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RIAL LET'S TALK ABOUT LOVE... “Love in one hand, War in the other, the Holy Warrior defeats the darkness of ignorance with his light sword. Hanta Yo!”

fter so many years writing about Eris, the War, and in order to be consistent, I have no choice but to write about his brother Eros. My writings, so often linked to the path of the Warrior, necessarily had to be inclined towards the former, but since everything can be observed on its opposite, the time has come to talk about the sweetest children of Chaos, Eros, the Love. The word and the concept of love itself are so worn out that we mustn't overuse them. It simply stinks. The sentimentalism, softness and poetry, not to mention its gallant version, have devilled them to the extent that not only has they lost their original meaning, but they has been perverted to aberrant levels. To bring order to all this, we must be radical, that is, go back to the roots and take an "aerial view", approaching the topic from the general to the particular level. First I will talk about the forces and then about how they affect us nowadays, but I fear that the magnitude of the issue can make it recurrent in next editions; in the meantime, there goes the first one. In our tradition, Eros is the son of Chaos, opposite and complementary to Eris. Eros is ultimately one of the two essential forces of the Whole, the one related to the attraction, while Eris corresponds to repulsion. In essence, love is simply the force of universal attraction; it is the tension of any thing or being to join others, while the war is the force that separates people and things. Yin and Yang in China; In and Yo in Japan, the children of Taikyoku, the "undifferentiated"... we've called it many things, but they are all but the nomination of the two differentiated elemental forces. One pushes us to approach, join and merge with the others, the other impels us to separate, move away and repel them. The Greek version of the myth of creation adds (as everything which is Greek) a touch of functionality the easter n versions don't have. There they made a very structural approach of the issue. In the West, by contrast, the focus was on functionality. Eros and Eris therefore are defined by what they do (attraction and repulsion) rather than by what they are,

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unlike the Eastern version, "the tendency of every being or thing of going from the periphery to the center" (Yang) and the opposite trend, from center to periphery (Yin). Love, like war, feed on the differences; while in the first case there is a lack of something that the other part offers, in the second one both parties have or want the same thing and consequently fight for it. You just need and want what you don't have, that is the basis of attraction. That desire is always based on the needs of every Being to fulfil itself, in other words, to grow beyond its own limits and as the computer of "2001: A Space Odyssey", to properly complete "its program". The "program" of Love is completing us; that is also the War's program. Completing us is a written imperishable command in evolution, from which nothing can remain detached. It is clear that each being tries to resolve this "program" according to its personal ability, understanding (if any) and power, but the command is exter nal and previous to these details; as a higher law, we all serve it, and although we don't live it in the same way, as this depends on our level of consciousness, no one escapes its mandate and this is common to all beings. The planets turn around the sun, the tree branch looks for its rays, the lion looks for the lioness, the male for the female. The force of attraction activates mechanisms to meet the "program" and this is at the service of the directions of evolution: forward, upward, inward, toward the Whole. Either way, the truth is that the word love is, for most two-legged fools inhabiting the planet, far from its great and original sense. Love has been reduced to a term that only evokes the level of emotion (which is true!), but that is but a part of our Total being. In a previous issue I referred to this emotionally level as "the vibrating" and I enlarged on its role as an amplifier of the "feelings" and a prelude to the "understanding". Human beings "ARE" the result of these three levels and although we all have more strength or ease in some of them, in order to meet the "program" we will have to learn to use all three and make it using them for the purpose they were designed. We can't decide on the emotions or feeling

with the head, nor is it prudent to activate a single level without the others. The energy meteorology of the time is unbalanced, however. Today the level of "vibration" has attacked the group consciousness, so that the vast majority just wants to live in it. Emotions control everything! And this level is not only used too much, but it is also used in a vulgar, sloppy and cheap way. Sentimentality, gossip magazines, quick emotions, preferably canned, disposable relationships, all that forms the "fast food" of the emotional level. Saying "I like it" is too often a valid excuse or reason for anything ... but that is what people adore... It's cool! Everyone convinces everyone that this is the new "great truth". This childish attitude, which is but one phase of lear ning of individuals and groups, has corrupted the true value of love concept. The confusion on this point is a sign of the times. It's an ill wind that blows nobody any good, we mustn't forget, the emotional level is the best base to manipulate people and there are many dark powers trying to prevent people from being free. In order to achieve that state, it would be necessary a huge effort, a quantum leap that would enable us to get the "vibration" feed the "understanding", because without understanding it is simply impossible to be free. On the way to understanding, half of 100 is 80. That last upward stage of the energy cycle, which goes from the emotional to the mental level, is always the hardest, the most energy-consuming stage, but it is the one which finally transforms the energy in its noblest form, the light. The leap to "understanding", for its intrinsic difficulty, for the importance of an emotional level without substance and for the lack of people's energy, makes of the mental level the weakest of all of them nowadays. The misused energy in the emotional level becomes deeply entrenched in a black hole unable to emit light, or allow the natural cycle of feeding go on toward the understanding. As for the "feeling", of course, that's also “cool”!, but only when it comes to experiencing pleasure. Today hedonism is the "religion" of almost everyone, nobody wants to hear about effort or pain. Well understood hedonism would be an achievement, a decision when you


Editorial have the power and knowledge to take responsibility for the backs that every action entails. A Galician saying said "a month of adversity, a year of university�, but... that's not true at all nowadays! Before, those things were learnt naturally by facing the harshness of life in nature, but today's education, the prevailing ideology and life conditions, do not provide something so basic and so essential; it must be done in "manual", because the "automatic" no longer works and it is swimming against the tide. The world is a field full of mines and we are not giving young people even a good map. Man for himself! The vision of love for young people (and for not so young people!) is in the extremes, and it is either soft and pink or fully cynical or sceptical. The approaches go from cheap sentimentality and express passions to total denial. Out of the natural primary exploration of new things, many people make a routine; without delving into its contents, without understanding its implications, they suffer several consequences which leave a deep trace on the cell memory, psyche body (abortions, sexually transmitted diseases, anxiety, mistrust, fear of commitment, incapability of dedication, etc...) They forgot, or maybe they never knew, the true extent of their power: Love is something too big and powerful to ignore or underestimate it. Beyond the experiences of each person in the emotional level, not being able to understand the importance and true meaning of Love, in its broadest conception, is a deficiency similar to a disability; and this, for he who lives it like that, is an absolute disaster, a disaster which makes him an eternal lame man, since the two legs carry us through the "Way", one of Eros, the other of Eris. Often the love between man and woman is confused with passion, but this is only a circumstantial result of it. But the love that begins in feeling and is then amplified in the vibration must find an echo, meaning and direction in the understanding, so that it is that level which modules its direction. Passion "heats" the energy, so that this climbs up the column (kundalini), and becomes light. Passion is an ephemeral flame, but it can be revived when it serves a higher purpose. The force of attraction should be able to beat and also express itself at all levels and every level should be able to meet its own functions. The "feeling" of love between man and woman is first expressed in the sexual experience. It is true the popular saying which goes: "the true love is that which comes through the hole!" Love in couple is first expressed through sex, but remaining at that point is like using a cannon to kill flies, and the bullets, which are expensive, are paid sooner or later. Aware sex, with all the games you want (if agreed), has been even in the Eastern tradition a respected way of lighting; but reducing some Tantrism to some techniques or Kama Sutra

positions is once again a huge waste. Exploring this journey takes time, experience and shared will, but when the offer is so big and wills are so small, it is easy to get lost in the tumult and confusion, a path that eventually allows us to see just the "shop window", but not "entering the store" and much less "buying". Exploring aware love is a rare adventure nowadays; lost among the branches we can't see the forest; pushed by the urgent, we relegate the important things; disturbed by one thousand trifles, ignorant of the essential, we will be like leaves that the wind takes away. The worst thing of such approach is that the accumulation of negative experiences, resulting from the accumulation of disappointments, can leave scars very difficult to heal. When we are young we ram thinking that energies are endless. We fall and we get up without licking our wounds, but the traces remain there. Over time we understand more and more that our body (emotion and mind) has its limits, that we have expiration date and that the misuse "of the equipment" not only destroys the "guarantee", the worst thing is that afterwards, there is no one to complain! Everything is used in a higher game which we are all part of; the Greeks called it fate, a Warrior calls it instinct: "Love is the law, love under will" was the motto of the famous magician Aleister Crowley. Will, love and destiny come together in a paradox difficult to decipher in each of us, however this hieroglyph is an urgent mandate for us all. Everything serves to the great evolution purpose and it is our obligation to find the clues to unveil the mystery with commitment, effort and honesty. Love is indispensable for this. By following the easy paths we will never arrive..., the usual paths always take to the place of "never"; so we must break routines and above all, be extremely brave to overcome our ignorance and our preconditions, making them conscious and turning them off before they destroy us as a self-fulfilling prophecy. We are talking about great braveness, we are talking about personal power, we are talking about energy and its use, about relentless fight against the internal enemy, about effort and commitment without limits ... Hang on! It sounds familiar! Are we not then talking about the path of the Warrior?

Alfredo Tucci is General Manager of BUDO INTERNATIONAL PUBLISHING CO. e-mail: budo@budointernational.com


Vital Points


Grandmaster Pantazi rushing in this new report presentation will be one of his last DVD, a key issue in all types of combat no matter regardless of the style practiced, these grips and controls, that if approached from the perspective of Kyusho. In his usual didactic language, always calm and focused, is breaking down the secrets Pantazi inherited traditions rooted Martial China, to act at the same time we do a grip on the nerve centers of energy and otherwise to facilitate the work of control or prepare, annulment, downstream immobilization, or simply escape. Grandmaster Pantazi been achieved in all these years an extensive audiovisual production is undeniable reference for the future in a matter that only a few years ago was a real unknown in the Old World. A work which we welcome as it has been and will remain a firm commitment by the editorial line of the magazine. D o n ' t miss this g r e a t DVD!

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Report

The Art of Seizing Apart from the idea of Tuite or Joint Manipulation, is the method of Seizing. It is a major part of many Chinese based arts and to a lesser degree in Okinawan based Arts. Now seizing is a great method for control, but it depends heavily on the skill and or relative sizes of the two combatants. It is also limited to the arms, head and neck for practical application. As an example of this, if a small Man were to try to seize the arms of a substantially larger opponent, the size of the smaller mans hands to firmly grip the right structures of the larger opponents arms would be the main difficulty referred to. Also to think that one could seize an opponent's leg accurately or without exposing himself to the grip or strike of the opponent would be foolish. First the art of seizing can be used to control as mentioned, but any time you spend continuously holding an opponent is increasing opportunity for struggle and escape. This is more prevail ant the longer the time held in a hold as there is time for the opponent to gain balance, clear thought and advantage. Also if pain compliance is a part of the particular hold you have, after a short time the individual will get used to it, numb in that area or just fight away from the pain. However there is a way to work efficiently with this method and it lay in transitional flow and manipulation. If you work to seize and release to re-seize you can keep the opponent off balance with pain compliance, and dysfunction of their body control, without them getting used to it or being able to fight it. Just as you feel them balancing you can transition to another target or hold, as we will describe later, but and set them off balance in yet another way. This will instill a sense of confusion and eventual surrender of escape attempts. As seizing is a highly complex program, and as such has a high difficulty and skill level, there are a few basics to good seizing that must be addressed as well as countless hours spent training to accomplish. For ease of communication I will name these basic grips, but it is the name that we should concentrate on, it is the method and the targets. It is also not in the scope of this article to name all the possibilities, as that is where the challenge and intrigue comes in. Once the basics of any method are learned it is the individual that builds their own skills and personal repertoire.

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Components There are two basic grips we will work with here being the “Catch” and the “Grab” positions. The “Catch” will be a short hooking motion coming from outside across the chest. The “Grab” will be a circling outward and gripping action. Simply mastering these is a vast undertaking when you being to increase speed, angles, multiple incoming attacks, etc., with the increased stress that the speed will cause. In both gripping actions it is also necessary to adhere slightly and lightly as you deflect the trajectory of the attack before attempting to apply the grip. Attempting to catch or grab a wrist or limb that is traveling at high rates of speed is difficult but much easier to touch and guide temporarily as you apply the grip. In both the catch and grab, the same gripping mechanics are used; the name will simply depict the angle that the grip was initiated. First both the grips it is the middle two fingers we use for maximum penetration, targeting and safety. These are the most secure fingers to grip with, as the outer two are prone to muscle or ligament damage due to no support on one side. Say the opponent rapidly withdraws their limb, by placing your strength on the index or small finger as the limb jerks back, the outer support structures of these fingers can be torn from the over extension of the range of motion. They are also far stronger as they are braced

and have more contracting muscles in play, allowing more forceful and secure seizing. The thumb in these two grips wraps


Vital Points

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opposite the fingers but is there as an anchor and support rather than adding additional pressure. This will allow more focused strength on the target with one of the two middle fingers. Also it is with the first joint of the fingers that you contract inward as opposed to folding the whole hand for the grip. This allows a more direct pressure and angle for the attack as opposed to a more generalized action. As you apply this grip the fingertips curl in as a corkscrewing action rather than just a pulling action. The torque created is a vastly stronger application of physics than a linear compression would be as well. The outer two fingers must not be extended as it could lead to injury or worse, the opponent catching you in a Tuite (finger lock), negating your grip and subjugating you instead. They rest lightly on the arm or wrist to assist further in measurement and target location. Using the first applicable area for seizing at the wrist as example will clearly illustrate this concept. Say you have successfully gripped your opponent's wrist with either the Catch or G r a b .


Vital Points Your closed fist (not tight as mentioned above) will slide into correct position to utilize the middle two fingers as the wrist tapers until the beginning of the hand muscles extend. Now your small finger or index finger will lie against the widened hand structure (depending on the grip you secured) and measure out the correct distance that one of the middle two fingers will rest on the nerve target exactly. Once gripped there are two basic twists with the hand that are needed to maximize pain and dysfunction. This is to stretch or pluck the nerve once it is pinched against the bone as it will transmit a shock into the nerve and cause a similarly sharp reaction. This is what will unbalance the individual as conscious thought is temporarily suspended while monitoring the impulse takes precedence in the brain. The motions are rotating and twisting actions (again the names are not the issue but rather the action associated is). Rotating is rolling the hand

and torque actions they will be easier as the initial seize is already in play and caused an immobilization. This will make the following actions easier and even more adaptive. As time progresses and targets get more familiar and easier from consistency, you can employ them more rapidly. Literally crawling up the opponents arm is possible still accessing the nerves. The result can be as individual as the targets as well, from weakening the individual so their strength and composer weaken and body slumps, to making each one a sharp reactionary motion that appears as if the seized person is actually in seizure or electric shock therapy. A single hand Catch or Grab concentrating on the L-8 or Lung point #8, on the inner aspect of the persons wrist, (actually located on the Radial Nerve), is the primary Seizing action that will allow so many other seizing opportunities. This when practiced diligently enough can be quite debilitating to your opponent, but by now using a secondary hand we can not only increase pain, dysfunction and directional

back as if using a throttle on a motorcycle and twisting is the sideways twist as if taking the cover off of a jar. The quicker and more focused these are using the middle fingers on the nerve as the fulcrum, the more reaction you will achieve. One more important key to seizing is that of alternate pressure. If you grip with the same pressure on all targets, the body is more able and apt to resist. However when you alternate pressures on the seizing methods, the nervous system has a much greater difficulty in assimilating. This in turn alters the proper and responsive abilities of the nerves and physical motion of the muscle reactions.

unbalancing, but we can initiate an accent to the source being the brain. Combining the initial grip with the other hand in a parallel, opposite or even perpendicular relation to each other will add to the potency and affects. It is now possible to weaken on the first and shock on the second or any combination thereof. This can completely confuse and disrupt the opponent's balance, mental clarity and bodily functions. The seizing does not need to stop or be limited to just an arm, we can actually seize various nerves in the head and neck as well (which are much easier to control the individual with). The consistent practice of getting between the muscles, bones and tendons will yield a valuable education for use in all Kyusho application, from grabbing to striking.

Targets and Targeting Now the targets are numerous as there are single and combined actions that can be accessed. But one should always start with single arm targeting as they will be the more elusive and require the longer period of training to ingrain. As you add secondary targets using the same gripping

Misconceptions The misconception that many have however is that the seized limb or target must be held is what lends questions to it's usefulness in a combative or responsive action. These targets we must remember are nerves and translate information to the brain in 1/5 of a second… so the time needed to be on a point as at most that long. The Idea of seizing as in “Seizing the moment” … is to grip correctly to instantly immobilize the limb and subsequently the opponent. In many targets you will find that plucking the nerve as if a guitar string, will cause a much better reaction and it will be much easier to accomplish in the motion of transition.

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All DVDs, which is produced by Budo international, is provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however never offered with a special hologram sticker. Besides our DVD is characterised coverings by the high quality in pressure and material. If this DVD and/or the DVD covering do not correspond to the requirements specified above, it concerns illegal pirat copy.

REF.: • KYUSHO17 In this DVD Master Pantazi focuses on the traditional 6 Ji hands of the Bubishi, a treasure among the oldest classic martial arts texts, and its application to specific techniques on vital points. These hand weapons were ideal for attacking the Blood systems of the body causing not only immediate incapacitation, but over time internal bleeding lead to delayed fatal consequence. However as intriguing as these unique hand positions and their affects are, they are not a plausible or even practicable method in modern times.There is hope though, as these Ji Hands can be and are perfect delivery systems for the more modern adaption of Kyusho (Vital Point) applications. By attacking these structures, more immediate incapacitation is possible as it was with the ancient Dim Mak method, but with no ill or damaging effects per say. These secrets have revealed themselves over decades of research and hands on training utilizing Kyusho to incapacitate and the refinement of the attacking methods. It has brought us full circle to again embrace the ancient ways so that it is not lost to time or by the rule of man.

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The old Masters knew the more focus you trained, the higher the skill level you attained. And so it is as we focus on one of the 6 Ji Hands of the Bubishi, the Iron Claw and it’s awesome potential in Kyusho. You will learn how to correctly form and use this specific hand position to cause physical pain, dysfunction and even render your opponent unconscious. This weapon is not new to most in the arts as it is one of the more common weapons. However it is not typically employed as was intended, nor is it typically taught to target Kyusho or Dim Mak in modern times. This is a very versatile weapon that originally targeted the weaker anatomical structures of nerve and blood vessels. These Kyusho and Dim Mak targets can be located and attacked using this weapon on the wrist, forearm, upper arm, neck, face, even on the leg. Lear n this powerful technique handed down through the centuries as we work Kyusho “Seizing”

REF.: • KYUSHO18

PRICE: 25 EUROS PLUS S&H

All DVDs, which is produced by Budo international, is provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however never offered with a special hologram sticker. Besides our DVD is characterised coverings by the high quality in pressure and material. If this DVD and/or the DVD covering do not correspond to the requirements specified above, it concerns illegal pirat copy.

Orders: e-mail: budoshop@budointernational.com

www.budointernational.com


He is an important part of the history of modern martial arts, and the revolution of the styles syncretic towards effectiveness, his name is known to the real experts and fans around the world, but also even by laymen, for his son Marc Dacascos is one of the most popular action film stars of the past decades. Today we have the honor to present his first job with us on DVD, which initiates a series of brilliantly written and audiovisual publications, in the coming years.. Text: Al Dacascos Studio Pictures: © Alfredo Tucci

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o discover the heart and soul of Kajukenbo and understand completely why and how Kajukenbo came to be what it is today you have to look through the web of facts and myths to embrace the transformation and evolution of the system, styles, methods and

expressions. You would also have to understand the mentality of the founders of the original Kajukenbo System, Kenpokarate style, their methods and personal expressions, as well as_how their true character could have been misunderstood and how some of their disciples with good intent, and some with self-interest, bent the essences of Kajukenbo for power and self gain. This is true not just within the Kajukenbo system, but pretty much all forms of martial arts. If we were to use religion as an example, worshipers tend to feel that their way is the only way to heaven when in fact; the roads to Rome are many. In breaking down the word History,_it is HIS-STORY that is recorded and taken as History and may not be YOURSTORY. Unfortunately, we can only rely on the integrity and accuracy of the recorder. _ The four pillars of Kajukenbo are the Kenpo-karate (or Kempo, also known as “the Original style”), Tum-pai, Ch'uan Fa and Wun Hop Kuen Do. Kajukenbo has been misleadingly recognized as being mostly Kenpo-karate. Coming out of the era in Hawaii (late 1940's early 1950's) when the Emperado brothers, along with four other young men in their mid 20's, banded together and developed an effective fighting method based on nononsense self- defense. Back in those days, fistfights and stabbings were quite common in the streets of Honolulu, not just amongst the locals, but also between locals and U.S. sailors that were stationed there. Unknowingly, their brand of “Black Belt Society” would soon be called Ka-Ju-Ken-Bo. It has been assumed that the name came from Kenneth Funokoshi, who was a Blue Belt under Emperado's Kenpo-Karate Class at the original Palama Settlement Dojo in Honolulu and the nephew of Gigin Funakoshi, the creator and


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founder of Shoto-Kan karate. However, the credit goes to Frank Ordonez, who became the artistic writer for the materials and articles written on Kajukenbo at that time. With that said, the easiest way to break down the history is to say that the "SYSTEM" is Kajukenbo. The STYLES are Kenpo-karate, Tum-Pai, Ch'uan-fa and Wun Hop Kuen Do. These styles or pillars make up the foundation of the KAJUKENBO system but also uses other arts as support to enhance each individual pillars. I.e. Mix Martial Arts, a.k.a. MMA, Sambo, modern military arts and fighting methods, healing arts and medical field practices. An interesting note is that while many would consider Kajukenbo to be the original base of MMA (Mix Martial Arts) I would strongly suggest that Kajukenbo's MMA stands for “Mean Martial Arts” due to the attitude and applications of techniques of fighting however necessary to survive and win. The METHODS are the teaching styles, or the instructors way of teaching: Emperado's Method, Reyes' Method, Gaylord's Method, Dacascos' Method, Ramos' Method, Rebelo's Method, Wulf's Method, Bettencourt's Method or Dan Baker's Method. EXPRESSIONS are the accents of the method. This can be confusing but in reality, it is not. The explanation is only a concrete way for the individual to understand that after the STYSTEM, STYLE, METHOD, comes the freedom of EXPRESSION, the heart and soul of the art. For example, in Europe you would see uniforms saying Kajukenbo System, Kenpo-karate Style, Emperado Method, but the expression of that method, is the teacher that is teaching it. And if that happens to be you, than it is your expression of that method. We have seen many who claim to teach a set method but if you take a closer look, it is the expression or interpretation from that method of the instructor that you see. Another example; Kajukenbo System, Wun Hop Kuen Do Style, Dacascos Method,

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Bruno Rebelo's expression. The four pillars below give an idea of Kajukenbo as it really is and not just standing on one pillar as many think, especially in Spain where the misuse of the word Sijo (creator) is used. On a side note, first let me clarify that there is only one Sijo and in reality, Sijo means “The creator”, the Divine or God. Using “Sijo” as a word by itself implies God. When using the word Sijo, it should be used in a sentence such as Sijo of Kajukenbo or Sijo of Kenpo, which would mean Creator of Kajukenbo, or creator of Kenpo. If on the other hand we are referring to the art's creator, the correct word would be Jotze (Jo-Si) and saying it that way, the word could stand-alone. The first pillar, the original Kajukenbo Kenpo-karate style, is a composite system of martial arts that was said to be formed between 1947-1949 by five young men in their mid 20's from various forms of martial arts. Mr. P.Y.Y. Choo is credited for the Karate side, which is the first (KA). Mr. Frank Ordonez for JuJitsu, while Mr. J. Holck contributed Judo (JU-JU-Jitsu). Mr. Adriano D. Emperado contributed Kenpo (KEN), as well as the Filipino fighting arts. Mr. George Chuen Yoke Chang credited for the boxing (BO) aspects of the art, including both western boxing and Chinese boxing, more commonly called Kung Fu or Gung-fu. None of these men were GrandMasters at the time, Masters or Professors but merely Instructors and students of their chosen martial arts form. Today, after years of practices, achievements and followers, all of the original Co-founders attained the title of Grand Masters. At the time of this writing, out of the five original co-founders, two Senior Grand

Masters are alive, Grand Master Joseph Holck in Arizona and Grand Master Frank Ordonez in Hawaii. In the KajukenboKenpo-karate style, many of the older guards who are comfortable with sticking to just what was taught to them, has therefore formed the base of what we call the original or traditional Kajukenbo. Many of the same charts, tricks, techniques as taught in the early development of Kajukenbo still exist today with little or no change at all. Many of them claiming to teach the Original Kajukenbo system, Kenpo-karate style, Emperado Method. But it is their interpretation or expression. In this Pillar, and as in its beginning, all of the terminologies used were of Japanese due to the influences of individuals like James T. Mitoses who is credited to bringing Kenpo to Hawaii and is the teacher to the late and famous Professor Chow and Professor Emperado as well as other Japanese Instructors teaching Judo and Karate at that time. This time period of the early 1960's also gave way to major changes in the organization of Kajukenbo and the legal registration of the name Kajukenbo Self Defense Institute of Hawaii Inc.. Robert “Twinkle” Kawakami became the president and Chairman of Kajukenbo and Adriano D. Emperado was the founder and figurehead, while the traditional white karate uniform gave way to the Black Kenpo uniform. Many students wore red tee shirts on the inside of their Black uniforms while the instructors wore Black. The second pillar, the Kajukembo Tum-Pai style, came about with Chief Instructor Adriano D. Emperado's frustration with where the direction of the Original Kajukenbo Kenpokarate was heading.


Great Masters

“Kajukenbo is indeed a hybrid art and its practitioners are encouraged to find their own expressions, it is part of the essence of this adaptive and eclectic art form�

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With many of his top instructors migrating to the USA Mainland from Hawaii, and the loss of control and conflicts that followed, Emperado changed the spelling of Kajukenbo to Kajukembo and enlisted Al Dela Cruz and myself Al Dacascos to head what he would call Tum-Pai Gung Fu back in 1962-63. Dela Cruz left Chief Instructor Sid Asuncion of the Kenkabo off shoot of Kajukenbo system to learn more advanced materials as I did later hoping to attain that certain quality of achievement by being with one of the co-founders of the Original Kajukenbo. We had no idea in what direction Emperado was taking us but we were very eager to learn. Because of his association with the Chinese Community and many of the Chinese Gung fu instructors Emperado was “hanging� with,_their influence took hold in Emperado as he began to implement souther n Chinese fighting concepts, principles and forms. Most heavily was southern Sil-lum, Hang-ga, Choy-li-fat, Yang style tai chi, Hsing Yi and chi-kung. I on the other hand was

also a student of Sifu Buck Sam Kong of the Sil-lum Pai system of Gung-fu for a short period so I was the bottom man of the newly created Tum-Pai section or pillar in Kajukembo. The order was Emperado, Dela Cruz and then me, Dacascos and it stayed this way until I too migrated to the USA mainland in February of 1965. I settled in Northern California, as did other Kajukenbo practitioners before me. The name Tum-Pai would be retired from Kajukenbo in 1966 and would officially come back as Kajukenbo Northern Tum-pai in April 1984 when Sifu Jon Loren of Kelso, Washington presented the new version of Tum-pai to Professor Adriano Emperado in Oregon and petitioned Tum-pai to again be recognized as the second pillar. The third pillar of Kajukenbo became known as Kajukenbo Ch'uan Fa and the founders of this section were myself, Adriano Emperado, and Al Dela Cruz. This section became the most influential as the emblem became the international symbol of Kajukenbo. The Chinese characters Ch'uan Fa Gung fu, are in essence Chinese Kempo-Gung fu. This wording alone affects the overall percentage of Kajukenbo practitioners in the world as far as identifying the pillar they belong to. This evolution came when I was introduced into the San Jose Chinese Cultural center of which Sifu Paul Ng was teaching the Fu-Huk system of Kung fu as well as the Northern Style of Shaolin Kung fu. Sifu Ng was also a student of Professor Wong Jack Man, the man that fought Bruce Lee in a famous battle between the two styles. It was the influence of the northern style of Kung fu in my growth and development that I could no longer say that Tum-pai be called Tum-Pai. After a couple of years of intense training with this style of Kung fu, I began to introduce and implement the forms and fighting principles into Tum-pai which I felt could not be called Tum-pai anymore. The three of us, Emperado, Dela Cruz and me decided to drop the name Tum-pai and use Ch'uan Fa which was a more generic form of Chinese Kempo, being that we were using Chinese terminologies to replace the Japanese terminology previously used anyway.


The Kajukenbo Association of America adopted the Emblem and the name in 1967 and two years later, the Inter national Kajukenbo Association was formed and it too used the logo and name. The fourth pillar is Kajukenbo Wun Hop Kuen Do and was officially recognized in 1969.

The name Wun Hop Kuen Do or WHKD stood on its own identity. I became the sole founder of this section as my innovation or rediscovery of past concepts and principles became a strong influence as to the way I was expressing myself in the martial arts community.

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Great Masters Th e heavy influence of the 25 unique technical fighting principles adopted from Joe Lewis and the concepts and interpretations took me further‌ incorporating significantly more eclectic fighting elements into the system, as well as additional Filipino fighting arts which included edged and blunt weapons resulting in a style that prides itself on being reliable and practical in real-life encounters. The main characteristic of WHKD is it's inside fluidity, and unique drills

that enhances the flow or chi. WHKD is commonly referred to as a "system without a system". The art seeks to adapt in any situation and incorporate new techniques and methodologies as practitioners encounter them. Within this framework, the style still maintains it traditional roots in Kung Fu, teaching the "ways to preserve rather than destroy", and seeking to instill a respect for humankind and sense of calm that should be present in any true martial artist. In addition the philosophy of remaining "unfixed" also applies to the defense techniques, in that there is no defined response to a given situation, and they attempt to fit the situation as it arises. This idea leads to self defense that is creative and allows one to think about what is the best response. There are many drills to allow practice of this type of fluidity and creativity that lead to the ability to respond reflexively to any situation Dacascos' Wun Hop Kuen Do method has produced many champions


and celebrities in the Kajukenbo system. One of them is Mark Dacascos, Actor and martial artist seen in such films as “Brotherhood of the Wolf”, “Crying Freeman”, “Only the Strong” and over 30 international films and TV productions, including his role as the Chairman on “Iron Chef America”. Other champions such as Malia Bernal Dacascos, Eric Lee, Karyn Turner, Karen Shepard, Christian Wulf, Emanuel Bettencourt, Winfred Joszko, and Eric Lee make up only a small portion of the vastly talented pool of Wun Hop Kuen Do fighters, teachers and students. Within this framework comes the Kajukenbo Ohana Association which is the umbrella organization to unite all of the Kajukenbo organizations worldwide. “United but Independent” is its motto, with its many Pillars and sub pillars to be known. Kajukenbo is indeed a hybrid art and its practitioners are encouraged to find their own expressions, it is part of the essence of this adaptive and eclectic art form.

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The existing Kapap is a hybrid system of fighting in which one studies what works and what does not but always under a real foundation, it is principles based. A technique may work or not, whereas a principle will always allow us to flow from one movement to another and permit us to have control over the situation. Within the "Kapap Combatives" philosophy, this work offers an approach to real combat based Muay Thai, one of the most effective ring arts, but that in the street has to adapt to different type of rules. The most important rule we are talking about is that "on the street there are no rules". W. Paardekooper, Instructor Level 4 trained directly under Avi Nardia and became a great Muay Thai fighter, with this DVD he has surprised us with this incredibly elaborated system of self defense. With this same system he has trained to a lot of people who don´t practice sports but are only interested In lear ning how to defend their families and themselves effectively. Since they don't have enough time to condition their shins and fists like professional fighters they learn how to use the elbows and the knees, very strong parts of the body that can cause a lot of damage to their opponents. When you cannot avoid the fight you have to fight but then there is only a rule: WIN!!!

REF.: • MUAYKAP

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In this DVD Guro Dave Gould presents us with the effective “Doble-Baston” of Lameco Eskrima. Learn the secrets of Punong Guro Edgar G. Sulite as we focus on the fundamentals of his unique combat effective Pilipino fighting system better known to the world as Lameco Eskrima. In watching this DVD the viewer will be meticulously guided through essential double stick work such as starting positions, transitions, striking, recovery, range, line of engagement & the importance of training with & without protective equipment. In addition the viewer will explore in-depth the transitional range of “Largo-Medio” where the techniques, principles and concepts of “dose-dose”, “Dos Manos Ikis”, “Sabay”, “Dos Manos Dos Labahas” & “Lameco 1-2-3” among others will be presented, discussed & trained in great detail. After which Guro Dave Gould will present us with the very effective “Hand sparring” progression of Lameco Eskrima. Aggression, speed, timing, power, recovery & position are brought forward in ones combative development for optimum gain as Guro Dave Gould takes the viewer from a realistic training environment to an essential non-compliant sparring environment. A must see for any Pilipino Warrior Art enthusiast or Martial Artist who takes their training seriously.

REF.: • GOULD6

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Let Weng Chun Kung Fu´s Grandmaster Andreas Hoffmann personally guide you to learn the ancient 6 1/2 principles Form. Learn the basics of Weng Chun Kung Fu, weapon fighting and explore the secret of the Southern Shaolin Temple. See with your own eyes why many people see Weng Chun as the forefather of Wing Chun and Hung Gar and as one of the most effective martial arts. Learn to fight with principles, because in a real combat situation the confusion generated by surprise, fear and stress is too great to solve it with a large number of techniques. Learn the same form with double knives, long pole and wooden dummy. Become a Chan/Zen warrior through the application of the principles in your daily life and boost your energy with the help of this ancient Form.

PRICE: 25 EUROS PLUS S&H

REF.: • SARG16

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Many martial art teachers who teach techniques and exercises and who have adopted the sparring system of Full-Contact always find the same problem: to keep their students. Most are workers and logically they don’t want to be injured or don’t want to get a black eye. Bruce Lee had to face the same problem and he noted that, as soon as his students began their Sparring training at a full contact, they decided to stop training. It was like this that, trying to find new training methods, he discovered a safe way to apply the exercises and techniques learned in contact Sparring. This is the method that Tim Tackett shows us in this new DVD.

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REF.: • JKDTIM4

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To mark the 100 anniversary of the birth of Imi Lichtenfeld, Yaron Lichtenstein, world´s maximum degree in Krav Maga and certified as 9th dan by Imi Lichtenfeld, decided to undertake an extensive project in memory of the creator: explaining the official original Blue Belt program, such as it appears in the manual published by Imi 1971, in a series of 6 DVDs. The whole essence of the system, both in its physical and mental, appears in the Blue Belt level at the highest level a student can achieve. Among other techniques in this DVD, and with the help of his son Rotem, Grand Master Yaron focuses once again on one of Imi's most favorite techniques - the foot work for kicks in the krav-maga. Also, we will show a few ways how to strengthen parts in body used for punching and hitting.

ll DVDs, which is produced by Budo international, is provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however never offered with a special hologram sticker. Besides our DVD is characterised coverings by the high quality in pressure and material. If this DVD and/or the DVD covering do not correspond to the requirements specified above, it concerns illegal pirat copy.

REF.: • YARON3

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To mark the 100 anniversary of the birth of Imi Lichtenfeld, Yaron Lichtenstein, world´s maximum degree in Krav Maga and certified as 9th dan by Imi, decided to undertake an extensive project in memory of the creator: explaining the official original Blue Belt program, such as it appears in the manual published by Imi 1971, in a series of 6 DVDs. The whole essence of the system, both in its physical and mental, appears in the Blue Belt level at the highest level a student can achieve. In this series, and with the help of his son Rotem, Grand Master Yaron explains in detail all the defenses against frontl attacks with empty hands, against kicks, special exercises, multiple attackers, choke or grip situations, all defenses against attacks with stick, knife and gun, knife against knife, and finally the more advanced exercises: defenses against rifle with a bayonet. A work that will enable you to understand the magnitude of the creation of Imi, the greatness of Krav Maga as self defense martial art. In the first DVD in the serie of the blue belt in the kravmaga we will show and teach advanced defenses against punches and also the sidestep technique, one of Imi’s most favorite defense against kicks..

REF.: • YARON2

All DVDs, which is produced by Budo international, is provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however never offered with a special hologram sticker. Besides our DVD is characterised coverings by the high quality in pressure and material. If this DVD and/or the DVD covering do not correspond to the requirements specified above, it concerns illegal pirat copy.

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Text: GM Yaron Lichtenstein Photos: Š Alfredo Tucci


The Grand Master Yaron, ninth dan Krav Maga, grade given by the founder of the style, returns to the fray with a new job, teaching many of the special features that made it great to Krav Maga as taught by Imi, the founder of the style. This time, though focuses on the kicks, it does add a few points of those who only received the hand of a great master. Does he emphasized that what is taught in these DVDs and we are presenting texts in recent months, is nothing more than strictly conformed whole training techniques and formulas that made it big when Krav Maga Original. Among some of the issues like sharing in this DVD, you will find some of the formulas of hardening and strengthening practiced at that time, skills and attributes that students maintain itself Yaron, Yaron has justly famous because of hard teacher, demanding the physical form but also in the attitude of the true student, all, and we had ample opportunity to prove it, is superbly smooth with exceptional comic timing. His courses and classes are challenging yes, but we must recognize that knows how to motivate and stimulate a very personal sense of humor, in which the stiffness of the abdominal end up confused with laughter, no doubt a result of his outstanding characteristic humanity and inner strength. A new job that we are pleased to present especially for lovers of Krav Maga and all those interested in exploring one of the most efficient forms of self defense that man has developed in modern times. Alfredo Tucci

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Kicks As part of the commemorations for the100th years anniversary of Imi, we present to our readers, Krav Maga instructors and students all over the world, the second article and DVD of the series about the Blue Belt in the Krav Maga . This DVD is dedicated mainly to learning kicks and legs work which Imi had included in his martial art. I bring here the techniques exactly as Imi taught them to us - his select group of the only ten black belt students he awarded. In their book “Genesis, The History of the Krav Maga ”, J. Tuchman and G. Mayers dedicated an entire chapter to the ten chosen disciples of Imi. I too wish to dedicate this article to my old colleagues at Imi's dojo. The developing of the Krav Maga as a martial art was a relatively long process, since Imi was a perfectionist and he never tried to hide it. In fact, the purpose of his teaching was to turn us into perfectionists as well, and at least partially he succeeded to do it. He also wanted every piece of knowledge or information to be accurate up to the smallest detail. Many times Imi used a phrase from the world of architecture: “God is in the small details”. As long as he served in the Israeli army, as the chief instructor of self-defense, he could not invest too much time in the development of the Krav Maga as a martial art, and that is for two reasons: first, he simply did not had the free time to do it and second, being an honest person he believed it wouldn't be right to receive a salary from the army but in the same time to use his work there for his own personal benefit. He considered it to be a moral and social crime. Imi was the most honest man I have ever known, and to give a personal example meant everything for him. He invested most of his talent in creating his kicking technique and combining it in the Krav Maga , and that was not an easy task to do. Especially challenging for him was to decide which kicks should be included in the Krav Maga and which should be excluded. He explained to us, his group of ten black belt student (or as Imi affectionately nicknamed us “the Krav Maga 's Guinea Pigs”), that his method was to first create a few ground rules which will determine what does a Krav Maga student needs to know and only afterwards to include kicks and punches inside the martial art.

48


Arte Marcial Israeli

Following this line of thinking, he established 3 principles that explain why at all do we need kicks in the Krav Maga . The first explanation, which today seems obvious to almost any Krav Maga practitioner, is also one of the guiding elements used by Imi to create much of the self-defense principles of the Krav Maga . It is the superiority of the leg over the hand in matters of strength and power of impact. Imi explained that a strong and accurate punch can knock out and neutralize an opponent for an unknown and uncertain period of time. However, Beita Regila (a “Regular Kick”) in any place in the opponent's body will immediately send him to the nearest hospital. This, he added, if we would use “Beita Regila” which is relatively “soft” if compared to other kicks in the Krav Maga whose impact will easily leave some of the opponent's bones broken beyond repair. Imi created the Krav Maga always in a rising order, meaning, first he taught Beita Regila (regular kick), which is more easy and soft, afterwards he developed the serie of Beitot Hagana (“Defense Kicks”) that are more lethal than Beita Regila. Later came the serie of Beitot Magal (look at the DVD), whose impact and the damage they leave in the opponent's body Imi compared to the cutting movement of a Samurai sword: penetrating the opponent's body while breaking every possible defense and injuring several bones at the point where the foot hits the body (using the technique of boll of the foot). Imi based the technique of Beitot Magal on principles directly related to the philosophies of the oriental martial arts. He possessed this knowledge as a black belt in

Judo and in traditional Jiu-Jitsu which contains ancient secrets that existed since the creation of the martial arts in the Far East. So, it was easy for Imi to understand and to include in the Krav Maga half secret attack techniques with unprecedented strength. From the very lethal Magal kicks he moved to a series of kicks unique to the Krav Maga , considered the most dangerous kicks the human body can execute: Beitot Akev (kicks with the heel). Imi used to apply various metaphors in order to explain to us his thoughts and ideas behind the creation of each movement or exercise in the Krav Maga , and some of his most favorite metaphors came from the military jargon. “A soldirer”, he said, “from the moment he received the right order, his objective is to act with maximum forcer to fulfill it”, but, he always added that “In the military the soldiers act without thinking, just following orders. We, in the Krav Maga , must act according to a very calculated and accurate thought”. Budhidharma, when he created the Kung-Fu, used and imitated the natural movements of different animals while explaining the characteristics of each animal and why he included it in the Kung-Fu. Imi in principle did not imitated animals, he did not need to. He wanted to develop a much more practical and lethal martial art than just the imitation of a few animals. In the first book of the Krav Maga , “A Guide For Self-Defense”, Imi wrote that the Krav Maga is based on our intelligence. He would have explained that animals in general are not intelligent. Imi chose to imitate weapons. For example, when he taught the different

punching techniques he always repeated and “brain washed” us that our hit must be like that of a mortar shell that explodes when hitting the ground, “Only like this you will eliminate the opponent with one single blow”. These metaphors were not said without a reason. As a result of this Imi created and taught the “Way Back Technique” and combined with it the “screw technique”, which he compared to the rounds a bullet makes after it is shot from the barrel of a gun. This technique had made the Krav Maga punching method a unique one in the world of martial arts. When Imi reached the part of kicks in the Krav Maga , his metaphors and comparisons became even more creative. Our kicks became so powerful that even Imi was surprised of their strength and created the phrase which has become the symbol of the Krav Maga : “Be good enough so you would not need to kill”. This is maybe the best compliment we, his first ten students, ever received from him. “When doing Beita Beredifa”, Imi Said, “You must imagine to yourselves that you are in fact a charging battle tank (The Book Of Krav Maga - The Bible, page 55), a 60 tons monster of steel and rage riding forwards with an unimaginable force and speed, unstoppable and inescapable ”. For Beitot Akev (kicks with the heel) Imi used a very popular term in that time. During the Six days War and the Yom-Kipur War, The Middle East saw the first combat use of deadly long range ballistic missiles. “Beitot Akev”, he said, “Should be equal to the landing and impact of such missile, destroying and blowing everything around it


Krav Maga into small pieces”. Dear readers, even if Imi took things a little far, anyone who knows and is familiar with the secrets of the nine Akev Kicks of the Krav Maga , would also know that there is no exaggeration here. Akev kicks have fatal strength and impact and only one purpose: to eliminate any opponent, and every teacher takes all precautions with his students during the teaching and practicing of these kicks, so there will be no “accidents”. Things go even further when we reach the floating technique of Beitot Benitur (Flying Kicks), which Imi naturally compared to a hovering helicopter and even developed special training techniques, but those are already a part of the Brown and Black Belt and belong to a different story. Most of the kicking techniques Imi included in the Yellow, Orange and Green Belts. In the Blue Belt, the subject of this article, Imi gave his attention to advanced selfdefense techniques, the heart of the Krav Maga . He always explained that for a Krav Maga artist it is not enough only to know how to kick, but he must also know how to combine the different body movements (the Hip technique) w h i l e applying various attack and

defense techniques and in the same time counterattacking using long and sophisticated kicking movements. More specifically, in order for us to kick correctly we need to learn and to comprehend the biomechanical actions of the human body. For example: to kick as high as we can without to loose our body balance. As part of this,

50

Imi included here as well the technique of the “Determination to go Inside” (“Lehikanes”, in Hebrew), which is a main element in the Krav Maga . This means, As Imi explained it, that if we kick and bend our body backwards we will loose our balance immediately. This is just one example out of many. In the blue belt Imi also included the operational use of Beitat Magal Leahor, meaning: while doing evasive movement against the opponent's attack from one side, we turn ourselves against the body movement and kick with the heel Beitat Magal Leahor from the other direction. This would be a deadly kick. One of Imi's ten black belt students was Sami, who had especially stretched and flexible legs and therefore his kicking movement was also long and despite his velocity Eli Avikzar always succeeded to defend against his Magal Leahor kick. Eli always made fun of Sami and sometimes even of Imi that this kick wasn't efficient enough. Until one time Imi got angrier than usually from the jocks we made on the tatame during the endless trainings and explained to Sami how to fold his leg in the end of the kick and to use the double kick / knee technique. The result was lethal and the laughing and doubt about the quality of the kick stopped immediately. This kind of things happened all the time, some sort of a “mutual fertilization” between student and teacher. The second DVD in this Series continues to teach and to show the blue belt techniques of the Krav Maga . We have included all the explanations, every small movement just like Imi taught us. In my opinion there is no other way to learn an “art”. We must invest our heart and soul in it, or don't even bother to start. An artist is one who dedicates himself, his life for this noble cause - his art. That is the reason why we admire art and artists. The Krav Maga is a martial art, and as such it belongs to the arts of the spirit and the body which come to demonstrate the practitioner's abilities, just like a ballet dancing. This is the way we have to teach and to learn Krav Maga , there is no other way. Imi always wanted that all those who practice Krav Maga will know not only the secrets of the Krav Maga body movements but will also be familiar with Israel itself and its unique daily life of dealing with the constant threat of war and terrorism since the day it was established. Only in such a country, whose sons are considered the best warriors of the modern era, the needed philosophy and conception for the creation of such a unique martial art as the Krav Maga could exist. One who practices Krav Maga should feel and taste Israel personally, and not only by watching television or reading a newspaper. Meaning, to go to Israel, to train there, to breathe its air. This was Imi's dream, that everyone will know his country, and we are only following and fulfilling his wishes. The second Zen Father, the successor of Budhidharma, said: “I am nothing more than a pot that


contains the way of Zen and that of the founder”. Wingate Institute in Israel, the leading sport university of Israel and the place where Imi began the creation of the Krav Maga , has accepted the important task of organizing a special Krav Maga training event which will be open for all Krav Maga practitioners from all organizations. The event will take place between days 12th to 22nd of May 2011, being that the actual practice will be six days long, eight hours of continuous trainings per day. Afterwards the participants will have the chance to tour for two days in Israel and the last day will be dedicated for a special shooting training with weapons used by the Israeli army and police. Each participant will receive a special diploma by the Wingate Institute. For more details please contact: yaron@kravmagabukan.com The participants will be accommodated in Wingate's athletes' hotel, located inside the university campus. The trainings will also take place in the Institute's own facilities, equipped with large tatame. Additionally, to complete the practical part of the event, the participants will also listen to lectures about subjects related to Krav Maga instruction. The lectures will be conducted by senior professors of the University. Now we reach the second reason why we would prefer to use the leg (kick) over the hand (punch or blow), that is - the range. The leg, Imi always explained, is longer than the hand and therefore we can neutralize the

“Nosotros incluimos todas las explicaciones, cada pequeño movimiento, tal y como Imi nos enseñó. En mi opinión, no hay otra manera de aprender un arte” opponent with a kick before he reaches us with any kind of a punch. This is especially true when the attacker is holding a knife in his hand, which automatically adds to his attacking capability. In combat, range sometimes means the difference between winning and loosing. The third difference Imi considered to be the most important one, since it points out, more than everything else, his geniality in the creation of the Krav Maga as a martial art. We are talking about the difference in quantity and variety of movements between

punches with the hand and the arm (fist punches, Zirtit, elbow punches etc), 38 punches in total, compared to 78 forms and techniques of kicking we have in the Krav Maga . Imi explained that punches we usually do forwards and only in special situations we can punch efficiently to the sides. But kicks we have to the head, to the body, kicks backwards, forwards, to the side, in sitting position or flying kicks and even when lying down. In short, we can kick in any position and from every possible angle. Upon these three principles Imi based the incredible kicking technique and legs work of the Krav Maga . Without a doubt it is necessary to invest not just many hours of practicing in order to control the different kicking techniques, but many years as well. However, when we will know how to kick and we will be able to look at ourselves and to see the great body balance we have acquired and our body control as a whole, that is our advantage as Krav Maga artists. We must admit the truth to ourselves, we all came to the Krav Maga in order to have more self-confidence, and self-confidence is the result of our body capacity to handle various dangerous situations. The most efficient way to achieve this is to know how to kick, how to maintain the opponent away from us.

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In this the fourth episode of the “Lameco Eskrima; Essential Knife” series, Guro Dave Gould takes us through a very thorough presentation of the Hand Sectoring (Bantay-Kamay) sub-system of Lameco Eskrima. It is crucial that when presented with a knife attack the ability to isolate and contain your opponents knife hand as soon as possible is of great importance. This act alone will enhance by a great margin ones percentage of survival in confronting a knife attack and will lend itself to other options not readily available if the knife hand is not properly contained. As well Guro Dave Gould will lead us through essential weapon retention capabilities where life and death literally hang in the balance of you keeping your weapon in hand when forced to fight for life and limb in the streets. In addition Guro Dave Gould will share with you the very important noncooperation training aspects of the system as well as sharing his thoughts on realistic ability to disarm a knife wielding attacker while being held fully accountable to consequences found in a realistic environment as governed by cause and effect. This DVD is a must see for any Martial Artist or anyone with an interest in knife combat.

REF.: • GOULD5

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This new DVD is anything but sport-based or traditional-based ground fighting training. It is a DVD that is packed with techniques and training methods that will make your current training more reality-based, and reality-based means material that prepares you for what you would actually encounter going against a criminal or terrorist. Ground Attacks is packed with step-by-step techniques; the same techniques that I teach to police officers and military personnel all over the world. If you have any previous training in ground fighting this DVD will turn what you have and make it more reality-based. If you have absolutely no previous ground training, then the techniques and training methods shown will be an easy-to-learn foundation. When I say, “easy-tolearn,” I mean just that. I believe that if you cannot master any self-defense move in five minutes you should throw away that technique. Real combat is fast, simple, and brutal.

All DVDs, which is produced by Budo international, is provided and alone in the formats DVD-5 or MPEG-2, in VCD, DivX or the like is however never offered with a special hologram sticker. Besides our DVD is characterised coverings by the high quality in pressure and material. If this DVD and/or the DVD covering do not correspond to the requirements specified above, it concerns illegal pirat copy.

REF.: • SARG16

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