary and profound reflections, which can be read individually in no particular order. Each one of them opens up a window to us through which we can take a look at the most varied subjects from an unexpected angle, now dotted with humor now with forcefulness and grandiosity, placing us in front of eternal matters with the view of the one who has just arrived and doesn't agree with the common places in which everyone coincides. We can affirm with conviction that no reader will be indifferent to this book; such is the strength and intensity of its contents. Saying this is saying a lot in a world crowded with collective mangers, interested and behavioral ideologies, manipulators and, in short, spurious interests and mediocrity. It is therefore a text for big souls and intelligent people who are ready to look at life and mystery with the freedom of the most restless and scrutinizing minds, without dogmas, without transient morals, without subterfuges...

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

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

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

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

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

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


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


Profile for Budo International Martial Arts Magazine

Martial arts magazine budo international 289 may 2 fortnight 2015  

Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 289 May 2 fortnight - Year XXIV

Martial arts magazine budo international 289 may 2 fortnight 2015  

Traditional Martial Arts, Combat Sports and Self Defense Magazine. Free read & download. Online issue. 289 May 2 fortnight - Year XXIV

Profile for budoweb