"You can be in favor of globalization and against its present course, just as you can be in favor of electricity and be against the electric chair." Fernando Savater
hat can we offer the Chinese reader with this magazine? A Martial culture as rich as Chinese, so full of styles, traditions, beautiful diversifications and recreations of multiple combat formulas that have permeated the world with their peculiarities, their ways and forms... What good, different and positive could such culture find in our magazine? We all know that much of the Chinese Martial Tradition was lost in the maze of ancient and recent history. Traditionally, China has been a country of emigrants and, in many cases, Chinese have retained abroad many of those martial wonders and treasures, that now, with a more open China, can at last go back home. But they will not only find in these pages the native arts of a country so rich in martial traditions as China. The whole world has undergone a process of globalization, crossbreeding, an overhaul of the traditional values confronted to modernity. Other wonderful traditions, many of them hidden, have come to light in an age where secrets exist more in the content than in the forms. Thousands of beautiful martial traditions have resurfaced and been exposed in our pages over the last 28 years of existence of this magazine in six languages, now seven with the Chinese edition. We have rescued forgotten styles of medieval Europe, ancient fencing, peoples and cultures of Japan, Korea, and Vietnam and from all over South East Asian; fighting systems of the Argentinean Gauchos, American Indians. Methods with ethnic roots such as the "Jogo do Pau" or Portuguese Stick Game, the "Palo Canario" (Canary Islands stick), horseback Mongolian archery, etc. We have lived at the forefront the specialization of the world's leading experts in private, military or police security in these troubled times where military and police alike have mixed in intermediation tasks under international organizations like OSCE, UN, etc. We have shown the secrets of security on airplanes after the September 11th attacks; posted the top sector experts and we still continue to do so, because this branch of Martial Arts is certainly an important item in our era. Of course we have witnessed the configuration of Martial Arts becoming fighting sports and even Olympic disciplines, the advent of the show in our world with the representation of the most impressive and eye-catching part of the martial
"Globalization is not the same as Universality, indeed, it often produces the opposite effect, because the reaction to the mix and the tumult is discrimination, racism and smallholdings, like a balloon that swells and grows is increasingly pressing inside.â&#x20AC;? Huang Ta Chung
world in aesthetic terms, and of course, we have reported the recreation of this new "Roman circus" of no rules fighting, without a doubt the biggest media business of our time, which has almost dethroned Boxing itself, I mean of course the UFC, Pride, etc. We continue our efforts to bring every month to these pages the ultimate of the Martial world in all its variants and with the best Masters, whether they live in Australia, America, Europe, China or Russia ... however, we haven't stopped there; in an audiovisual era, we have created the largest instructional videos catalog ever made, with over 600 titles translated into several languages. Great Masters, champions, instructors, officers from different countries, teach you through these videos things that, traveling the world, would take you years to learn. Furthermore, making use of such a great tool as the Internet, now you can download immediately and without waiting, all these videos at a very affordable price, all this with an unprecedented quality and professionalism in our industry. With the fortnightly online electronic publishing of our magazine, we have taken the final large step in this process of modernization in our sector. The work is enormous since it implies that every 3 days, every month, we have to produce, edit and upload to the net at least one magazine in a language (except the Chinese edition which, still today, is one magazine per month). Yesterday, the readings of our magazine exceeded 285,000... Thereâ&#x20AC;&#x2122;s no country in the world where we are not read (except for Turkmenistan, who knows why!). Each month, the greatest figures of our Martial Universe collaborate on our pages and all this is creating a unique opportunity, a virtual and multicultural meeting where every student can be enriched, and where every Master can publicize his system and knowledge. If we add the gratuity of our media is easy to understand that these results are just the beginning of something much bigger. To be part of it and stay connected with the latest news, inscribe for free on our web site www.budointernational.com and our team will keep you informed of each new publication, of each novelty and promotion. Stay tuned! Many interesting things are happening out there! The world is very big, but with this magazine, we will bring it to the screen of your computer, laptop or mobile every month. That is our commitment, that our offer. Log-in and be a part of it! Thanks for the follow up, without you this project would not be possible.
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Arts of Japan
The way of the sable is not a way for just anyone, although anyone can undertake its learning. The Japanese sable is the summary, beginning and end of all the Japanese martial traditions. Car r ying a sable, wielding it, dominating it, making oneself one with it, is a practice in which the spiritual is not alien. The spiritual, understood as the spiritus—“the essential breath,” the “buff” of the soul, the counterpart of the material—finds its gr eatest realization through the most dense, solid and concrete: metal. Curiously, “metal” in the Eastern cosmological tradition (Go Kyo), is the element that includes the lungs as an organ, and its function of breathing. Iaido, “the Art of drawing the sable cutting,” has been dominated by two kinds of opposing and complementary schools. One centered on more rigid and ritualized formulas; the other focused on the domination of the most noble of w e a p o n s t h r o u g h f l u i d i t y. W ithout a doubt, Master Akeshi belongs to the second school, as he has repeatedly demonstrated on his videos. For this way, the essential thing is not so much in the gesture, or in the form, but in
the awareness and domination. Only then is the practitioner capable of opening up to the magical act of impeccable and economical execution, to mastery, which is the end that all martial schools pursue to the maximum level. For that, Master Sueyoshi proposes a training methodology in which the student must familiarize himself with his weapon to the point that it becomes an extension of his hands, first of all, then of his body, and finally of his breathing.
o achieve such an objective, Akeshi proposes exercises that have been done for centuries, but he doesnâ&#x20AC;&#x2122;t leave out those that both he and his Master have elaborated through their own experience. These include stretching that is derived from the exaggeration of the movements with Katana, utilizing a Jo for it, and a whole and varied set of great, ingenious, and pre-established actions that confer on the student a gradual domination of his body and his weapon.
Given the scarcity in the West of true Masters of this Martial Art, the study through videos or DVDs is one of the few alternatives that the neophyte has in order to learn this Art. Itâ&#x20AC;&#x2122;s true that if you havenâ&#x20AC;&#x2122;t practiced another Martial Art previously, learning on your own is an almost impossible task. The pace, commitment, and seriousness that said practices require cannot be lear ned without recourse to a good Master, without going through a training period.
Arts of Japan “In the old days, it was said that the katana shouldn’t be drawn without its edge getting wet with blood, otherwise it shouldn’t be drawn, and frequently the swordsman would cut himself lightly on the finger in order to carry out the ritual. Today, we only cut ourselves on the fingers when we mess up…”
Arts of Japan
Iaido However, a Karateka, or an Aikidoka, for example, well-trained in their Arts, can utilize their previous experience to practice at home on their own what Sueyoshi Akeshi explains to us on his instructional videos. The essential thing, beyond the technique, is already present in the student, and the only thing needed is to give his body the chance to develop it. Practicing once or twice a week does marvels for whoever is capable of keeping up the training pace combined with his habitual style. In fact, the student will very quickly discover how his own practice or daily training sessions in his style find a new focus, a renewed strength and development. Such a consequence derives from the nature of Iaido training, which reduces everything to the elemental, the very essence of combat, and at doing so, offers us a renewed opportunity to live its fundamentals breaking routines. “Students of Aikido, of Karate, even Judo, have reached a new domination of their Arts by combining it with Iaido,” Akeshi tells us. “In Japan, the existence of this synergy is well known, for that the greatest fighters have always venerated Iaido.” “My students in Europe come from many distinct styles, but for all of them, the Katana is something more than a weapon, more than a tool.” And it is because the Japanese katana possess that unique
combination of strength and flexibility that confers upon it special nobility. Its forging was a sacred act that required the purification of the master blacksmith and even today the rituals remain in schools that are considered living treasures in Japan. The key technique of its elaboration, hidden for generations, was the wise combination of two kinds of steel. These were capable of joining flexibility and firmness in their center with strength around the edges of its periphery. The Japanese katanas surprised Westerners for their lightness, yet they possess incredible
strength. The tempering of their blades were re-doubled over and over again under the specific rhythm of the hammer strikes, heating and cooling the steel sheets to the limits of their capacity, but without overdoing it. The forging of these weapons was an Art that required the search for the right moment for its elaboration. The energies of heaven and earth had to be favorable, but most of all, the mood and spirit of the blacksmith had to be impeccable. Afterwards, the swords were submitted to the hardest tests and only those that fully satisfied their makers were issued to a select clientele who even back then paid genuine fortunes for them. A good Japanese sable is considered a work of Art and revered as such. In fact, in a country so little imbued with individualization, it is surprising to know that some masters were signing their works back in the XV century. All this richness, this joining of wills concerning a simple tool would be impossible and foolish. However, the best of the weapons, when in the hands of the unwary or the neophyte, will not reveal the hidden soul that is enclosed within it, for that, it was not infrequent that the M a s t e r blacksmith had present in his work the desires and the nature of t h e
“My students in Europe come from many distinct styles, but for all of them, the Katana is something more than a weapon, more than a tool”
Arts of Japan swordsman, accentuating the virtues that characterized the style or the nature of the one who would carry it. Nonetheless, in the first stage of lear ning the domination of the sword, anything will do. “At the beginning, a Bokken, or a Jo, are sufficient companions for the student,” affirms Master Akeshi. “The katanas really cut! One must be very cautious during training.” The habitual gesture of the Iaidokas of “shaking off the blood” from the sword before sheathing it especially surprises the layman in the matter. “In Iaido, the idea of a cut, a life, is a respected fact even in ritual,” the Master comments. “In the old days, it was said that the katana shouldn’t be drawn without its edge getting wet with blood, otherwise it shouldn’t be drawn, and frequently the swordsman would cut himself lightly on the finger in order to carry out the ritual. Today, we only cut ourselves on the fingers when we mess up…” confesses Sueyoshi with a laugh. The requirements to begin the training with sable are actually quite simple and modest, and the space required is small. “These days, many, many martial artists would desire to learn Iaido but the first step is hard for them to take. When I perceived this desire and understood that for the
Art to continue to be practiced, I had to enter the West and I focused my strength on giving a method that would open the doors to those who desired to practice without having a Master nearby. They can always attend my seminars later; at least once a year I travel to Europe to teach in various countries and I can check the work of each one. During the years in which I lived far from Japan, I followed this model with my Master.” As in so many other Arts, in Iaido, once the fundamentals are assimilated, the corrections become exercises of unprecedented technical precision to wind up becoming a discipline that is more spiritual than physical. From, “Watch the inclination of your elbow,” one goes to “Your strike must pass through the infinite, you must feel it returning to your back.” Or from, “Relax your shoulders, strike with your partner,” to “Don’t think about drawing your sword, find it out!” In the highest realms of the path, all Arts find the magnificent simplicity of Mastery. But without a doubt, in some, as in Iaido, precisely for being so naked of technicalities, such an approach accompanies the evolution of the student in the most palpable way. This is also the case in Kyudo, to the point where only the posture at stretching out the arch was sufficient for Master Awa to
know, through that photo, the point of development of his student, the German Herriguel, thousands of kilometers away. Iaido is also a formula in which the “Art without artifice” stands out, and for that the concentrated force and intensity of the look of the one executing it is sufficient to know his rival. “My students say that I put on a bad Yakuza face,” says the Master laughing. “I am not conscious of it. We must train with the truth, if not, Iaido doesn’t serve for anything. Nobody walks around the streets with a katana anymore! Those times have passed.” The value of the traditional Arts paradoxically lies in this usefulness and lack of usefulness. It is an exercise in pure Zen and that is precisely what leads us to penetrating its profound meaning; the same that makes us know that it is the “emptiness” of a cup that gives it usefulness. Beyond the aesthetic Universe that surrounds Iaido, there are still Masters and students interested in that other thing that is so difficult to grasp, so ephemeral and inexplicable and what these practices distill. It is a way to find the essence of the way of the warrior, of life and of death, a way where the martial essence manifests itself with elegance and the strength of other times.
“Your strike must pass through the infinite, you must feel it returning to your back”
“These days, many, many martial artists would desire to learn Iaido but the first step is hard for them to take”
Thinking is good.... Although the title of this month's column may seem an almost childish claim for many, I'm sure it will serve those practitioners who are serious about the art they are studying as well as for those people for whom Martial Arts partake of a relevance that transcends the ordinary. It will sure make them think. I am just a practitioner no very fond of giving advice. I think advising others on what to do in any field is something unproductive because we usually do so from a completely subjective perspective without knowing all the edges and the real position they are in. So when I make such statements I don't want to venture telling people if they have to think or not what they do and much less emit an opinion judgment that might offend or disturb anyone. Anyway, I'd like to think aloud about some aspects that I consider fundamental. In many cases such reflections have served many to find themselves, and that fills me with joy and encourages me to keep doing this work, that is not always easy. I have often referred to the classical teaching method and the need to adapt it to the changes that in recent years have suffered the practice and study of Martial Arts worldwide. We must recognize
â&#x20AC;&#x153;I have often referred to the classical teaching method and the need to adapt it to the changes that in recent years have suffered the practice and study of Martial Arts worldwide. We must recognize that, in the last 15 years, everything relating to the Combat Arts has undergone profound changes in all aspects.â&#x20AC;?
that, in the last 15 years, everything relating to the Combat Arts has undergone profound changes in all aspects. I remember, now more than 25 years ago, that a practitioner began to study at a school where he'd spend many years in his same training group showing an unwavering loyalty to his school and master. Nobody ever considered anything far beyond the next training session. Visual materials (videos) about Martial Arts hardly existed and neither were there too many texts where you could learn about other options. Indeed, older practitioners will agree with me, it was very difficult to see, understand, analyze, compare, etc., for a very simple reason: belonging to the group in which you trained was unquestionable. If we add the lack of other references with which compare what we were doing, and the fact that our master was little less than a HERO for us, perhaps we can understand what the situation was at that time. My point is simple: a student never raised any doubt. The teacher pointed out, the student did. To your personal reflection or logical doubts in the practice, the righteous teacher would respond with a laconic: "Don't ask... do!" I am absolutely certain that the older practitioners who already have some experience in practice can recall some occasion in which their teacher told them the famous phrase to which I refer. To address this issue it must be understood that traditional Martial Arts systems have inherited the teaching and practice methods of their own masters, which have been repeated with the next generation. That is, you do what your master taught you because it's "supposed" to be GOOD. I mean, who would question the ability of the one who taught him? How could we doubt the goodness of what your father tells you? If your father taught you that way, it's good and therefore nothing should be changed. This reasoning, as perfectly logical as it might seem, is in my opinion largely responsible for some of the problems that Martial Arts have been crawling in recent years. Many people, intending to honor their masters, try to repeat their teaching system, their methods, exercises, etc., without making even the slightest of changes in the system, because of a misunderstood concept of RESPECT to your elders. When I said at the beginning of this article that THINKING is GOOD, I wanted to launch this reflection and approach in practice. Personally I don't consider any disrespect, neither to my masters nor to Tradition, to make changes in the training method. On the contrary, I firmly believe that there is no greater sign of respect for my
art and my masters than trying to improve the system with humbleness and hard work. Fortunately, many of these elements have been changing in recent years, as the world of telecommunications has democratized the access to the information world. With a simple mouse click we can see, in the famous on-line free video distributors, practitioners of almost every existing system anywhere in the world. Today we have the possibility of visualizing and access images that a few years ago not only were not available to practitioners, but they simply didn't exist because nobody recorded a clip to show others the art he was practicing. Although there are many practitioners who spend their lives talking about the evils and perversions of the digital world, I personally believe that the influence in general of this large volume of global information is extremely positive for WingTsun and Martial Arts fans. Although there are many practitioners who spend their lives talking about the evils and perversions of the digital world, I personally believe that the influence in general of this large volume of global information is extremely positive for WingTsun and Martial Arts fans. Unfortunately, it's quite common that some teachers insist their students in the need of NOT SEEING what other schools do, even limiting their capacity to practice other systems or attend seminars of other masters with excuses that sound more like an attempt to retain them so that they DON'T THINK and keep doing as they are ordered. But they have access to the information world. Some students understand that doing everything, step by step, as their teacher taught them, is the best demonstration of respect they can give their ancestors. But perhaps at this point it would be more convenient ask oneself: why my teacher did it that way? Did he ever had any other option or he also copied the method of his master without questioning beyond reproducing literally what his master conveyed to him? I personally believe that the best option is to THINK! Think, analyze and evaluateâ&#x20AC;Ś This has been my proposal since I founded the TAOWS Academy, now just over three years ago, and I would like that thinking kept being our flag. I was very lucky to have a teacher who was able to analyze and develop a style based on
his conception of combat. I am sure about the benefits of what he taught me because I lived firsthand his ability to turn functional what apparently was not. Although when I decided to become independent of the associative structure I had belonged to for 17 years I decided it was essential to recover my link with the past, with the classic origin of the Wing Chun Kuen system. My intuition told me that in the OLD there were some of the keys that perhaps promoters of all the revolutions in the system were looking for. I decided it was time to thoroughly review the rules, techniques and tactics of the system since its origins. The curious thing (I mentioned this in several articles) is that the vast majority of people were seeking out of the style something that probably was inside. And now I'm very sure! Combat styles NEVER go out of fashion, NEVER become obsolete! All they need is a periodic adjustment or review of the training systems we use. This will return the so longed EFFECTIVENESS that all styles seek. The title of this month's column is THINKING is GOOD! I think in most cases, schools or branches are too focused on their own exercises, drills or work sections
â&#x20AC;&#x153;Combat styles NEVER go out of fashion, NEVER become obsolete! All they need is an periodic adjustment or review of the training systems we useâ&#x20AC;?
Wing Tsun trying to defend their benefits without making a brainstorming exercise. Any drill can be good (or bad), and what will define its goodness or not is if it will serve to provide the practitioner the intended skills with which it was developed. At this point is very important that we teachers explain to our students each and every one of the things we do and start treating practitioners as intelligent individuals. Let's scrutinize every detail to make them raise constantly DOUBTS and REFLECTIONS for the correct understanding of the drill and the objectives, in order to get reflective practitioners!! Reflection is the key to any development. In my opinion, all growth and technical development in the system is directly linked to the evolution of the school as a group. Sometimes I use a phrase that my master always told me: "You'll be as good as the best of your students ..." I think this is an absolutely fundamental point and it has always worried me in no small way. Provide the students with the ability to view, compare, analyze, study and discern between right and wrong. Understand the why of each item and where to use them. Recognize mistakes and learn from them. In short, turn an apparently routine job into the opposite: an intellectual activity where thought and constant analysis are part of the very ADN of practice. I'm sure about the goodness of this form of training as opposed to the old system of "shut up and do...” If we are able to provide our schools practitioners of this philosophy, we'll see the general level increasing in an exponential way. The more we train the better the results. And thus we will inexorably get to generate a dynamics that will make our art not only a good tool for self-defense or health, but also an EXCITING ART in its practice. Definitely... Thinking is Good! Sifu Salvador Sánchez TAOWS Academy
“In my opinion, all growth and technical development in the system is directly linked to the evolution of the school as a group. Sometimes I use a phrase that my master always told me: "You'll be as good as the best of your students ..."
Hwa Rang Do® Jok Sool (Kicking techniques) (MISSION STATEMENT OF THE WORLD HWA RANG DO® ASSOCIATION) HWA RANG DO®: A legacy of Loyalty, Relentlessly seeking Truth, Empowering Lives, Serving Humanity The Hwa Rang Do® Martial Art is famous because of the countless kicking techniques included in its syllabus. More than 300 different types of kicks are studied from the basic Tae Soo Do® applications (classic front, side and chop kicks) to the advanced Hwa Rang Do® flying and rotating kicks and the very advanced acrobatic and multiple kicks (against more than one opponent). The photo sequences show some practical applications. About the author: Hwa Rang Do® Head Instructor, Lieutenant Colonel of the Italian Military Police Force (Carabinieri) and Engineer Marco Mattiucci is the Chief of the Italian Branch of the World Hwa Rang Do® Association and one of the main followers of Grandmaster Taejoon Lee.
Keysi and competitive sports The Keysi by Justo DiĂŠguez method is a unique and innovative project because its roots stem from a world which is far away from the modern sports fighting scenario. We need to question what we believe correct in order to understand the street and the contact sport. We need to comprehend many things in what refers to the street; besides, in sports we know our opponent and we are aware of what we are going to face. The street doesn't give us that option; we need to develop a special attitude to be able to react in an instinctive way. This is where Keysi begins and develops. The purpose of this method is to provoke, seek challenges and call into question everything we think and what we believe we already know, and by doing this we are moving toward a world that exists beyond the limits of a "conditioned mind"; a place where, if we work with passion, we will discover our full potential.
We must free our mind New discoveries are only possible once the mind is released from the clutches of past conditioning. Such liberation brings along a new vision range, a panoramic and exciting view that exposes the mind toward a universe of creative thoughts, triggering all the reasoning behind the why we do what we do.
So this is our challenge; the releasing of the preset thinking process, if we are able to absorb this new information, and therefore express it and transmit it properly; only then we will be able to open new and amazing ways of development in this vast map that is our self, for ourselves and for the others.
A free mind is willing to learn? The Principle of Keysi is constantly active within the area of ??learning. This is a place without limits, a place where we can unite the creativity of the mind with the body.
Keysi Learning is something incredible, but we must be predisposed to it. Knowledge is the result of learning, but once we've learned something we need to be careful not to fall into the boring old-fashioned technicalities imposed on us by our mind. It is inherent to our human condition thinking that we always know best and we always have the answer to everything, and it's not like that; we should never prejudge something we havenâ&#x20AC;&#x2122;t seen before or of which don't have full knowledge. As soon as our mind says "That I know...â&#x20AC;? the learning process stops. The fact that learning stops is clearly detrimental to our personal growth and development as human beings. A conditioned mind, that is, a mind that is strongly influenced by the past, loses its ability to think freely. This process, called preconditioning prevents us to evolve in our learning; all we achieve is creating an illusion of self-deception, seeing what we want to see, and hearing to what we want to hear... Living in deception is not a good place to put down roots and takes us away from the goal we seek from the beginning of our existence: learning and evolving. When we are in this non-functional state of delusion, we walk blind and we travel in the opposite direction to the goal we seek. This conditioning process is our biggest barrier in our effort to reach beyond. Therefore, learning is not cumulative; we can't store learning as it occurs daily. We can only absorb if we stop, look and listen. "Easy to say, hard to do."
Free the mind. Sport-Street. Unfortunately in the real world, if someone intends to attack you on the street or in a
Keysi club, he will, as fast as possible, which means you have virtually no chance, especially if the attacker doesn't face you openly, while in a tournament you have everything structured, you have time to study your opponent; on the street you don't know who your attacker can be, or if there's one or more, have no doubt about it. We need to be open and willing to work hard and investigate all possibilities that underlie the vast labyrinth of the human mind.
Do you feel like a pioneer? Pioneers are often seen as strange people, crazy or insane, but without this type of people the world will simply stop evolving. So let's begin by questioning ourselves, only then we will improve; now concerning the struggle, we must constantly question what we do, and we must start with a thought. One way to understand the reality of the street, where the assailant, the Predator, becomes the Quarry, and the victim, the Quarry, becomes the Predator.
JACQUES LEVINET DEFENSE STICK Master Jacques Levinet's latest innovation CDJL DEFENSE STICK No need to introduce French Grand Master Jacques Levinet, who teaches worldwide his various methods of Self Pro Krav (for civilians) and Real Operational System (for police). The ingenuity demonstrated by this international expert has helped develop the methodology and the material of which is made the CDJL defense stick, now registered and certified. Playful and at once adapted to defense against an aggression in the street, the CDJL defense stick is available to a wide public, whether they play sports or not, regardless of age and physical condition. Thus, the trivial walking stick is transformed into CDJL, an awesome means to defend oneself against any type of physical aggression, thanks to its particular configuration and a methodology which stems from the operational tonfa techniques developed by the captain in strict compliance with the law. Budo International: What are the origins of the CDJL defense stick method? Master Jacques Levinet: Learning self defense today is one of the main concerns of many citizens around the world. In an attempt to achieve valid formulas, self defense experts have tried, with varying degrees of success, a lot of methods, often similar, while Martial Arts experts suggest, with more or less realism, the jutsu derived from their respective practices. Without going into details, we must admit that the two pillars of personal defense, knowledge and transmission, are not precisely the most striking feature of some, but there must be something for every taste, so that we can get a real idea of what we need. The well intended mental attitude of conciliation and dialogue in front of conflicts has its limits in some attacks that unfortunately today affect all people, young and old, women and children, athletes or not, regardless of the size of the victim and the aggressor. Thus a vital need was born for the 21st century man: that of defending himself. From these elements of reflection along with my triple experience as a former police captain, martial arts expert and trainer of the police,
came up to me the idea of ??developing an impressive self defense system that could serve everyone, respecting at the same time our democratic laws, and thatâ&#x20AC;&#x2122;s the CDJL defense stick method. This discipline emerged successfully from the start. To identify this method, the CDJL trade mark was registered in the National Institute of Industrial Property in order to protect both the methodology and the training materials. I decided to use the abbreviation CDJL for my creations, less as pretension than as a way to defend myself against copiers that use and abuse rather than inspire. Thus the expert will know how to distinguish the original from the copies. Whether in the directions for use, the purpose of the techniques or the training material configuration, this method has nothing to do with the combat sports methods (for example the combat cane in the French Boxing), or those of the Martial Arts (Hapkido, Kali, etc.). BI: What is the originality of the CDJL defense baton? JL: It mainly consists of the configuration of the materials and their use in a method of realistic self-defense. The CDJL is tested in the field and it focuses in the reality of attacks, leaving aside the superfluous in favor of the essential without any frills. The CDJL is accessible to everyone, regardless of age and physical condition, as required in Martial Arts or combat sports. For the practice with the CDJL, I had to rethink the regular walking stick, particularly due to its fragility and configuration. Thus the classical stick became a CDJL defense baton, without becoming a weapon, with a wider handle for limb gripping, a sharp peak at the end of the handle for the "Kyusho" pressure points, a length that facilitates both walking as defense, a resistant body to absorb any attack with heavy weapons (like a base ball bat) and flexible enough to multiply the strength of the response. Finally, a rubber tip cap to ensure responses and avoid slipping on the street. But drafting the CDJL defense stick was not enough to transform a walking stick into a device of outstanding defense. It was necessary to find a practical, simple and effective method. BI: What is the CDJL defense baton method?
JL: It articulates, from a specific program, on 5 key points namely: survival instinct, conditioned reflex, operative technique, self-defense and questioning. Security has been privileged with suitable protections, mobile shields, American gloves specially designed to prevent overheating of the hands during handling. A few guards and equipment were studied to provide maximum protection in the defenses, while multiplying the answering power. CDJL training suits with its logo were created, to ensure the cohesion of the group. Examinations were established to obtain the black belt and upper grades or CDJL Dan as well as the titles of instructor, chief instructor and
expert on Jacques Levinet Academy. It was perfected with an adapted pedagogy and a precise code of ethics to make CDJL a 21st century revolutionary anti-aggression method. BI: You've also developed the defense baton for therapeutic purposes? JL: Accessible to the public, regardless of age, sex or physical condition, the therapeutic CDJL is a method of great interest to both the elderly and the sick. Regardless of its effectiveness against aggression, it acts positively on the following eight points: Balance work. Fight against hardening of the joints. Fight against tremors. Fight against brain aging. Memory improvement. Socialization improvement. Sports for all. Motivation and fun. A stick therapeutic defense animator
training program has been developed to meet the needs of the elderly and sick people. BI: What is the future of the CDJL defense baton? JL: Taught now in many clubs in France and abroad, practitioners progress by grade validation (up to black belt and upper grades) and by teaching diploma through the registration number of the Jacques Levinet Academy as an organization of vocational training in the Ministry of Labor in France. Regarding the therapeutic defense baton, I teach now in France in a pilot clinic in the treatment of Alzheimer's disease, an initiative that has been pretty welcomed by the Ministry of Health. I travel everywhere in France and abroad to provide defense baton seminars and train instructors for the professional qualification recognized by our federation AJL. In conclusion, the defense baton method (CDJL) will delight anyone who wishes to defend himself or herself in an effective way without suffering the aggressor's contact. A new street self defense with no need of a prior physical development or any knowledge of martial arts or fighting sports, under the authority and the guide of a leading expert in the world of personal defense. Fédération Canne Défense (AJL) Tel.: +33 (0) 467 075 044 E-mail: email@example.com Sitio Web: www.cannedefense.com
Latosa-Escrima is a concept based system. In Latosa-Escrima the reality is that we cross train between all weapons including empty hands. The overall concepts is to demonstrate on method of thinking and strategy. The movements have to be similar and transitional, and not depending on the type of weapon used. This is the Filipino way, no rules or no barriers to prevent practioners from being limited. Everything goes when you have a situation that is critical and life threatening.
Karate Obviously, many are the important Karate masters who populate Japan in its various organizations, styles, etc. In this article, our collaborator Salvador Herrรกiz tells us about the one who we can consider nowadays the main master within the Japan Karate Federation. His major federative positions have been left behind and their sediment is distinguished by his mastery.
TORU ARAKAWA TOP MASTER OF JAPANESE KARATE FEDERATION Text and photos: Salvador Herrรกiz, 7th Dan
Toru Arakawa is undoubtedly the greatest current master today, not only of the Wado Kai, but also of the Japanese Karate Federation itself. It could be argued that most of Karate in the country of its origin operates outside the scope of the Federation, which is focused on the Karate sports-competitive aspects, as a member of the World Federation. In any case, it's worthwhile knowing this maximum Karate exponent. But before, let's do a bit of history to better understand his position in the JKF. Shortly after the establishment of the Japan Karate Federation in 1964, the highest ranks thereof were as follows: Ryoichi Sasakawa, 69 years old at the time and Honorary Karate 10th Dan. Hironori Ohtsuka, the founder of Wado style, who was 70 years old and a Member of the Grading Technical Committee of the Federation. With equal positions in that federative Committee was also Gogen Yamaguchi, of the Goju style, then 59 years old, and Manzo Iwata, Shito, aged 45 years. Completing the elite of highest federative degrees was Masatoshi Nakayama, Shotokan, who was then 52, and the Karate 8th Dan and
Above: Master Toru Arakawa in 1952. Right: A year before. Below: Important group of karateka in 1953.
Right: Arakawa Sensei in 1948. Below: Traditional group celebration in 1959.
Karate General of the Japan Self-Defense Forces Master Eichi Eriguchi, 53, and President of Wado Kai. At that time only one person held the rank of 9th Dan in the Japan Karate Federation: Fusajiro Takagi, a student of Gichin Funakoshi who later became the Executive Director of the Federation, as well as Secretary-General of the original WUKO. I had a good relationship with Fusajiro Takagi for a relatively long time and I met him in Tokyo two decades ago. Takagi also assisted me in various aspects of the report on the history of WUKO I wrote in 1991 for the official organ of the Spanish Federation of Karate and for the World Championships to be held in Granada a year later. A Kamikaze pilot during World War II, Fusajiro Takagi became involved in a financial scandal within the world organization that took him off the stage of the dome of Karate, and then he died in the mid 90s. After him, by 1988, 8th Dan holders, the highest degrees of the JKF, were a small group that included Seijiro Sakihama of Goju Kai, Toshio Watanabe of Shotokan, Kenei Mabuni, Sadachika Tsujikawa, Kenzo Mabuni and Kazuo Kokukun of Shito Kai, and Daichiro Aizawa, of Wado. Obviously, nowadays many others have high grades in the JKF, although just a handful of them (around the dozen) hold the 9th Dan, including the living and the dead. That group of veterans includes the following Shotokan masters: the above mentioned Fusajiro Takagi, Isao Fukui and Keiichi Hasumi, who was once Executive Director of the Federation. Among the Shito Kai mention should be made of the following major three highest ranks, the well-known Teruo Hayashi, Tokyo Hisatomi, President of Shito Kai for years, and Ken Sakio, Shito Kai Emeritus Chairman. Master Kenzo Uchiage, of Goju Kai, has enjoyed the maximum federative category. In regard with the Wado Ryu style, it must be said that it has always been very important within the JKF since it was created, and so remains to our day. Hironori Ohtsuka, the founder of the style, and his right hand Eiichi Eriguchi, were key pieces in the Federation, as we saw before. Then Master Hajimu Takashima, and our hero today, Master Toru Arakawa, both 9th Dan of the JKF, took over. As a student, the original intentions of the young Toru were devoting his life to mountaineering, for which reason, when the time came, decided to study at the University of Japan (Nihon University), known as Nichi Dai, specifically on the campus of Mishima, located about 150 km southwest of Tokyo.
Top right: Arakawa refereeing during the World Championship in Long Beach in 1975, together with Fusajiro Takagi, head of the Japan Karate Federation in the late 80s. Right: Wado Ryu Karate group, including in the first row big names as Hakoishi, Aiko Baba (Jiro Ohtsuka's wife), Nichihara, Suzuki, Aizawa, Arakawa or Kouma Suzuki. Below: Masters T. Suzuki, T. Arakawa and H. Takashima, during a demonstration in London in 1964.
Karate The place had a good reputation and it was known above all for organizing excursions that Arakawa seemed to like, some particularly attractive, like the North Pole, etc. However, Arakawa ended up succumbing to the appeal of Karate, in a university club established a relatively short time before, in 1946, whose team was captained by veteran Ohta, a 4th grader who later became a monk of high rank. Another student of the club was
Hiroshi Kinjo, who later would become a very prestigious Karate master and researcher. Despite not being the most veteran karateka, the Nichi Dai registration log was controlled by the later famed master Wakabayashi. The level of those Karate classes wasn't too high, as acknowledged by Master Arakawa himself, so instruction was practically restricted to basic technique (kihon) and combat, as traditionally, the
Japanese university clubs devoted much effort to the competition among them. Of course, Kata was also part of learning, though it was not their priority. Hironori Ohtsuka, founder of the style, paid regular visits to the Dai Nichi Karate club, as he used to do with other universities. Toru Arakawa, as a member of the Nichi Dai club, participated in a couple of occasions in the Kokan Geiko that the club organized with the other two universities in the area
Top: the founder of Wado Ryu, Hironori Ohtsuka in the late 70s, surrounded by important Karate exponents as Tatsuo Suzuki, Eiichi Eriguchi or Arakawa himself. Left: Arakawa sensei acting as uke for Suzuki sensei.
Great Masters of Shizuoka (the one simply known as Shizuoka, and the Tokai University, in the city of Shimizu). His apprenticeship also took him to the Kokan Geiko of the famous Takushoku University, in Tokyo, where his powerful Shotokan group shared training sessions with the Wado club of the Meiji University. Recognized masters like Tsutomu
Ohshima, who later would settle in Los Angeles (USA) to develop the style of Gichin Funakoshi, were in the training group. In fact, there is an often-told story that Arakawa, then 1st Dan, hit Oshima in the course of a fight with a powerful Sokuto Geri, side kick with the edge of the foot, whereupon the Wado karateka expected a strong revenge attack
that was avoided by the final "YamĂŠ" of Master Masatoshi Nakayama, ultimately responsible for Karate at Takushoku. Other Shotokan masters like Hidetaka Nishiyama or Taiji Kase, to mention the most experienced and known, also attended classes, although being older than Arakawa they didn't face him directly on the mat. But Arakawa did it with another
Right; Master Arakawa, head of the Japan Karate Federation, in 2008, alongside Eichi Hasumi, Vicepresident at the time.
Karate great master, Teruyuki Okazaki. From 1956 Toru Arakawa taught Karate in his own dojo, at the dawning of the first Rules of Competition, that started at clubs such as Meiji University Karate group and others, and to which Masatoshi Nakayama would later put in order. In the middle of the decade of the 50s, Hironori Ohtsuka needed a place to set his Hombu Dojo, and the opportunity came from the hand of Seigen Tanaka, a curious character. Tanaka had been an active communist twenty years earlier. Indeed his activities had even led her conservative mother to commit suicide with the ritual seppuku at the end of World War II. Ended the war, with such tragic family event, Seigen Tanaka set off under the tutelage of Genpo Yamamoto, known Zen monk in the Ryutaku-ji temple to whom he had met during some talks that the Zen master had given at the prison where Tanaka was detained for ten years for his activities. Yamamoto gave Tanaka a significant amount of money to deal with helping people through the company Sanko Kensetsu, which directed Tanaka. In a place of its facilities, in the district of Tsukiji,
Ohtsuka set his Wado Ryu Hombu Dojo, which why it was known as Sanko Dojo. Even so, Tanaka can't be considered a pupil of Ohtsuka but simply as an acquaintance and organizer of demonstrations for the founder master in the middle of that decade. Thus Toru Arakawa became friendly with Seigen Tanaka, although the one who actually had a close relationship with Tanaka was Tatsuo Suzuki, who certainly would become a great practitioner of Zen, thanks to Tanaka, who introduced him in the environment of Gempo Yamamoto. Tatsuo Suzuki used to escort that risky character as his body guard. One day, Suzuki had other important duties in Hamamatsu, and it was Toru Arakawa who escorted of Tanaka, and that would take him to live a very dangerous and disturbing episode. Indeed, it happened in 1963, when Arakawa, along with Tanaka and another friend attended a meeting in Tokyo; all of a sudden, an individual, presumably a member of the Yakuza, attacked Tanaka and shot him repeatedly wounding him in various parts of his body. Then the attacker tried to also shoot Arakawa, to whom he surely mistook for a
gangster, as the Karate master has maintained. The failure of the gun saved Arakawa, who seized as he could the wrongdoer with the help of a policeman, incidentally a judoka, who arrived on the scene quickly, since the area was very close to the Imperial Theatre where the emperor was attending an event, and it was heavily monitored. Incidentally, the first person who called Toru Arakawa, after the events, was Masafumi Shiomitsu, also an important Wado Ryu karateka. It seems that an antidrug campaign organized by Tanaka and supported by union leaders as Taoka, etc., had angered some mobsters in Osaka,
Left: Toru Arakawa at the Tokyo Nippon Budokan in 2008, along with Masafumi Shiomitsu and the author, Salvador Herraiz. Top: Arakawa sensei honored as Grand Master of Budo in Japan.
Karate who ordered such drastic action. According to Suzuki, Tanaka's surgical operation after the shooting was carried out without the necessary anesthesia, given the lack of effect thereof, while the patient was seeing the whole intervention in a mirror in the ceiling. Seigen Tanaka would be an important piece in the Karate of Tatsuo Suzuki, to whom he greatly helped, first in Japan and later abroad. Shortly after so unpleasant event, Toru Arakawa was requested to participate, along with Tatsuo Suzuki, on a tour designed by Hajimu Takashima that would take both Wado Ryu karateka to Denmark and from there to various other places in Europe and North America, a very expensive project that was carried out since March 1964. In Rome a curious fact occurred to the Karate masters. One day the three masters Takashima, Arakawa and Suzuki, exited their hotel to exercise outdoors doing some jogging. And they did it without paying much attention, or rather no attention at all,
to the direction they were heading, and finally, Tatsuo Suzuki, who seemingly had taken the lead, found himself alone and far away from his mates without knowing how to go back to the hotel. After many adventures, including asking for help at the Consulate of Japan, Suzuki finally managed to return to his hotel several hours later than planned. There he discovered with amazement that his teammates have already left with the rest of the group of Japanese that made the expedition. When he finally got to meet them, his anger was apparent, so much so that in their next destination, Milan, Suzuki decided, during the relevant demonstration of Karate, to spar with Arakawa, a fight that turned stronger than it should, where he tried to vent his anger against him by the waiting. After the Italian cities, the journey continued towards Copenhagen, through the newly opened tunnel under the Swiss Alps, and then down to Spain, which was not charted but they decide to visit for pleasure. Later, their itinerary took them to
London and Glasgow, before jumping across the Atlantic and arriving in New York, where they began a US tour. A year earlier, during the World Wrestling Championship held in Yokohama, they had met the coach of the USA team, so in this trip, they contacted him and that made easier for them their stay in the United States. During the American tour, the Wado Ryu Japanese team carried out around fifty Karate demonstrations. In one of these, precisely in the "Big Apple", Tatsuo Suzuki got injured when making a double kick that Toru Arakawa had failed in his first attempt, and that he tried out of respect for the many spectators. Due to the injury, which put down Suzuki for three days unable to move with very hurt hip, Arakawa and Takashima assumed the responsibility of completing the demonstrations in the area. The federal capital, Washington, would be their next destination, where the Japanese Karate team would enjoy the help and hospitality of Master
Great Masters Jhon Rhee, considered the "father of Taekwondo in America." Florida would be the ultimate objective of the East Coast before jumping to sunny California. In Los Angeles, on the other side of the country, the Wado Ryu Karate masters had to be "rescued" because of their lack of money, by Master Tsutomu Oshima. Years ago, during a visit I made to Master Oshima in Los Angeles, we remembered all this although ... It's been a few years from that meeting, as I remember it was in the old dojo that Oshima had in downtown Los Angeles, before settling in the beautiful place they later built in the hills of Santa Barbara. Tatsuo Suzuki maintained that he had been offered to stay in Los Angeles to teach Karate, but the competitiveness that would have been created between him and Oshima made him discard the possibility. A brother of a Wado Ryu fellow in Japan (the veteran Niwa, of the Meiji University club) who was living and working in Los Angeles at that time also gave them support. San Francisco, place of residence of Yoshiaki Ajari (Meiji University), and the Hawaiian Islands, where the karateka Hirano lived, would also be destinations of this tour of Arakawa and his Wado Ryu companions, an important and unforgettable tour that ended at its point of origin: Japan. As years went by, Toru Arakawa was becoming gradually a key piece of Wado Ryu in Japan, clearly sympathizing with the competitive sports facet of Karate and becoming highly valued and respected also by masters and karate practitioners in general from other styles of Karate. The 1970 Karate Wo r l d Championship was held in Tokyo. By that time, Arakawa enjoyed great prestige and a recognized name. In 1977, Tokyo repeated the status of the World Championships hosting city, held in December with
the participation of 47 countries. In the previous Congress, Sasakawa p re s i d e d W U K O , F re n c h m a n Jacques Delcourt directed it and Eichi Eriguchi was the Secretary General. Masters like Masayuki Hisataka (years later leader of another major Karate organization) and Saadaki Sakagami (son of the c re a t o r o f I t o s u K a i ) w e re , alongside others, the leading members. Arbitration was highly controversial. The American Jerry Thomson became a key part of the global arbitration. The Referees Committee was formed by him, Eichi Wakabayashi, Frank Nowak, t h e C o m i t e e C h a i r m a n Te r u o Hayashi, his assistant Max L. Vichet (also Wado Ryu) and our protagonist, Toru Arakawa, who kept climbing up in the world organization. Shortly before the beginning of the 80s, the direction of Wado Kai wanted to remove the founder master to a purely honorary place with no real decision-making power. This annoyed his most loyal followers led by the masters Hitoshi Yamashita, Fumihiro Tanabe, Kenichi Horiguchi, Daichiro Aizawa and Ohtsuka's son, Jiro. On the part of Wado Kai, Toru Arakawa aligned himself with that more practical group, along with Katsumi Hakoishi, Takaichi Mano and Kengo Sugiura, and supported by others as Shunshuke Yanagida, Mizuho Ashihara... The issue came before the court for lack of agreement, but given the slowness of Justice, the Ohtsuka family decided to create a new organization. Thus the Japanese Wado was divided into two large groups and Wado Ryu Karatedo Renmei was born. When in the mid-80s, the Japanese Federation, together with the World Federation, then called WUKO (World United Karate Organization ) decided to choose just a couple of kata of only major Karate styles to be used
in tournaments, Arakawa took a determining role. Wado was of course one of the four major schools, along with Shotokan, Shito and Goju, and the kata chosen on the part of the style founded by Ohtsuka were Seishan and Chinto. Toru Arakawa, in addition to teaching courses about these kata for different masters, came to star in the book and the video that the Japan Federation performed as a guide for this unification. Among the pupils of Arakawa Sensei, there are renown characters in the Japanese Karate, such as the champions of the 80s Hisao Murase, Toshiaki Maeda and Seiji Nishimura and later Y. Suzuki and K. Hayashi. At the turn of the new century the master left certain important positions he had held in recent years. The technical heads of the World Karate Federation and AUKO (its Asian continental organization) changed. Master Tsuyama took over the presidency of the World Technical Committee, while Pesik got in charge the Asian mainland, replacing the Master Arakawa. As for the Wado Kai (in the breast of the Japanese Federation), after Eriguchi in the forefront, others occupied the Presidency, including Hideo Boh, former Finance Minister of Japan, who retained his position as Chairman until his death on August 8, 1990. After him came Ryutaro Hashimoto, who held the post until he resigned, on April 14, 1996; then Eiichi Eriguchi retook the reins of the organization until his death in 2003. More recently, Kengo Sugiura, Yoshito Kondo and Motoi Ogura have also chaired the organization. Toru Arakawa, our protagonist today, has worked hard and to good effect as Technical Advisor of the Wado Kai (which has about 850,000 members, of which over 190,000 are black belts), and remains Chairman of the Technical Committee.
JET LI, THE POWER OF DETERMINATION Many years after starring in his first Martial Arts movie, Jet Li has been recognized worldwide as one of the leading figures of the genre of action films, one of the few actors who triumphed in both East and West, but his road to success hasn't been fast nor easy, being the fruit of many years of sacrifice and hard training. Only when you know his history, you understand why he has ranked high in the film-making world.
Text and Photos: Pedro Conde
et Li was born on April 26, 1963 in Beijing (Peking). His real name is Li Lianjie in Mandarin, and Lei Lin-Git in Cantonese (Lee Lin-Kit). At two years old he lost his father, for some he is one of the most extraordinary cases of child prodigy of the Martial Arts, although in his infancy nobody could have predicted that he would become a great champion of Wushu: "Many people ask me if I was sent to practice Wushu for being a naughty and undisciplined child. Not at all, I was just the opposite. In fact, I was a model of obedience. The rebelliousness was manifested later ... Yes; I really was a good boy. My mother, my two sisters and my two older brothers were my family. I was the youngest. My father died when I was two years old, so I've never been able to recreate his image in my mind. As I was younger, my mother never let me go swimming or cycling. Any risk activity, any type of exercise that involved the least danger, was banned for me. So while the kids my age were playing in the
street, the docile little boy stayed playing at home." The death of his father made his mother become overprotective with him. At age 8 he began practicing Wushu by chance in a summer school; by a quirk of fate he found the Martial Art that was to change his life. "I started training Wushu during the summer of 1971. We had just started a month of school holidays and the authorities didn't want unruly children on the streets; at that time, politicians had begun to introduce what today is called Beijing School Sports and Exercise (school, sports and the application of Beijing). Several groups were then arbitrarily created: Class 1, Group 1 was assigned gymnastics; Class 1, Group 2, swimming; Class 1, Group 3, football; Class 1, Group 4, Wushu, to which I belonged. I had no idea what it was, none of my companions had, but the teacher told us we had to practice this activity and we were forced to do it"...
In this summer course he stood out for his talent for the art, being selected as a member of the Beijing Wushu Team to participate in the sporting event "All China Games". "I was nine when I started preparing myself to participate in my first tournament. In fact, it was the first competition of Wushu nationally celebrated in China since the Cultural Revolution. Technically, there was no rank or level; it wasn't the typical competition, but a great demonstration or exhibition, although a prize would be given to the best technique or execution of the form, so there many were great athletes of China, who had moved from
â&#x20AC;&#x153;I started training Wushu during the summer of 1971â&#x20AC;?
every part of the country to attend the event. The championship was held in Jinan, capital of Shandong Province. It was the first time that I left my home, the first time in my life that I came out of the walls of Beijing. I remember being very excited by the prospect of taking the train. My mother was very worried because her "baby" was going so far away from home... The morning of my departure, she burst into tears. This terrified me and she told me not to go. But this wasn't possible; I couldn't give up without a good cause, so I went to Jinan and finally won the "championship". Back in Beijing, I received a notice informing me that from that moment I should devote more time to training Wushu, I would only go to school in the morning. For me, it was perfect.
What kid wouldn't love to see reduced the number of his classes in half? " In 1974, he joined the Professional Beijing Wushu team and was excused from attending school classes. He lived at the Institute of Physical Education and only went home on weekends, when everybody was resting he used to go out in the courtyard and practice until midnight. All that effort paid off; that same year he participated in the National Wushu Championships in which he earned the title of Absolute Champion of China in the youth category.
The Professional Beijing Wushu team followed a Spartan training. Every morning at 6:00 a.m., they were raised from their beds and in less than three minutes they had to be lined up in formation in the center field. After an hour and a half of practice, they bathed and took a light breakfast. At 8:30, they went back to practice until approximately 12:00. After lunch they could rest until after dinner, but at 7:30 p.m. started another training session of three hours. They usually trained for eight hours a day and sometimes their
rest was interrupted because they had to make some exhibition for a group of tourists. A successful stage, but also a very tough one, as Li recalls: "I had to train up to 10 hours a day with exercises to develop a good muscle quality, strength, flexibility, agility and precise and quick reflexes (...). Anyone who had the ambition of becoming a professional athlete should begin intensive training before 13 years of age. After 15, reaching the podium is
not impossible, but it is much more difficult. " So much effort had its reward, the following years he would win all the tournaments in which he participated, thus becoming one of the legends of Wushu in China. In 1979, Li won a special award for Honor to the Merit in first grade of the city of Beijing. In 1983, he was awarded the Sports Honor medal nationwide. But Li has never let himself be blinded by success and, as usual, behind every champion there is a great master. In the case of Jet Li, the master was Si-Fu Wu Bin, member of the Chinese Wushu Society, vice president of the Beijing Wushu Association and Director of the Technical Training and the Research Section of the Chinese Institute of Wushu. After graduation from the Institute of Physical Education in Beijing in 1963, Wu Bin took over as coach of the Beijing Wushu team. During his
career he gave a strong impetus to the Wushu tournaments with a long series of national championships, where he won numerous awards in recognition of his excellent work. He has a large number of champions and celebrated pupils, as is the case of the film star Donnie Yen and, of course, Jet Li, who despite so many triumphs and laurels, never forgot the master that led him to success... "I am recognized as a champion of Wushu in China and in the West. But every time I take a retrospective look backwards, I feel that I owe it all to my instructors, particularly to my master Wu Bin, who taught me Wu Shu since I was eight and led me across the road to success. "Never stop halfway," I'm not a prodigy as stated in some newspapers and magazines, and that bothered me. Like everyone, I have been surrounded by many problems during my training and at times I
Martial Cinema thought about quitting. It was my coach Wu Bin who helped me not to leave and encouraged me to not give up. He will stay in my heart forever for his patience to guide me throughout this journey. I remember I had a serious injury in my kneecap in 1972 and I had to rest in bed. With tears in her eyes, my mother convinced me to stop training. My mother told me: "Look, little Jie, to practice Wu Shu you need extra nutrition. But we simply can't afford these expenses, and it costs your trainer dearly sending you food regularly, so I think it would be better that you stop training". I was very saddened with my mother's words, but I didn't want to make her unhappy, so I accepted. And when my coach came to see me, I took courage and told him; "You have been very generous with me and I will never forget. But I do not want to practice Wushu any more". There was no answer; obviously my words left him paralyzed. I stared at him and his face conveyed disappointment and pallor. "I know you're an ambitious young man, but if you don't want to keep training, I respect your decision, I hope that, whatever you do in the future, you are brave and not a coward". After
exchanging a few words with my mother, he turned and left without looking at me. His words affected me and touched my heart, I felt terribly sorry for what I had said. When I recovered, I went to the gym. My instructor, of course, was proud of seeing me back, but his face didn't betray his true feelings. With an "Are you okay?â&#x20AC;? he sent me with my teammates, who gave me a warm welcome. After that incident, I came to understand that you shouldn't leave things by halves. From then on I practiced very hard. What my colleagues used to do once in our training sessions, I did it twice. To maximize my time, I trained even on Sundays, while others rested. My coach didn't seem to appreciate my efforts. He was always generous and patient when explaining the essence of the movements to my teammates and corrected them when they did wrong. And when they looked very tired, he sent them to rest. However, he seemed to be someone else when he addressed me. He often told me: "Do you think is the right move? How is it possible that training more, you do it worse?" To be honest, I didn't like the way he treated me. But now I understand he did it all for my own good. He applied
me a rigorous training method called "a large drum should be hit by a heavy sledgehammerâ&#x20AC;?.... Si-Fu Wu Bin not only taught him Wushu; apart from that, he also gave him many lessons about life. Among the many anecdotes that exist on this issue, it's worth highlighting the following: "Once when I was a child, my mother gave me five Yuan before leaving for the national Wushu tournament. I never had had so much money. "Now I don't need to beg my colleagues to buy me an ice cream", I told myself happy. Just before reaching the destination, I realized that my money had disappeared, the competition started and I had no time to look for it. In the tournament I scored with a triplet in the two optional categories and one compulsory. Without a word of greeting, Wu Bin took me aside and put in my hand the five Yuan saying: 'Here's your money. I know your family is not well off so I stored them for you. Now that you've won three medals, don't get excited squandering your money'. Those words made me think, and I only spent 49 fen to buy some pencils with the emblem of the tournament. When I got back home, I returned the rest of the money to my mother and told her the story. 'With such a wise master, I need not worry wherever you go with him', she said." At 17, Jet Li had won fifteen gold medals and a silver medal in the Chinese Wushu Championship, where, despite his young age, he competed against adults. In 1974, at the age of eleven, he became a legend by winning the title of National Wushu Champion. In the next five years, he got four more times the national title and he retired undefeated in 1979, being 17 years old. He had already achieved everything; however something was still missing to reach the category of master.... "At the age of sixteen, I became interested in philosophy. Why? Well, I found all these medals I won in various Wushu Championships. People considered me "the champion of all categories of Wushuâ&#x20AC;?. My compatriots, when talking about me, commented: "He deserves it." Then I was assaulted by the thought that I had to honor my title. If I really had the intention of being worthy of such awards, I had to know everything, and to achieve that I just had to fill my "voids". As soon as I started researching I realized I knew nothing at all. There were too many things that I ignored, so I said to myself: "I am not worthy of standing in the position that I occupy. I was aware that there was something very important that still dominated. Instead of simply continuing to practice, I asked myself the question: How I can achieve full knowledge of Wushu? Actually, there are only two main branches: the external and the internal schools. As soon as we begin to delve into details, we observe that each style has its own theory. And while we stubbornly study the theory of each style
from its origins, we understand that we begin by training our body and in the course of time, we discover that we also do it with the mind. It is important to understand how the two coexist in the same art. The prettiest flowers can bloom beautifully in a short time, but in a few days will wither and die. Nothing is perfect or eternal. This is something of the idiosyncrasies of Chinese culture: if perfection was of this world, Taiji wouldn't exist. For every positive aspect there is a negative point and vice versa. It's balance"... When he was immersed in these investigations he was chosen by Zhang Xinyan, of the Great Wall Film Studio Company Limited to star in a film that would be shot in the very temple of Shaolin, with a large number of teachers and martial arts experts participating. The film would be entitled "The Shaolin fighters" (82), a blockbuster first to China and then throughout Southeast Asia, including a difficult and competitive market as Hong Kong. The champion had become a film star, when Wu Bin again would give a great lesson ... "When the film Shaolin Temple succeeded, some people said: 'Now that Li Lianjie is a star, his instructor Wu Bin will become a celebrity too'. With the success of the film, many people came to my house to congratulate me, but Wu Bin, who used to come very often to our house to bring the food that he bought especially for me, didn't show up. My grandfather and my mother wondered why he didn't come. One day he suddenly appeared. 'Your family is in better economic circumstances, and I don't have to worry for you anymore. Besides, you have a lot of people visiting you and I don't want to be a burden anymore. But if there is anything I can do for you, just let me know'. He shook my hand and left. I stood in the doorway unable to utter a word. I knew he was happy for my success, as my instructor, he also earned fame and he was offered some things, yet he rejected them all. That way, he gave me another lesson, he taught me to consider: What should be your attitude in front of fame?" Given the commercial success of "Shaolin temple", it had two sequels also starring him: "Kid from Shaolin" (84) and "Martial Arts of Shaolin" (86). In 1987, Li married "Huang Qiuyan", a teammate of the Beijing Wushu team and co-star in "Kids from Shaolin", who came from a wealthy family. That was a marriage of convenience, and with it, his family never would have again economic problems. Two daughters were born of that marriage: Si and Taimi. In 1988 he participated in two biographical documentaries: "Dragons of the Orient" and "Shao Lin
Hai Deng da shi". He was also involved in a very personal project to direct "Born to defence" in which he starred, and ended in a real fiasco. Jet Li never again performed the duties of Director... In 1989 he rolled "Dragon fight," his first production in Hong Kong, in which he met the Taiwanese actress Nina Li Chi, Miss Asia Pacific. During filming the spark of love was kindled between them. The film didn't achieve the expected success, although everyone agreed that Jet Li had great potential; all he needed was the right film to show his talent. In 1990 he divorced "Huang Qiuyan" and asked Nina Li Chi to wait 10 years to get married. The following year came his big chance, Li reappeared with two of the most outstanding professionals of martial action: the director Tsui Hark, the King Midas of the Hong Kong cinema, and choreographer Yuen Woo Ping, who had launched Jackie Chan to fame with "Snake in Eagle's Shadow" and "Drunken Monkey". They filmed together what is now a great classic: "Once Upon a Time in China". The success was overwhelming, and it came to refreshing the genre of classic Kung fu in the East. Thus, during the following years countless films followed, among which the five sequels to "Once Upon a Time in China", "Fist of Legend", "Dr. Wai" or "Black Mask", and so on to complete more than twenty titles. In the late 90s, Jet Li had already established himself as the martial actor best appreciated in the East after Jackie Chan. But the American film market, and by extension the world's, still resisted him. The opportunity came when a sudden interest in the Hong Kong action
Martial Cinema cinema arose in Hollywood, and Columbia Pictures proposed him to participate in five big-budget American filmsâ&#x20AC;Ś provided that his first participation was as a villain in the movie "Lethal Weapon 4" (98). However this opportunity was highly risky for Jet Li; in fact, it had been first proposed to Jackie Chan, who he had dismissed the project because he didn't want to change his registration as a hero. This was also the case with Jet Li, who since he his beginning in the film industry had always embodied the protagonist hero, so playing the secondary villain posed a real humbling one the one hand, and a whole fireproof, on the other, because for a good start, being an acceptable villain was not enough, he had to be an outstanding villain, all the more so given that he was going to be surrounded by actors such as Mel Gibson, Danny Glover and Joe Pesci. He accepted the challenge and he performed excellent, so Western critics were unanimous in stressing the charismatic performance of the "East villain" of the film. His performance was so convincing that offers for villain roles started to rain down on him right away, but Li, with great intelligence, rejected them:
"I could play the villain and change my image of positive and good hero, many people advised me to do it, and it would be a challenge I find interesting. But that wouldn't please my audience in Asia, which is used to seeing me always in the role of hero, and the contrary might disappoint them. " In 1999 he married Nina Li Chi, and the following year his daughter Jane was born. His next role in a Hollywood production was a superhero in "Romeo Must Die" (2000), a film that was a huge box office success, thanks largely to its clever mix of oriental style (fancy fighting with cables, "Matrix" type) and western style (the rhythm of the best Hip-Hop). Among those that never saw the light, it stands out the co-star of a film format remake of the popular TV series "The Green Hornet", in which he would have played Kato, the role played by Bruce Lee in the 60s. He also rejected main role in the Oscar-winning "Crouching Tiger, Hidden Dragon" (which eventually starred Chow Yun Fat) because he had just had a daughter, which kept him away from the film set for nearly a year. Neither had he agreed to participate in
Martial Cinema "Matrix 2", as producers were not willing to pay the $ 14 million that Li asked for it. "Romeo Must Die" was followed by "Kiss of the Dragon" with an actress of the likes of Bridget Fonda, a director such as the French Luc Besson and a script stronger than usual in the genre. In this film, shot in Paris, cabled flights were replaced with realistic martial action. It was followed by "The One" a science fiction martial film in which Li faces his toughest enemy: himself, or an almost exact replica from a parallel universe. A movie with some Matrix aftertaste. In 2002 he returned to Asia to film "Hero", a drama directed by renowned Chinese director Zhang Yi Mou ("Raise the Red Lantern," "Red Sorghum"). That year the household had their second daughter Jada.
In 2003, he filmed "Born to die", co-starring with the popular rapper DMX and the presence of other foot-fists "wunderkind" Marc Dacascos. An action thriller with gangs and terrorists. Jet Li was one of the many thousands affected by the Indian Ocean tsunami that took place on December 26, 2004. He was surprised by the wave when he was on a beach in the Maldives; he only had time to grab his 4 year old daughter Jane and the nanny who was holding his 2 year old little daughter Jada. Amid the disaster, a piece of furniture swept away by the flood wounded him in the leg. For a time he was in the lists of missing people and numerous media outlets came to report that he had died during the disaster. That marked him greatly, all survivors had helped one another, regardless of status, there were just people helping people... This fact made him reflect on many issues: If he had saved his life, was due to some cause? That made him get even closer to his Buddhist religion, considering leaving his career to devote himself exclusively to helping others. If he didn't do it was because his guide, Master LHO Kunsang, of the Drikung Kagyu lineage of the Kagyu School, convinced him to combine both things at once. Because of what had happened, Jet Li decided to take a sabbatical year. In 2005 was released "Danny the Dog", in which, apart from fighting, he also insisted in interpreting, and this was not easy because he shared the screen with Morgan Freeman and Bob Hoskins. Questo gli ha fatto riflettere su molte questioni: se aveva salvato la sua vita, era dovuto a qualche causa? Questo l'ha portato ancora piĂš vicino alla sua religione buddista, pensando di lasciare la sua carriera per dedicarsi esclusivamente ad aiutare gli altri, ma non l'ha fatto perchĂŠ la sua guida, il Maestro LHO Kunsang, del lignaggio Kagyu Drikung della scuola Kagyu, lo convinse a combinare entrambe le cose in una volta.
A causa di quello che era successo, Jet Li ha deciso di prendere un anno sabbatico. Nel 2005 Ă¨ stato rilasciato il film "Danny the Dog", in cui, oltre a combattere, ha anche insistito nell'interpretazione, e questo non Ă¨ stato facile, perchĂŠ ha condiviso lo schermo con Morgan Freeman e Bob Hoskins. In 2006 he rolled "Fearless", whose box office income, around 500,000 yuan (62,500 US $), he donated to a project that promotes mental health, for which he was awarded the distinction of "Philanthropic Ambassador" of the Red Cross Society of China. In 2007 he returned to share the stage with Jason Statham in "The murderer". He also made headlines this year for being the highest paid Chinese actor in the history of film, collecting 100 million yen (over 9 million Euros) for his work on the epic blockbuster "The Warlords". That helped him to revalidate the title he already held for his role in "Hero" of Zhang Yimou, that was nominated for an Academy Award to the Best Foreign Language Film, and for which he collected 70 million yen. In 2006 he rolled "Fearless", whose box office income, around 500,000 yuan (62,500 US $), he donated to a project that promotes mental health, for which he was awarded the distinction of "Philanthropic Ambassador" of the Red Cross Society of China. In 2007 he returned to share the stage with Jason Statham in "The murderer". He also made headlines this year for being the highest paid Chinese actor in the history of film, collecting 100 million yen (almost 10 million dollars) for his work on the epic blockbuster "The Warlords". That helped him to revalidate the title he already held for his role in "Hero" of Zhang Yimou, that was nominated for an Academy Award to the Best Foreign Language Film, and for which he was paid 70 million yen. In 2008, public in general and martial arts fans in particular could finally see on the screen the two biggest superstars in Southeast Asia, Jackie Chan and Jet Li
together in a Hollywood production, face to face in an epic battle in "The Forbidden Kingdom". The film initially disappoint many, but over time it has been gaining ... That year Jet Li participated in another Hollywood blockbuster, for the second time in his career he would play the villain in "The Mummy III, Tomb of the Emperor Dragon", where he coincided with the southeast Asian action cinema queen, Michelle Yeoh. On June 16, 2009, Jet Li acquired Singaporean nationality. Nearly a month later, on July 28, he created the Jet Li Charity Foundation, and through it he has been donating large sums of money and organizing events to raise it in order to help the needy. After the accident of the tsunami, Jet Li hadn't stopped thinking about what to do to help others, so he launched his own program of gymnastics, which he called "Wuji", and which is a compendium of martial arts, yoga and Pilates. In recent years he has appeared in various Asian productions, and in the West we have had the opportunity to see him with all the "tough guys" of Hollywood in the saga of "the mercenaries". If a 5 feet 7inches oriental guy appears in that saga, there must be a reason... perhaps it's because everyone recognizes that despite his size he is a martial hero, although, according to his own statements, he doesn't consider himself so: "A weapon destroys years of martial arts training in a split second. Like I've said many times, it is important to distinguish between film and reality. A movie hero may be able to make fall down the gun from his opponent, but in real life he probably can't do it". In these statements he also added: "I've never had to use Martial Arts in real life, you should think about things peacefully and if necessary call the police, but never use violence." Jet Li is a person of great simplicity and humility, who has nothing to do with some of his Hollywood fellows: "If I am where I am is because I've been lucky, not because I am a genius. I am an ordinary person. I don't want to be mistaken with the heroes of my films." Curious statements of a superstar of Martial Arts cinema, a Wushu champion. It is obvious that for years he's been in the path of knowledge and Buddhism... and while he achieves perfection, let us hope we can continue to enjoy his martial skills on the screen.
â&#x20AC;&#x153;If I am where I am is because I've been lucky, not because I am a genius. I am an ordinary person. I don't want to be mistaken with the heroes of my films.â&#x20AC;?
The term “Self Defense” has a negative connotation that from the start can yield failure for the user. The problem is that this label already portrays in the mindset that the individual is a victim of a violent act or aggression and that the practitioner should perform a defensive action. This premise of acting after the fact is why most people succumb to the aggressors’ actions and never fully recover from the initial attack or fear inducing situation. The Woman must not become defensive; she must be aware of her situation and not dismiss or ignore possible threat. She must become proactive and gain the initiative and momentum while forcing confusion in the attackers’ mindset to have a possibility of advantage. Kyusho Self Protection is a vital training process that deals in the realities of an attack. It is simple yet powerful training process that enables the smaller, weaker, slower or older less aggressive individual a chance against the larger, stronger, more aggressive and potentially crazy attacker. By using the weaker anatomical targets of the body in conjunction with your own natural body actions and tendencies you can easily protect yourself or others, even under the stress and physical limitations when your adrenaline kicks in. And by working in a stepped and progressive manner with your own gross motor skills (instead of someone else’s techniques), your chances victory are eminent. And by working in a stepped and progressive manner with your own gross motor skills (instead of someone else’s techniques), your chances victory are eminent.
REF.: • KYUSHO-21
Especially Masters and Grandmasters of the traditional Martial Arts' world will probably agree when I say that really good things always take time. Indeed talent or individual preconditions can influence a student's career in the Martial Arts. However, nobody is born a master and there has never been a shortcut for anybody. This does not only apply to students but also to many other things. The history of my own school is a case in point. For over 20 years now the KUNG FU SCHOOL MARTIN SEWER has been following the aims of Grandmaster Chiu Chi Ling, which also became my aims after having been chosen as his eventual successor. These aims are firstly to make the original Hung Gar Kung Fu available to as many people as possible and secondly to sustain both the quality and the style. The school, which started out as one single school, has developed into the largest purely traditional Kung Fu school in Switzerland.
ut again, it has taken well over 20 years. The same goes for all the projects that I have been pursuing with my instructors. One of those many projects that is particularly worth mentioning is for example the Shaolin Masters tournament. This project is not only noteworthy because of its development but also because of its nature. As it is well known, it has always been important to the world of the traditional Martial Arts to organise tournaments, at which one exchanges ideas, gives news, and competes in various disciplines of the martial art. This was also the main idea of the Shaolin Masters tournament. In its very early stages it was set up as a small tournament for children. The children, who were already very nervous back then, demonstrated what they had learnt in class and performed their forms to the newly trained referees. The event proved to be successful, the following referees gained experience, and thus a new category could be introduced: the Kids Push Hands. The new category allowed the young students to compete against each other physically and to apply simplified techniques of the Hung Gar Kung Fu system; one might say, a kind of fighting category for children. This category also rapidly turned out to be a success and got inextricably linked to the registration for the forms category. This way, one could prevent the possibility that someone would merely show up for the fighting category. Why is that? At the KUNG FU SCHOOL MARTIN SEWER good character, practice and skills come before the actual man-to-man fighting. The tournament kept developing, took place as many times as 14 or even 15 times and grew with each time. It got to the point where, together with my instructors, I decided to open the tournament to older students. At the beginning it was for students up to the age of 18, and then shortly after
there was no age limit. The feedback of the students, of the participants and of the audience was very positive, and it became clear where the Shaolin Masters tournament was heading. The new category, which was introduced in the last two years, deserves a special mention; it is that of fighting for adult students. Or as we call it the “Lei Tai” category. Lei Tai means “high stage” and stands for the stage, on which the fighting takes place. In our case it is full contact fighting. In the past, the stage, on the one hand, was meant for the audience to see better, and on the other hand, for the loser or the fighter to fall from the stage so as to really die, may it be due to the high fall or due to the weapons and halberds around the stage, which had been set up for that purpose. Today at “Lai Tai” we use a stage that is 0 to 1 meter high, on which, fortunately, nobody is to die. Of course there are clear rules, but the fighters always give their very best. The greatest moment at the Shaolin Masters is when, after a fierce fight on stage, the Lei Tai fighters fall into each other's arms and congratulate each other no matter who won the fight. As master of these students, it is this moment that makes me very proud. So, the attentive reader can see that the Shaolin Masters is very much a success story within the success story, which is by no means over yet. After all, the 19th tournament took place this year and many more are in planning. Speaking of planning: my Sifu (master) Kung Fu legend Dr. Chiu Chi Ling himself has inspired me to introduce a new category. A category which should allow the students to use real Hung Gar skills in fighting. So far my students have demonstrated this kind of fighting. I can say, it really does look as sensational as Lai Tai fighting. Oh, and without protective gear :)
KRAV MAGA RED, A MODERN DISCIPLINE IN FULL EXPANSION The concept of Krav Maga Recherche, Évolution et Développement (Research, Evolution and Development) began to be encoded by its founders in the years 2003-2005 and finally, after numerous tests, saw officially the light in 2013 in its current form. A concept of "self defense" for
civilians and "Pro" for the security trades, which is mainly based on the latest developments of Krav Maga and combat sports, and leans also on the direct experiences of users and intervention professionals. Thus, in a natural way, different types of public have become interested in this modern method, whose main objective is searching the "best".
“Durante los últimos 2 años, Christian Wilmouth, miembro fundador del Krav Maga R.E.D, ha multiplicado las intervenciones, formaciones y demostraciones para compartir esta visión de la defensa personal característica del grupo KMRED”
ver the past two years, Christian Wilmouth, founding member of Krav Maga RED, has multiplied his interventions, training and demonstrations to share this self-defense view, characteristic of the KMRED group. Entities such as Krav Maga clubs, self defense clubs, private security companies, municipal police, members of the security forces, military personnel, intervention units, etc., have resorted to the KMRED group to expand their competence ranges. The first half of 2015 is proving to be a particularly interesting period for the group, which will have the opportunity, through various practices and interventions with the different actors of the professional environment, to demonstrate the benefits of its latest research period. On April 18 and 19, an intensive KMRED course of two days was held in Cannes, limited to twenty participants selected by the event organizer. The course was organized by Rudy Dhamelincourt, experienced security professional, skilled practitioner of combat sports and trainer for EUROPE SECURITE FORMATION (ESF), one of the main escort training companies in France and abroad, directed by C.
Guillaumin and B. Demoule. The latter, in order to best organize the event, also ensured the cooperation of the companies CFI-GRUP (safety and protection training center in France and abroad) and EPS (Executives Protections Services) of Mr. G. Roussel, with which he collaborates all year long. As for the structure that hosted the apprentices, he associated with Oliver Dormi, the "boss" of "DOJO 06", where English Boxing, Muay Thai and Ju Jitsu courses are held throughout the year, and hosts several world class champions in the above disciplines. The course content gave a special importance to the work of scenarios with "comprehensive protection gear". The program offered: defenses against weaponless assault of the "feet - fists" type, defenses against grips and chokes,
understanding the global approach of the KMRED group to defenses against knife attacks, staging of stress situations and workshops of combat against multiple attackers. At the end of 2 intensive days, participants received a practice certificate, and contacts were established with some of them for future projects, but also and most importantly, Christian Wilmouth officially appointed Mr. R. Dhamelincourt as the official representative of the KMRED group for the "PACA" zone: Provence, Alps, and Cote d'Azur.
Breaking news: Over the next few months, Krav Maga Recherche, Ă&#x2030;volution et DĂŠveloppement, will probably have a national training center, located in southwest France, that will be the starting point of many projects at national and inter national level; hopefully, this will allow many people to pursue a formation at the forefront of the evolution in terms of self-defense "concept".
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!
REF.: • KYUSHO 22
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Cinema & Martial Arts What's First, Hollywood Action Film Director or Martial Artist. Text: Don Warrener Photos: Don Warrener & Black Belt magazine
Isaac Florentine is one of the most celebrated Hollywood Action Film directors of the genre. His franchise film series Undisputed is a multi million dollar generating series starring the new action hero Scott Adkins. Scott has become a new sensation and most who know his work think he is the one who will take over the reins of the genre once JCVD has finished putting out action films when ever that is.
â&#x20AC;&#x153;After 18 feature films and 125 Power Rangers TV Episodes he feels he is ready to break out and do a big budget film like his fan base is begging forâ&#x20AC;?
lorentine a student of Shito Ryu Karate under Master Tamas Weber for close to 45 years continues to train on a weekly basis teaching seminars around the world or in Stuart Florida. When in LA he trains in Muay Thai as he must commute between Florida and Hollywood to do his films. His films all feature martial arts techniques and he as a passionate director insists on quality hard hitting action that would really work in a street fight situation and of course just the right mix of Hollywood stunts as well. Some of his earlier films did use wires but in his last 5 or so films they are not used at all. His love of history of martial arts drives producer Boas Davidson crazy as he insists on his films being historically correct. As an example his two ninja films featuring Seiko Fujita who was a real ninja and head of the Nakano spy school during WW2 was tirelessly researched and Florentine insisted that his history be 100% accurate in the film. He also insists on using high-level martial artists wherever possible. Fumio Demura was a featured performer in the
first Ninja Film and Demura sensei's top students were used as demonstrators along with WKF star Elisa Au Fonseco. We asked him why he used martial artists when he could use stunt people and few would know the difference Isaac said â&#x20AC;&#x153;you can not replace or duplicate quality martial arts, as an example how can you replace Fumio Demura IMPOSSIBLE!â&#x20AC;?
Cinema & Martial Arts
â&#x20AC;&#x153;His films all feature martial arts techniques and he as a passionate director insists on quality hard hitting action that would really work in a street fight situation and of course just the right mix of Hollywood stunts as wellâ&#x20AC;?
Florentine who has worked with so many of the top names in martial arts action films like David Carradine, JCVD, and of course Scott Adkins who he has personally coached to bring him along to the star status he now enjoys. After 18 feature films and 125 Power Rangers TV Episodes he feels he is ready to break out and do a big budget film like his fan base is begging for. We asked Isaac what is it that he needs to do this big budget film? â&#x20AC;&#x153;I need a great script, a story, this is the most important factor in creating a timeless film like Enter The Dragon, Blood Sport or The Karate Kid. Then of course you need the star like a Bruce Lee, Scott Adkins or a Keane Reeves to make a film that will stand the test of time like
Cinema & Martial Arts
â&#x20AC;&#x153;I remember walking out of the theatre after watching Enter The Dragon and I felt like I was walking on air the same as when I watched those spaghetti westerns of the 1970's. These movies changed my life and this is what I try to pattern my movie making skills afterâ&#x20AC;?
Cinema & Martial Arts these three movies I just mentioned”. “These films were master pieces in their time and hence they are still on the lips of so many who were touched by them, me included”. “I remember walking out of the theatre after watching Enter The Dragon and I felt like I was walking on air the same as when I watched those spaghetti westerns of the 1970's. These movies changed my life and this is what I try to pattern my movie making skills after”. A graduate of Tel Aviv University Film School his very first short film Farewell Terminator was Israel's entry into the Academy Awards in 1987. Although it did not win the dye had been cast and Isaac was destined to be an Action Film director in Hollywood. When he first came to Hollywood he got his first break from the legendary Menachon Golan of Canon Films who created all the martial arts films of the
“Film making is a team effort while martial arts is about the challenge of self improvement constantly” 1980's including the Ninja Films, Missing In Action with Chuck Norris and of course Blood Sport with JCVD. Now after 27 in America he has forged his film making skills into a high quality Samurai Sword and is ready to make his next film that will take the martial arts back to the filled theatres, filled dojos and the prestige it so rightfully deserves. All he needs is a script that is totally unique, masterfully written and
historically correct or one that is so unique and not cliché like so many are. With a director like Isaac who is so passionate about film making and martial arts both, I just had to ask “What is more important to him film making or martial arts?” Film making is a team effort while martial arts is about the challenge of self improvement constantly like Gichin Funakoshi once said “The ultimate aim of karate lies not in victory or defeat but in the perfection of character of its participants” so to answer your question in another way which hand do you want cut off”, neither I need both. I am just a very fortunate to have started training at a young age and it has helped me forge a life style for both my family and myself. All my children have trained in martial arts whether it is karate or Muay Thai and this makes me very proud father.
Defending Against the Knife Crazy person, street thug or martial art knife practitioner, you do not know the intent or skill level of your attacker. The only thing you can do is train in as many attack scenarios and with anyone you can. If you need ideas just search videos on the internet, there are plenty of real life knife attacks posted. A problem with many â&#x20AC;&#x153;techniquesâ&#x20AC;? is that they are performed with your fellow classmates utilizing the same system, in a familiar training hall with no real intent on harming you. You need to go outside of your comfort zone and cross train with other knife practitioners. Be open-minded. There is no single correct defense. What works in one
situation might get you killed in another. You need to know the strengths and weaknesses of everything you do. Above all, respect the blade. So why am I singling out Filipino Martial Arts in this article? I have found their drills the best at increasing your reflexive responses. The way an FMA practitioner flows in the attack gives you a taste of every possible angle and combination. Whether it is single or multiple attacks, the way they do it will wake you up. There are many variables that can be addressed when discussing Knife Defense, too many for a short article to cover. Let's take a look at entries. Whether your system's initial defensive response is tapping, grabbing or passing, you can utilize the benefits of Kyusho Targets.
What are Kyusho Targets? Well, we all have heard our instructors speak of “Nerve Attacks”. This is one of many aspects of Kyusho. The only difference is the way it is taught in Kyusho International. A slight tweak to the way you already strike or grab and the attack on the nerve becomes more than just a pain response, you are affecting the internal systems of the human body.
Five Basic Angles of Attack These are the typical angles of attack found in FMA, although some systems can have more than a dozen. We will use these common angles to demonstrate some ideas. With the blade held in either Saksak (saber grip) or Pakal (icepick grip), these angles can be delivered on any part of the body; arm, neck, face, torso, leg. We will look at attacks to the torso but remember to practice all possible body targets using the basic angles. Angle 1 - Forehand 45* downward slash or stab Angle 2 - Backhand 45* downward slash or stab Angle 3 - Forehand Horizontal slash or stab Angle 4 - Backhand Horizontal slash or stab Angle 5 - Straight Thrust
Entry Examples Let's take a look at a response to a particular angel of attack followed by a strike to a Kyusho Target. Any secondary follow up should be easier and more affective once the Kyusho Target is activated properly.
Angle 1 In order to defend against an attack on Angle 1, tap the attacking wrist with your right wrist activating the Kyusho Target H-6, Ulna Nerve. Pass the attack through and grab the knife hand. With the radial side of your left arm strike the Median Nerve, Kyusho Target TW-12, just where the Triceps forms a “V”. This affects not just the nerve but the Muscle Spindle Cell which protects the muscle from tearing. Now both the Extensor Reflex and MSC reflex are activated. The body will jerk forward. As this happens, pull back striking Kyusho Target PC-3 located just above the elbow crease on the bicep bending the arm.
Angle 2 For Angle 2, pass the knife hand down with your left hand and grab at the wrist. With the fingers of your right hand press against the Kyusho Target H-2, Ulna Nerve,
located about two fingers above the inner elbow joint in the hollow pocket between the Biceps and Triceps Muscle. This will cause a withdrawal reflex bending the arm for control, stab or lock.
Angle 3 A horizontal inside slash is executed. Step to the right. With your right hand tap the forearm in the middle as your left hand grabs above the wrist. This will stimulate several nerves on the arm making the next target more sensitive to your
strike. Roll your right hand up and come down on the side of the chin activating the Kyusho Target M-HN-18, the Mental Nerve. This nerve exits the jaw bone from a small hole called a Foramen. This will cause dysfunction of the neck and body muscles, cause a withdrawal reflex of the head, a nauseous state, dizziness and altered state of consciousness.
Kyusho International Angle 4 As the knife comes on Angle 4, stop it with a “cut” to the attackers arm using your right ulnar bone. As this is done rotate your arm clockwise. The focus of the strike should be above your wrist striking close to the attacker's wrist activating the Kyusho Target SI-6, Ulna Nerve. This will cause pain, weakening of the attacker's grip and possibly opening of the hand. When struck with increased force more physical dysfunction can occur. Use your left hand to control the arm with your hand in a “C clamp” position. Roll your right hand up to strike the attacker's Kyusho Target known as LI-18, transverse cervical nerve, located between the muscle strands of the Sternocleidomastoid Muscle. Use the wrist knuckle on the ulna side of your hand to strike on a 45* downward angle. This will cause the body to collapse from lack of muscle control, cause pain, body weakening and possibly an altered state of consciousness. This is a great setup for a variation on a Puter Kepala takedown.
Angle 5 With this angle it is safest to be on the outside of the attack but unfortunately circumstances might trap you on the inside. As the attacker thrusts towards your midsection side step and immediately grab attacker's wrist with your left hand in a pulling action which will activate Wrist Targets weakening the arm and unbalancing the attacker. Follow this by pressing with your thumb to the Kyusho Target L-5, Lateral Antebrachial Cutaneous Nerve. It is located in the muscle of the forearm just below the crease of the arm. The smaller and harder the “body weapon” used the better the effect so make sure to use the tip of the thumb and not the pad. This will weaken the arm and buckle the legs. Follow this with a
push kick to the inside of the leg about four fingers above the ankle. This is Kyusho Target SP-6, a branch of the Saphenous Nerve, which will cause severe pain and loss of support resulting in the hyperextension of the ankle joint. As stated in the previous article which focused on Stick and Kyusho, you are not drastically changing what you already do, just making slight adjustments. In the end even if you do not cause a â&#x20AC;&#x153;Kyusho Effectâ&#x20AC;? you are still hitting anatomically weak areas of your attacker. Caution is needed when applying these strikes. Use safety equipment. Only use training blades; wood, plastic, rubber, metal, foam. Do not use a live blade. Always train with a Certified Kyusho International Instructor.
Thank you Camille Casanova, Freddy Gonzalez, Sigmund Lambrento and Andrew Ng for assisting with the pictured examples. Tom Gallo, founder of T.A.C.T.I.C.S., is a Certifying Instructor with Kyusho International; member of the KyushoJutsu Kokusai Shihankai: International Association of Kyusho-Jutsu Master Instructors; KTCP Instructor: Kyusho Tactical Control Program; trained in several Filipino Martial Arts Systems and has a Black Belt in Hwarang Do. He is currently teaching FMA, KMA, Kyusho and Close Quarter Tactics in New York. Tom also hosts the USA Kyusho Summit every June in New York. www.TomGalloTACTICS.com
The Keys of the “ethnic knives”
Knife attacks from around the world Jim Wagner is already well-known to our readers; his book on self-defense as well as his numerous instructional videos have opened an important breach that unites traditional Martial Arts with the training of elite police and soldiers. Today he presents his latest DVD concerning attacks with bladed weapons around the world. Don’t miss it!!!
ot all knife attacks are the same. Unfortunately, you would never reach that conclusion by observing the way most Martial Arts instructors teach their students knife defense. For most systems the standard method for defeating an incoming knife is for a cooperative training partner to leave an extended arm out for a ridiculous amount of time as the defender performs a series of fine motor skills and dependant techniques to deflect or disarm the weapon. Such training is anything but realistic. To help self-defense practitioners get away from the generic knife attacks common with most systems, Budo International and I have come out with a new DVD titled Knife Attacks from Around the World based on the Reality-Based Personal Protection system. As a police and military Defensive Tactics instructor who has trained elite units around the world, literally from the jungles of Argentina to the sand dunes of the Middle East, I have had the opportunity to learn about knife attacks in various cultures: military methods,
police methods, and criminal and terrorist methods. I have compiled years of personal experiences and global training sessions in order to share these various knife attacks, not to teach people how to hurt others, but to open peopleâ&#x20AC;&#x2122;s eyes to what they can expect when they come up against one of these realistic attacks and in so doing, to be better equipped to defend themselves. In this article I will describe a few of these attacks with the written word, but it is a poor substitute to actually seeing them for yourself in real-time.
Prison Stabbing Most Martial Arts instructors have never had to fight against actual criminals, so they don’t know the type of knife attacks criminals will do, especially those criminals released from the prison system. My background is your advantage because I worked for two years in a jail, and have taught in several prisons for various governments. A typical prison knife attack, or “shanking” as it is called in the United States, goes something like this. Prisoner A walks up to prisoner B and strikes him in the face with a closed fist. As Prisoner B tries to protect himself, or is caught off guard by the brutal strike, prisoner A pulls an improvised knife (made out of common materials such as plastic, wood, or a piece of filed down metal) and plunges it into prisoner B’s abdomen three or four times just above the belt line as hard as he can. Once prisoner B tries to protect his midsection, the attack is redirected to the neck area. Within seconds prisoner B is lying in a pool of blood. If you want to know how to survive such an attack, get the DVD.
“There are many different “snuffing” techniques, and it’s not just against police officers. Many countries have their own version of snuffing, and if you’re not prepared for this type of blinding attack you will be instantly at a disadvantage. Knowing about the Reality-Based Personal Protection threat zone techniques can keep you from someone getting that close to you in the first place”
Middle East Pass & Stab Stabbings are frequent in the Middle East because Arab cultures are knife cultures. Often times Westerners are targeted by Islamic extremists simply for being an “infidel”. The Koran permits its believers to either subjugate the infidel or kill him if he fails to convert. Both ways are perfectly acceptable in the eyes of Allah. When walking through the Arab Quarter of Jerusalem or through the tension-filled streets of Hebron in the West Bank, or trying to keep a low profile in the tight, dusty streets of Jordan, I’ve had to watch my back many times. One of the knife attacks that you find in these areas is the Pass & Stab. It’s a brutal surprise attack.
“Most Martial Arts instructors have never had to fight against actual criminals, so they don’t know the type of knife attacks criminals will do, especially those criminals released from the prison system”
Self-defense Imagine that you are walking down a crowded Medieval street where bazaar stands of foods, textiles, and souvenirs funnel walkers down a narrow passage way. Two Arab men in their late 20s are talking to each other as they walk toward you to pass, and they don’t seem like a threat. Then, just as the two men are parallel to you, the attacker closest to you shoves your own arm against your body with his hand and suddenly you feel a sharp pain in the kidney area. The attacker pushed your arm against your body snuggly so you could not react, then he shoved the blade into your kidney as he takes the one step past you. Thinking you were punched in the back quite hard, you feel your back and see the back of your hand is covered in your own blood, and the two attackers slip unnoticed into a small winding alley nearby. Since it was an unexpected attack you never saw their faces well enough to identify them. If you get the DVD you’ll see how to be prepared for such predicaments.
New York City “Snuffing” Imagine for a second that you are a traffic police
officer and you have pulled over a man on a motorcycle for a minor traffic violation. As he throws his leg over the bike to stand and face you, you ask him for his driver’s license. He pulls it out and starts to hand it to you, but instead of placing it in your hand as you expect he suddenly rakes one edge of the card across your forehead in a single fast slice, and blood starts pouring down your face and into your eyes like a waterfall. The edge of the driver’s license was sharpened like the edge of a knife, or teeth were cut into the plastic, or a hidden razor blade was fixed to the hidden side leaving only a sliver of the cutting edge exposed. There are many different “snuffing” techniques, and it’s not just against police officers. Many countries have their own version of snuffing, and if you’re not prepared for this type of blinding attack you will be instantly at a disadvantage. Knowing about the Reality-Based Personal Protection threat zone techniques can keep you from someone getting that close to you in the first place. In this article I have only covered three different attacks from three different cultures because that’s all this publication has room for. I’m restricted to about 800 words. However, my Knife Attacks from Around the World DVD is packed with dozens of other types of attacks: military sentry removal, the Columbian slice, the Gypsy war ning stab, Filipino kali walking the arm, seat assassination, and much more. After viewing my DVD, I guarantee that you’ll have a more realistic understanding of how knife attacks occur, which will make your own knife defense training more realitybased. Be A Hard Target.
“Around the World DVD is packed with dozens of other types of attacks: military sentry removal, the Columbian slice, the Gypsy warning stab, Filipino kali walking the arm, seat assassination, and much more”
Events The Weekend of Wonders - Sports, Fun, Excitement. The Arnold Schwarzenegger Sports Festival Feb 27- March 2, 2014 was the place to be and have a wonderful time with an experience of a lifetime. With 800 booths, more than 18,000 athletes from more than 75 nations, featuring over 50 sports including 12 Olympic sports throughout downtown Columbus Ohio. With so much excitement and things to do you had the feeling to just keep on moving and attend as many or all the electrifying events because there is no other event like the Ar nold's, World's Largest Sports Event with over 200,000 spectators and visitors from around the world. Arnold Schwarzenegger the actor, former Governor, 7 Time Mr. Olympia, author and co-producer Jim Lorimer have been partner since 1976 and always pledge to do better each year to bring the best of the best sports to be part of the Arnold Sports Festival
graciously took pictures and exchanged a few words with the audience. My dear friend Cynthia Rothrock, a great martial artist with more than 30 movies to her credit. Lee Haney, 8 Time Mr. Olympia in the body building surpassing Arnold's record, The Gov. mentioned to everyone that he would have loved to break Mr. Haney's record but with great respect he gave him a big round of applause for his dedication, determination hard work that it takes to achieve this goal especially in body building when you have to watch your weight and sculpt your body to stay in top shape. It is not an easy process to achieve. Betty Weider, top model and fitness enthusiastic of her time, a good friend of the Arnold and wife of editor of Muscle Magazine among other publications, Dan Gable World Olympic Wrestling Champion who broke the barriers for all to achieve the ultimate in pro wrestling championships. The HOF event was great success. Dr. Goldman did an excellent and ensured that everyone was attended
with the very best hospitality to all who attend. 2014 new events included pole fitness, swimming, tennis and wrestling. The Arnold Fitness Expo is the largest health and fitness exposition and was the main attraction with top industry companies presenting elaborate showcase throughout the weekend that amazed everyone. The event opened Friday Feb 28th at 9:30 am with entertainment/contests throughout the day at Greater Columbus Convention Center, Ohio. Some of the sports competitions that took place during the three day weekend were: arm wrestling, Zumba, pole fitness, table tennis, pro boxing, martial arts, strongman competition, bodybuilding, miss bikini, gymnastics, powerlifting, jump rope, dance sports, fencing, art at the Arnold, grappling, weightlifting, archery, cheerleading, cross fit, 5k run and much more. On Saturday afternoon, for the second year on the row I attended the International Sports Arnold Hall of Fame hosted by the governor himself and Dr. Goldman. It was fantastic to be among the HOF inductees, such as actor Jason Statham, star of the Transporter movies and more. He's
to. He took the time to meet and greet while lunch was being served to the special guests. Among some of the winners that I have witnessed during the Arnold Sports Festival were: World Strongest Man, Zydrunas Savikas who broke the world record held by Brian Shaw of 1128 pounds and lifting 1155 pounds off the ground. It was an unbelievable record feat to witness what power a human body can lift. Mr. Savikas, a native of the Ukraine went on to win 65K prize money for lifting the magic. 274 pounds bar bell with one hand over his shoulder extended all the way up four times in 1:30 (I minute 30 seconds), making him 7 time winner of the Arnold Strong Man sports festival. Kai Green 2nd place Mr. Olympia was among the crowd to witness this incredible feat at Ohio Veteran Memorial downtown where the Arnold Classic had the finals. Dennis Wolf, of Germany won the 2014 Arnold Classic 1st place Body Building and received $1000K Prize money. He was the favorite,
who won with such a massive body of 5'11” tall and weight 310lbs. The incredible world most famous body machine Encho performed his magical acrobatics stunts that mesmerized everyone. John Blain received Lifetime Achievement Award for his outstanding contribution to the world of bodybuilding and sports magazine editorial. Overall the year's event was awesome. AMONG THE 2014 SPORTS FESTIVAL WINNERS: JAMES “FLEX” LEWIS - ARNOLD CLASSIC 212 - CASH PRIZE: $25,000 CANDICE KEENE WINS - ARNOLD FIGURE INTERNATIONAL - CASH PRIZE: $16,000 OKSANA GRISHINA - FITNESS INTERNATIONAL - CASH PRIZE: $25,000 ASHLEY KALWASSER - BIKINI INTERNATIONAL - CASH PRIZE: $7000 ZYDRUNAS SAVICKAS - 13TH ARNOLD STRONGMAN CLASSIC CASH PRIZE: $65,000
GM Maurice Elmalem 7 Time World Champion, Author, Producer, artist, www.mauricepromartial arts.com
WING CHUN GUNG GUNG FU: FU: The Explosive Art of Close Range Combat
Five brand new Wing Chun DVDs 1 DVD: “Bot” Jom Doh Basics Complete “Bot” Jom Doh Form, 108 Motions, Historical Information about the Wing Chun Broadswords, Detailed Knife Blocking and Striking Techniques, “Bot” Jom Doh Footwork, Details of the footwork orientation of the form, One-man “Bot” Jom Doh Drills 2 DVD set: “Bot” Jom Doh, Applications, Drills, Concepts & Principles Applications of the motions from the “Bot” Jom Doh form, Knife vs. Knife, Knife vs. Pole, Drills, Concepts and Principles, Specially created Knife drills for the Wooden Dummy, Detailed Knife Blocking and Striking, Knife techniques as compared to their empty-hand counterparts, Cutting Principles
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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.: â&#x20AC;˘ KAPAP7 All DVDs, wichi is produced by Budo International, si provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however neves offered with a special holograma sticker. Besides our DVD is characteristed coverings by the hig quality in pressure and material. If this DVD and/or the DVD covering do not corespond to the requirements specified above, it concerns illegal pirat copy.
ORDERS: Budo international.com
Karate Being in the business of producing and directing martial arts DVD's rarely have I ever come across a DVD of this quality. This DVD is exceptional as it has both technical knowledge and as well historical information from one of the top masters in Okinawan Kiyohide Shinjo Sensei. We did an interview with the producer director of this fantastic DVD Shai Hai an Israelie martial artist who turned producer/director. Q - You just released an amazing new DVD on Uechi Ryu karate. What got you interested in doing such a high quality production. A - Well, its a known fact that even though it is rapidly growing and spreading worldwide, nowadays uechi ryu is still rather small and in many places a rare style compared to other styles of karate, not many people on our planet know it even though it is one of the 4 main styles of Okinawan karate recognized by the Okinawan board of education. Considering this the written material on the style is quite limited and even more rare are is recorded materiel about it, especially if you are looking for something good, granted, there where some films made about the style in earlier years some even had very good masters in them, but they were all made in a very old fashion with a really low budget and poor production, sometimes even too artistically or technically shallow for my personal liking. None of them really got past the technique and famous tamishiwari into the deeper core of the style and the master's soul and thoughts. I am a teacher of the style but I always like to look at myself as a student first, I never forget that as a beginner student many years ago I always wanted to know more about my style and the people behind it and I always tried to find as much material as possible but I could never find anything deep enough to satisfy me. Nowadays I am still a student and I still have the same passion of finding this special film that would be meaningful and enduring to my martial education, so naturally that's the feeling I was trying to pass on to the viewers in my movie. It was important for me to perfectly document the local music, culture and philosophy for it is an inseparatable part of the true spirit of which Okinawan karate was forged in, all this is woven in the film into the most vivid footage of the most remote and wild parts of real Okinawa not the tourist one, we visited and filmed there especially for the making of the master's edition. Q - What is your martial arts background? A - I have been training for 26 years now, I am skilled in an Israeli style of self-defense, and I have a Sifu rank in Chinese kung fu, 3 dan in shorei ryu karate and a shihan 4 dan in Uechi ryu. I am currently the head of the uechi ryu karate style in Israel and also work as a personal bodyguard for celebs worldwide.
I lived and trained in Israel, USA and in recent years in Okinawa, Japan, where I also taught karate in a number of high schools and I still train there today under my beloved Master Shinjo Kiyohide, the star of the master's edition. Q - What is your film making background? A - None, I was a high school theatre teacher about 7 years ago before moving to Okinawa, so I know a little bit about running a production, but making this film was really different and million times harder then to direct or produce a high school play, its kind of like a squirt gun compered to a fire hose if you catch my drift. Q - Why did you choose UECHI Ryun rather then the more popular Goju or SHORIN Ryu styles? A - Well, I live in Israel which is a very dangerous place to live in, in my opinion uechi ryu is very suitable for straight on self defense, it is very short, direct and aggressive and I feel like it perfectly suites the self defense needs of the Israeli citizen, I am very practical and reality orientated in my perspective of martial arts and so I always felt uechi ryu is the best style for me, I choose to present this style on video so it may reach more people who might find this style useful and aspiring and enjoy it the same way I do. Besides, I always felt more comfortable with the underdog and the less popular, maybe because my entire life I was always an outsider or a foreigner myself, I was never really interested in doing the things that everyone else did, I never liked the bars/clubs/music and etc. That was considered mainstream and even in high school I never found the "popular" kids to be very interesting. Despite this I was always considered to be very strong and well respected by the kids and people around me, and so in high school, I was always defending the weak and unpopular from the bullies which were afraid of me, so I think it was natural for me to pick an unknown style of karate to train in, I was the first Israeli to ever teach this style in Israel, thinking about it now, this might be a good explanation why I choose this style to begin with. Q - What will the viewers learn from this DVD? A - Well, I think that karate is much more then kicking and punching, its a way of life, and its philosophy is very well presented in this film, the entire film is all about the karate term, â&#x20AC;&#x153;Ajarâ&#x20AC;?, which literally translates into, spice, the special touch which diffentiates an ordinary person from a master. The film is building up into trying to understand the point of view of a master, a top artist which actually made it to the top of his food chain so that we could take this knowledge and apply it in our every day lives and martial/spirit training. I would say that this is a very important knowledge even if you're not practicing martial arts. Its just about learning to become the best you can be in whatever you choose to do in life. That's real happiness in my opinion.
By Don Warrener
Karate Q - Do you have any further DVDs planned for your film company? A - Well as I said, I'm fascinated with the more rare styles of Okinawa, I don't have a specific plan for the future yet but I suspect that the next DVD in the master's edition series will also be about a small and rare style, Kojo ryu maybe? One thing I do know, we will maintain the high level of production and film only the top of the top of the Okinawan masters. Q - How long did it take to make this film? A - Two years, it was filmed both in Israel and Okinawa. Q - Can you tell us about Master Shinjo and his martial arts background? A - Kiyohide Shinjo Kiyohide, born November 3, 1951, is a nine-time allOkinawa kata and Kumite champion, and a master (9th dan) of Uechi Ryu karate. Master Shinjo's unparalleled success in Okinawan karate competition earned him the nickname "Okinawa's Superman". Kiyohide Shinjo is the son and student of Seiyu Shinjo. Shinjo earned his shodan at his father's school at age 16. After his father's death in 1979, Shinjo retired undefeated from karate competition and founded the Kenyukai Fraternity within the Uechi Ryu Association. "Ken" means "fist", "yu" is derived from Seiyu Shinjo's name, and "kai" means "group", so "Kenyukai" means "Seiyu Shinjo's strong fist groupâ&#x20AC;?. At that time he also took over his father's dojo in Kadena, Okinawa.Shinjo serves on the Okinawa Karate Federation Board of Directors, and has done so since 1980. He was elected chairman of that board for periods spanning 1991 through 1994, and he was the youngest person ever elected to that position. Q - What was the budget for this project? A- The budget was originally and very naively set for $5000. It ended up costing almost $50,000.
Q - If you were to do it all over what would you do differently? A - Nothing really. I am very pleased with the process and the result, I don't feel that there was any kind of compromising throughout the process of the filming and production, it was always the best or nothing even on smallest of details, this is the true spirit of budo if you ask me. Q - What was the hardest part of making this film? A - Making this film was probably the hardest thing I've done in my life. It was hectic and tiring, along with teaching and managing my own dojo, I didn't get to see my kids or my girl a lot and I didn't get much sleep. Coordinating between the editors and professionals was also very hard and most of the time frustrating, and of coarse, money, the budget exploded up and it was like a bottomless pit, more and more money for every little thing. Oh well. Looking at the film today I honestly think It was all for the best. Q - Would you call this a documentary or an instructional DVD? A - A documentary time capsule of infinite instructional possibilities. Q - Who were those involved and what were their martial arts background and contributions? A - Master Shinto, myself, and my top students from my dojo in Israel. Q - What is your favorite line in the film that Master Shinjo says? A - He says in the film that he still thinks of himself as unskilled, as one that hasn't got to control the hidden movements of karate yet. This statement humbles me. He is the best I have ever seen and I am honored that he chose me to perform in the same film with him. It's definatly the height of my career. Q - What was the hardest part of making the film? A -Breaking the mofo baseball bat. We could only get a professional slogger for the breaking demo, usually
we use a lighter one, which is easier to break (still not easy). But the sport shop didn't have any and we where on a time frame. So we had to buy this monster. My hand was swollen after that. Q - What did you learn about UECHI Ryu that you didn't know before making this film? A - So many new things. Just from looking at master Shinjo's katas I feel like so many fuses in my brain got tied together and I felt a big improvement in my technique and power production during the editing period. Q - What was the most fun about making this film? A -Traveling in Okinawa discovering all the hidden remote parts of it, having fun with Master Shinjo and being a part of something this big. Q - Most DVD's are made by people who have no film making experience. What would you say to them before they start to make a DVD on their style or their master? A -Make sure you have a lot of money in the budget, there are so many small things to pay for that you don't even think of such as, a Unique font for titling, original music, royalties, sub titles, printing, renting of special cameras, extra editing hours, and lots more. Q - Why should someone buy this DVD? A - Its a very unique film, and in years to come it will become historically significant, I have no doubt about it. I am inviting everyone to be a part of it and try to find their own take on the things presented in the film. It costs less then a seminar and can teach you things to carry around with you for a lifetime. After all we are martial artists and learning/self improvement is a big part of our life, and in fact may very well be the power that moves us towards the mastery of our art. So I guess its only logical to buy a product that will help you improve yourselves .
National Technical Director BELGIUM Black belt 5th Dan Aikijutsu Mail - email@example.com Tel. - +32.494.773.812
National Technical Director SWIZERLAND Assistant Self Pro Krav Mail - firstname.lastname@example.org Website: http://clubspkdouvaine.e-monsite.com
National Technical Director PORTUGAL - Instructor Black belt 4th Dan Kempo - 1er Dan Self Pro Krav Mail - email@example.com Website http://www.kiryukenpo.com
National Technical Director SRI LANKA Instructor Black belt 7th Dan Toreikan US - CN. 4th Dan Kick Boxing Mail - firstname.lastname@example.org Website - http://www.karimdizaj.com
National Technical Director ALGERIA Instructor Black belt 4th Dan Jiu Jutsu CN. 3th Dan Ta誰 Jutsu Mail - email@example.com Tel. - +212.774.509.241
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Regional Technical Director ALGER ALGERIE - Instructor 1th Degree Self Defense - Instructor Tonfa Mail: firstname.lastname@example.org Tel. +213.662.208.857
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Nat Instruc 1er Da M Web
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ector VIETNAM yguard @yahoo.com.vn cibpf-asie.com
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Regional Technical Director LOS ANGELES (USA) - Instructor CN. 1th Dan Kravmaga and Self Pro Krav Mail: Sidisafitness@yahoo.com Web: http://www.academielevinet.com
Regional Technical Director ANTILLES - Assistant Self Pro Krav Mail - email@example.com Tel. 06.90.56.90.24
National Technical Director LUXEMBOURG Instructor Black belt 1er Dan Self Pro Krav CN. 1er Dan Cane Defense Mail - firstname.lastname@example.org Website - http://www.selfdefense.lu
Regional Technical Director ADRAR ALGERIE Assistant Self Pro Krav Mail email@example.com Tel. +213 7 81 31 15 95
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...
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.
ORDERS: Budo international.com
"Vital spot in Taekwon-Do is defined as any sensitive or breakable area on the body vulnerable to an attack. It is essential that the student of Taekwon-Do has a knowledge of the different spots so that he can use the proper attacking or blocking tool. Indiscriminate attack is to be condemned as it is inefficient and wasteful of energy". - General Choi Hong Hi, ENCYCLOPEDIA OF TAEKWONDO, Volume II, page 88. Taekwon-Do is one of the largest and most professional martial arts in the world today, (founded on April 11, 1955, by General Choi Hong Hi, and continues to flourish even after the passing of its founder in June of 2002. Over time the sporting factors took precedence and much was either ignored or discarded in the area of the original self-protection methods. In the original writings of General Choi much of the focus, structure and even the use of the vital points "Kupso", as well as the weapon development to access them, was outlined but never fully taught. Kyusho International has developed a program to enlighten, educate, integrate and develop this incredible Martial Art back to it's founders concepts. This new program has the full support of the founders surviving son Choi Jung Hwa. The focus of this series is to investigate the Patterns (teul), which are performed in accordance with the founders precepts in "The Encyclopedia of TaekwonDo" (an astounding 15 volumes written by General Choi Hong Hi, including his "Vital Spots"). It is through this structure that Kyusho will be initially integrated back into Taekwon-Do. Kyusho International is proud to assist in this monumental and historic collaborative undertaking.
REF.: â&#x20AC;˘ KYUSHO20
ORDERS: Budo international.com