El Camino #16 English

HOW MUCH SHOULD A TEACHER ACCEPT DOUBTS OR QUESTIONINGS FROM A STUDENT?

Sbn Ramón Navarro

How Much Should a Teacher Accept Doubts or Questionings from a Student?

I am SabomNim Ramon Navarro 6th Dan of the International Song Moo Kwan HapKiDo Federation is its Technical Director based in the Republic of Panama that we are expanding this Korean martial art in the American continent so if you want to work with a serious organization and are willing to work whatever it takes, we are here to grow.

HAP

I greet all those who read us normally and those who read us for the first time. Additionally, it helps not only the topics but also the magazine to spread throughout the American continent. I greet you all and I wish you well as well as your family and students as friends. Support by spreading the word of this project, since we have been disseminating various topics for

a year and 6 months now, thank you.

It is commented: when I learned, that was from the old school or that this is what is learned, but you do not know how it was at the beginning of that teaching when this martial art began to be taught in your area or community. The thing is that all of the old school lived that what is learned is never questioned to the teacher about his teaching and if any student asked why something was answered that is how we were taught and that is how you have to learn it. It is said that the worst question is the one that is not asked and depending on the question or doubt that the student has, they can be answered, and when they have that answer, I will give it to you. It is not necessary to see oneself as the one who has everything that is needed in our martial art and it is better to tell

the student that this question is not asked and that everything that must be known is what is learned. That if you have any intrigue in the form of doubt, it is because you are doing something that you are not doing well. No martial art was created by God, it was created by a human being so it is not perfect and each martial art is focused in a certain way that depends on the environment and the nature of its area is how the action of that martial art is focused.

There are things that, depending on the martial art, are Japanese with punches and kicks such as Karate or Korean styles such as TaeKwonDo, TangSooDo or HapKiDo or any of the versions that come out of HapKiDo regardless of its name or styles of Chinese martial art or KungFu. None is perfect and the vast majority focus on how that martial

art is known to be hard or soft. Hard like Karate, TaeKwonDo, TangSooDo or HapKiDo as well as ChaoLin ChuanFa or soft ones called internal JuDo, be it JuJutsu, Korean YuDo or TaiChi Chuan, PaKua Chuan etc. In the West it is hard Boxing and soft is Wrestling.

The truth is that I think any student will ask questions, and well, I also think there are valid questions and questions that are irrelevant. How to know the difference? A question will depend on the seriousness of the student, because if he is a student who is looking for the cat's 5th leg, he can tell him to look for it on the internet and that he will find more answers than the one I can give him, of course, without disrespectful blackening a A person, no matter how stupid he or she is, is not worth it, but you can talk in private and guide that student.

Also, and knowing his students, the Master or Instructor can know if it is a question or intrigue from a serious student, he can be given an answer or say "I do not have an answer for you, but give me a few days and I will find it and I will give it to you." This attitude of the Master will make that student have more trust with his Master.

This is important as students should not question their Master whether it is Sensei, Shifu or SabomNim. This was the old way, well, there is nothing old about it, I believe that the Teacher does not have an answer or does not

know how to give a valid answer to his student and he answers like this unless it is part of the pride with which this teacher learned and he will have to answer this to your student.

Can I be wrong? Yes. Even if that person, as a teacher, sees that this student asks a lot, he should be guided that it is good to investigate, that is, that he be taught how to fish, not that he be given the fish, because if at some point he does not have his teacher, this student will feel lost. Like what is the martial subject regarding the history of his martial art as well as his martial philosophy or the spiritual part and it would be good to teach all these aspects to all the students of his Academy. This is necessary? Not really, but the great truth is that if you already know your present and knowing the past then you will be able to know your future. Once again, the important thing is the example provided by that teacher, that if it is based on righteousness, honor and discipline, then the future of his style will almost certainly

have the due future. The "due future" is that of a school that its students, when they reach the stages of instructor or teacher, will not steal or cheat their students in the main thing, which is that that instructor or teacher does not turn their school into one where they sell the ranks over stages of black belt. What would cause this? The one that does not transform this school into the well-known McDojo.

MACARIO

Maestro Jesús Ricardo Félix

The Mexican's relationship with death is very particular, what in other countries would be considered a taboo subject in ours is part of the imaginary, tradition, beliefs. In Mexican art, the bony woman frequently appears as the protagonist, muralists, writers, filmmakers, singers approach the subject in a humorous, everyday way or as if it were an inspiring muse. The iconic catrinas of José Guadalupe Posada became part of the history of national symbolism, Diego Rivera's chickpea skull in the Alameda, Francisco Toledo's skulls and many more examples.

Then there is the theme of the day of the dead, which seems to be the result of a fusion of indigenous traditions with Christianity imported by the Spanish. The tradition, simply described, involves the return or visit of the souls of the deceased to the world of the living to receive offerings. These offerings are placed on an altar that represents the seven levels that the soul must go through to reach eternal rest or peace. A photograph of the deceased is usually placed with various foods, drinks or items with which to remember him, sugar

skulls, bread of the dead, flowers, etc. should not be missing. That is why this week that we celebrate the conclusion of the national holidays, we will talk about an iconic film in the history of Mexican cinema: Macario.

Macario is a 1960 Mexican film directed by Roberto Gavaldón in collaboration with the famous photographer Gabriel Figueroa. Roberto Gavaldón is located between the period of the golden cinema and his later stage, he would collaborate with artists such as Gunther Gerzso, José Revueltas, Carlos Fuentes, Gabriel García Márquez, etc. In Macario's case, the film's script is based on a short story by the writer B. Traven.

Macario, played by Ignacio López Tarso, is a very humble woodcutter who tries to support his family by selling wood during the times of the Holy Inquisition. His large family is limited to eating beans almost daily, the peasant, who sometimes goes hungry in order to feed his children, becomes obsessed with the idea of eating a turkey by himself. Macario's wife, played by Pina Pellicer, secretly saves money to materialize her dream. The day that

Macario manages to see his dream come true, he receives a visit from three mysterious characters. The woodcutter only offers his chicken to one of them who rewards him with a special gift that will change his life. The humble peasant emerges from anonymity becoming a renowned healer, but the whim of fate that raised him to the clouds now intends to make him fall to become one more.

Definitely recommended, it is one of my favorite Mexican films despite not occupying the first places in the ranking of best national films. The aesthetic quality that Figueroa provides, with the narrative fluidity of Gavaldón and the performance of López Tarso make it a classic that can be seen over and over again without getting angry. Some will say that it is about death, others about the fragility of life or even social criticism. The truth is that Macario is a film that impresses everyone who sees it and without being produced in the era of golden cinema, it retains the quality of the best times of national cinema. It would also be the first Mexican film to be nominated for an Oscar as best foreign film, being screened at international festivals such as Cannes.

See it on Youtube: https://www.youtube.

The Traditional Center Martial Arts

It is born from the idea of not establishing a single system as unique and the study and teaching of the enormous variety of martial arts around the earth, the study, the practice, the history, the technique, the philosophy and above all the orderly opening are the fundamental bases of this construction, which begins to forge in 2012, with the interest of Sbn Javier Acosta and the full support of his Kjn Eduardo Martínez V. the latter a world legend of martial arts.

Accompanied over the years by masters of Japanese Jujitsu, Wing Shun, Aikido, Karate, Tkd, Kick Boxing, Muay Thai and Tang Soo Do and having practiced some of them for long periods and others for short periods, the doubt ideas are generated, aligned and this study center is formed that today offers its students the various variables of the Moo Duk Kwan school, as well as Aikido, Self Defense, Kick Boxing and a hybrid similar to MMA, that directs and studies Ksn Donovan Aguirre, in the studies of weapons Ksn Dr. Daniel Rodríguez and in the organizational support

the Ksn Melba Valenzuela and Ksn Taira Aguirre, all of them with the freedom to seek and bring to this project the ideas and concepts of those that orbit the same but are in different tribunes, some years ago the CTAM has crossed borders and has teaching relations with various countries, as well as its first subsidiary school in Las Tunas Cuba directed by Ksn Alexei Pérez who is also part e fundamental part of the study of martial arts, we have teachers endorsed by the CTAM in Uruguay and Argentina for Kick Boxing and Moo Duk Kwan Taekwondo, today Sbn Javier Acosta, participates as a technical advisor to different organizations around the world in terms of teaching for the physical disability, thanks to his career as a volunteer teacher at the Mexico telethon foundation, he also directs the El Camino Podcast editorial and to this day remains faithful to his great teacher Kjn Eduardo Marinez who is part of the promotion of the Taekwondo Hall Of Fame 2019 and holds the highest degree in Mexico, as well as a Dan Bon Directo from Kjn Hwang Kee.

The traditional martial arts center is the greatest achievement of Sbn Javier Acosta and each of its

members, it is tangible and grows solid every day. Today, together with Sbn Mario Segnini from Uruguay, the learning and massification of martial arts through technology is studied and practiced fraternally, he is the one who today travels the do accompanying Sbn Acosta and learning at the same time for his students, As you can see, the important thing is not to be a giant, it is to walk with giants...

SBN Javier Acosta Serrano

Can boxing be a martial art? This is a question that many people ask and I would like to give my opinion. Is boxing a martial art? And what is usually said? Because in many cases it is also known as a contact sport. Find out if boxing is a martial art. Let's go to the answer quickly. In fact, boxing can be considered a martial art. Now it is also a contact sport. In the same situation we can see other options such as different schools of karate, taekwondo, Tang Soo Do, ju jitsu, etc. To practice boxing, we need many different elements. You need specific shorts and gloves, you need bandages, shoes in some cases and, contrary to what many people think, you also need proper training and learn many techniques and movements. Therefore, it can be used as a means of self-defense, and is usually considered a contact sport,

CAN BOXING BE A MARTIAL ART?

SBN Javier Acosta

even becoming an Olympic sport. But, with its powerful properties, it is also considered a martial art. types of boxing Today we can distinguish different types of boxing: English boxing: the most popular of all, with well-known characteristics and strictly based on the use of hands and its impressive dexterity when it comes to planting a defense. Muay Thai: Also known as

Thai boxing, it is very popular and allows the use of all extremities. Shaolin Boxing: Also known as Chinese boxing, it is rooted in its culture and uses techniques reminiscent of the famous Kung Fu. Kickboxing: It is not known as Japanese boxing, but it has appeared quite a bit in recent years. This is a highly developed martial art in the West that allows the use of kicks and punches. Savate: Also known as French boxing, it was incorporated into modern boxing, although it was practiced in street fighting in the Gaelic country throughout the 19th century. For my part, I consider boxing a martial art, as its characteristics indicate.

What do you think?

Best regards.

Sbn Javier Acosta CTAM World.

THE TYRANNY OF STATUS

“I think that when black belts with Dan ranks are awarded in karate, inevitably will cause problems. This rank system will create discrimination within karate and Karateka will be judged by their rank and not by their character. It will create higher levels and inferior within the karate community, which will lead to discrimination.” -Miyagi ChojunCountless times I see around me a certain contempt on the part of Karate Masters towards students or other teachers. Normally it is a disguised contempt and with a certain irony, motivated by the idea that what is said or contributed from a "lower" stratum must be accepted by a higher stratum higher. If not, it doesn't work. I remember in particular an occasion in which a green belt karate fighter reproached a 6th Dan Karate that a certain projection that he executed was wrong because he lacked a stable base and his body structure was biomechanically incorrect. He responded with irony and contempt without even questioning whether what that green belt He said. "Well, it's just that when

you're a novice, a more polished technique is required than when you we have some experience. I comply with what you say, but it doesn't show ”he reproached. Analyzing the situation, I remember thinking that the “rookie” was right, and yet I let him go. Later, in training he had to do "free combat" and we rotated between companions. The Green Belt came to be in front of that 6th Dan and something curious happened.

The experienced Master was not able to perform a technique well. Everything went wrong for him untimely, he did not arrive in his attacks and the takedowns that he tried were in something ridiculous. Of course, constantly making postures between action and action similar to those of a movie of martial arts. And let's not think badly, before many other colleagues, including high belts and with a certain important competitive trajectory, this teacher showed a clear superiority. But that one green belt did not let him rest easy. It turned out at the end of the training that this "newbie" had done Muay Thai, Judo and Grappling. for many years. However,

he had only started doing Karate a couple of years ago. The "status" had completely eaten away at the teacher's ability to learn and improve. It was blind to the reality and technical diversity of the immense world of martial arts, only he having been satisfied with what karate gave him. For the self-proclamation of "master" would have prevented him from seeing beyond his own ego and being able to realize that there is always something more to learn; that you can always learn, even the most recent student can be our new great teacher... This beautiful story teaches us many things. However, I want to highlight a specific one. The

Titles or belts that organizations give out do not always denote a specific level. Many times they are awarded for training time, dedication to the organization, etc. Even if they determine a level, it is usually a comparative level with respect to the same who are in that organization. The "belt" or "title" of each one does not hang from the karategi. It is in the depths of your body impregnated and sealed by his experience and his years and types of practices. The famous Socratic phrase "I only know that it is nothing", suggests what counts here. The so-called Great Sages did not worry about continuing to learn, since they were already considered "great sages"; however, the philosopher Socrates becomes a true wise for believing himself ignorant, giving rise to a constant search for answers and explanations that finally gave him enough light to be the lamp of his his own thinking and that of his disciples. The same goes for the selfproclaimed Master and the curious student.

JUDO FOR LIFE

Prof. Marcelo Ehrlich

Hello dear readers of the digital magazine “El Camino”. In this 7th installment, we will deal with topics that have been consulted and that have asked me to expand a little on them. Today's will be: "My favorite technique, my special technique", first part. Some issues have been raised and debated forever. I have listened to them since my beginnings in Martial Arts and I continue to live them! That speaks of the permanence in time of important things. Doubt is good, research is good, testing is good, taking nothing for granted is good, Theory is good, but practice is essential! Technical specialization or technical generalization, technical traditionalism or sport of combat, a single activity or complement with others, practices in places developed for that or anywhere, with traditional clothing for each activity or with any type of clothing, practice only with people of my weight and experience or with everyone, with moral blocks so as not to hurt or with devastating techniques, and

so on, a long etcetera, that we will all have wondered at some time. "The experience is personal and non-transferable." You can read all the books, listen to all the Masters, watch a thousand videos, but until you try it, do not experience it, do not perfect it according to your parameters… You will not have it!

In sports combat, when I am a "specialist" in a certain technique, -for example in Judo- the Osotogari (Great Outside Mowing), just to name one, this is one of the first techniques that a White Belt is taught, and that will accompany him all his life, for its simplicity, versatility, opportunity and power of execution. This new student sees that this same technique that he is trying to get right, -according to the parameters indicated by his Teacher-, is used in a Judo match in the final of the Olympic Games or World Championships, giving him the victory. to his executor, spectacularly! And the student wonders: How can it be that this technique for a White Belt is used at such high levels?

What this new student still does not know is that for the technique to come out “well”, I must practice it countless times in its good form, first observing the technical details, moves, opportunities, constantly correcting mistakes, feeling when it comes out forced or when I throw someone cleanly. Learn the mechanics of the movements for each technique, applied physics is what allows for the best performance. What is called, "The three stages of a cast" (Kuzushi, Tsukuri, Kake/ Imbalance, entry and launch), is what also translates as “The best use of physical and mental energy”, each of these stages in its proper measure, not too much, not too little!

And I start the execution of my technique, learning how to hold, studying my posture and the of my Uke (the Judoka who suffers the action), while he stays still and stable, I begin the study of the imbalance on Uke, and continue with the "entrance" (the position of my body relative to Uke's body), not too close, not too far, not too high, not too low, not too soft nor very strong). In and out, in and out and repeating, repeating, (This

repetition exercise has the name of Uchikomi), always observing and feeling the details, when I already understand those stages, I execute the third part of the technique, the launch of Uke (this is called Nage komi). The three stages of the launch must be fluid, one, a consequence of the other, increasingly fast execution and when I shoot, that action must always be with control. The launch can be very fast and powerful, but I always have to control Uke's fall, so as not to injure him and to be able to continue later, the ground combat, from a position of hierarchy, applying restraints (Osaekomi waza), locks (Kansetsu waza), strangulations (Shime waza) and outside of Judo sports combat, blows (Atemi waza). Once I have practiced that throw with a static Uke, I proceed to perform the technique on the other side (if I entered from the right, now I change the grip and enter from the left), always seeking the practice of bilaterality. Our skillful side always predominates, but we must develop it as much as possible, for both sides. When I already have security and confidence in that situation (static Uke), we go on to repeat of these stages in motion, in

displacement.

In this moving Uchikomi, we seek to displace Uke or take advantage of his displacement, unbalancing, entering and throwing, and also taking care not to be unbalanced at the moment of throwing, since we must work with the inertia of the movement and with the force of gravity. The Nage komi, the repetition of the complete launch always throwing, both in static and in motion is essential to achieve "capture the opportunity" and / or "generate the chance".

I am already making progress executing to the right and left, with a Uke standing or in movement. Now I begin to perform the technique when he advances or retreats, when I push or pull towards him. Everything is similar, but a little different, not the technique itself, but the adapt to different situations! And when I am already happy with the results, the Professor changes my partner (to whom he had already gotten used to his reactions), for a heavier, or taller, or faster, or

that he has much more experience! Why these changes? Why do I have to adapt? all! Different situations, different approaches! Similar to life, right? We start another stage: On the move, I always attack and my Uke defends with blocks, with movements, with turns, making my arms very strong, locking my hips, etc. And we changed roles, now he always attacks and I always defend. We begin another stage: We both attack and defend, I don't let myself be thrown, but if he throws at me, I accept the fall, I get up and we continue the action! The movement across the tatami is fundamental, and using peripheral vision, I am trying not to interrupt other couples who they do their job on the tatami or fall/throw on them, take care of my steps that are not too long, that it remains with unstable balance, that they are not very short, that it remains with my center of gravity very high. And the accumulation of experience begins to feel like a very valuable asset. importantly, facing different situations gives me tools not only for Judo, but for life itself! And now every time I shoot, I connect with the control techniques (Katame waza), retaining their

body against the ground, when I shoot I already have an arm to dislocate, when I shoot I already have its neck to strangle. And now, every time they throw me, I try not to fall flat on my back, not to leave my arms to that they be targets to be dislocated, nor my neck exposed to be strangled, nor my inert body to immobilize me, and when they seek those actions on me, I can already defend myself before the attack comes, or escape from those actions. The Professor now teaches me to combine my special technique with other different ones, in case the first, I enter with another and vice versa too. And he teaches me to fight back when I get one technique to me. And he teaches me to cheat my rival, doing one action and changing to another from very quickly, and to anticipate his movements. And I'm already learning the psychology of combat, feeling comfortable with my actions, with my attitude, with my discipline, with my respect. I already know how to apply my techniques in Randori (Practice free in the Dojo), in Shiai (Competition), teaching my partners and learning from them. When I'm doing Uchikomi (repetition technique on a partner), I always say that my Uke (my partner who receives the action) is my best teacher, he corrects me, since he is feeling my effectiveness or not, he tells me: Throw more to this side, bring more to this, turn more, now it came out excellent! For the sports combat I must have several specials, that when I enter them thoroughly,

I will surely shoot my rival, so I must also have several ground techniques, which I will execute after my shots, or I will also take advantage when they throw me, or when we both go down. Needless to say, the specialty also occurs in ground combat, where we see competitors, with a preference for certain submission techniques over others. The great international Champions have always been known for their "technique special or favorite", for his attitude, his sportsmanship, his effectiveness in combat, but few know of the tireless hours dedicated to that perfection, the sacrifices, efforts, injuries, time spent with the Family, at study, at work... And today, with the technology that sees and explains everything, it makes the favorite techniques must go changing much more often, since there is a lot of study material for the Trainers and Competitors, about their international rivals. Today everyone knows that techniques Almost everyone enters. There

is little room left for surprise. This topic of specialization in high-level Competitors, gives to continue commenting a lot about it and we leave it for the next notes. It has been a screenshot for the one who don't know much about this.

Now, stop theorizing and practice more! See you at the Dojo and at “El Camino”!

Prof. Marcelo Ehrlich.

ECONOMY

Tang Soo Do

By Elias Pulgar Olguin

What is Riches?

By definition it is:

Set of things that are owned, especially money, goods or valuable things. "Some ideologies advocate a society where wealth is better distributed" Great value thing. "Travellers admire the riches that are hidden behind the city walls" Although by definition this is wealth, I want to talk to you about another step of wealth, according to the recently described definition, we talk about material things such as: cars, clothing, jewelry, trips, etc. Each individual has by his own right access to wealth, equality of assets, but the question is, what is wealth according to the other side of the coin? Today the rich play an important role in our lives, they give work to those of us who are employed and we do not generate work. It is a very brave step, for those who create jobs and risk capital, that capital is the result of the time they took to create capital and put in the hands of consumers a service or product sold by people hired for any type of work. . Today wealth is seen from another worldview, wealth in: friends, in time, in the being of each individual, in

the virtue of solving problems, in philanthropy, in knowledge for a beneficial purpose, in the emotional domain, in self love etc In previous years, it was considered wealth, when there was a television, a car and food, today with the previously described, it is based on something completely different. The Hispanic-American culture is not educated in success, in investments, in being, in teamwork, since they taught us to be individualists, a clear example of this was the punishment that was given for helping a colleague when I did not know the answer in some test or exam. That said, for many people they were not even taught how to rest, how many human beings have sleep problems, if someone has their economic life resolved, but cannot sleep, or rest at night, believe me that person has a problem, many times irritability is accompanied by lack of rest in sleep. The educational level that they give us is completely obsolete, that is why students, professors and teachers must have the mission of trying to help their students with techniques to reduce cortisol. Cortisol, the main stress hormone, increases sugars (glucose) in the

bloodstream, improves the use of glucose in the brain and increases the availability of substances that repair tissues, it is the hormone of survival. According to the aforementioned definition, wealth is understood as the way to help have a rich life at rest. Now the question is, how do astronauts rest? They are trained to sleep at any time, since there is no day or night in outer space, in the same way to be rich you have to train. Education in wealth will make us have a better society, young people and adults free from envy, hungry to learn to be rich and prosperous in all areas of life. It hasn't happened to you when you feel a dense energy in some people even without speaking? Well, you have to train yourself to be rich in vital energy. As we can see in this text, wealth is not only at the wheel of a BUGATTI, perhaps our lack of education has us where we sleep today and we are, as Jesus said, they will know the truth and the truth will set you free. I invite you to be prosperous, to have a rich mentor, to break with the mentality of poverty and if you are already rich, keep in mind that it is in your hands to help another. Martial Arts are the best way to achieve internal wealth and reach the temple that can only be achieved with the good teaching of a Rich Master. Be Rich and Abundant!

Exit Casanova Wong... Enter Wong-Ho

By Master Guy E. Larke

The HK action genre was truly a famous (or from others points of view, infamous) period in motion picture history. It affected film making, particularly action film making, in ways that can never be fully described. A few legends emerged from that era, yet sadly the majority seemed to disappear as fast as they came. Among the plethora of forgotten heroes was a Korean Taekwondo expert nicknamed Casanova Wong by his publicists.

Wong burst onto the scene in 1977 in the highly successful “Shaolin Plot” and put out hit movie after hit movie for nearly a decade before returning back to Korea. While in HK he was privileged enough to work under the legendary Sammo Hung and still considers him an inspiration to this day.

In Korea he continued his reign in action films and even performed in dramas to expand himself as an actor. In addition, he began a career in directing and producing his own films. Eventually, as in HK, even Korean stars can quickly vanish into the recesses of history. It was during this period he formulated his own synthesis of martial and cultural arts which he named Cheon Ji Muye Do (literally Heaven and Earth Martial Arts).

For me it was a chance encounter at a large bookstore in Seoul in August of 2006 as I found an unusual book that was part HK photo album, part martial arts textbook, and part biography. The back cover showed a large poster for the classic HK film Warriors Two in which he appeared with Sammo Hung. I was intrigued and after a few hours on the internet my wife was able to connect with him over the phone. Shortly thereafter we met in the port city in Ulsan. 16 years later I am sitting in a café with Grandmaster Wong-Ho discussing our training together, his life in movies and the future of Cheon Ji Muye Do.

Larke: Do you think if you were discovered by someone else (other than Golden Harvest) you would have had a different experience in HK?

Wong-Ho: Obviously it would have taken me much longer to get the top. If you want to succeed you had better just go straight to a big company.

Larke:Howimportantwasittobein the right projects in the HK movie industry?Diditmatter?

Wong-Ho: Most of my movies were made by Golden Harvest and directed by Huang Feng. They did nothing “small.” Whenever I considered a new project, I looked at the set and the kind of money being invested. GH was always top notch. If I went me with a smaller company, I looked at whom the director was and the role in which I would take on.

Larke:Whatwereafewofyourmost memorablemomentsinHK?

Wong-Ho: The very first day I arrived

in HK they had a large welcome dinner for me at an expensive hotel. Afterwards I walked out into the streets and looked up and around me at the busy streets and buildings and thoughts came flooding through my head about my home and starting the rest of my life there. I still feel like it was so short of a time ago.

Larke How did you meet Sammo Hung?Howimportantishetoyou?

Wong-Ho: In my very first movie in HK, Sammo was the fight choreographer. Because he was, and still is, such a great choreographer, I was able to discover my latent talents and express what I wanted to on screen. In part he created Casanova Wong. So many people attack him out of petty jealousy. I have nothing but admiration for him. He worked hard to get where he is now.

Larke:Howdidthatperiodofyour lifeaffectyouasamartialartist?How much Chinese influence is there in yourcurrentart?

Wong-Ho: As I was in HK I developed far more in my training as I had to study various Kung Fu styles, Judo, etc. Once again Sammo Hung played a role in my education and in doing so helped me advance spiritually as well as technically. If I

connected with someone who wasn’t as mature or spiritually “together” as him I wouldn’t be the man I am today. It’s the same with everyone. The kind of people you meet affects who you become.

As far as influences, Korean styles used a lot of kicking techniques, while Chinese used a wide variety of hand techniques. Basically, I tried to take what I felt was the optimum combination of both nations’ arts, plus I added aspects needed for movie choreography and even for the streets. In addition, I added a very unique form of meditation, a systemized set of breathing exercises, calligraphy-based movements for weapons and ceramic making exercises to assist in joint locks and blocking.

Larke:Whatwerethebestandworst parts of being in the golden age of martialartsmovies?

Wong-Ho: The best part was that since I was young, I was in my prime.

I could express myself 100% then. As I was in films, in a way I am eternally young. I can’t do some of those techniques anymore. I’m not 25. But I can always look at myself on film and use it as an instructional tool.

As far as the worst part? Nothing. People by and large never appreciate what they have, but if they honestly look back later, they would be

appreciate what they did have. This generation doesn’t appreciate what they have. Ordinary people never had the chance to be in movies so everything they say is hearsay. I can prove what I say though.

Larke:Whydidyoufinallygoback toKorea?

Wong-Ho: When I was in HK I was preparing for my debut as a movie director. Korea had four seasons and a wider variety of scenery. Also, at that time it was much cheaper to make a movie there. Sadly, HK was very limited in size and variety of locations. Interestingly enough, I shot movies in Korea, but they were released in HK. From HK they reached the world.

Larke: Do you ever regret that decision?

Wong-Ho: None. Although I do admit sometimes my mind drifts that way as I actually had plans of moving to America when I was young rather than back to Korea. Once again, so much depends on who you meet.

Larke:Ifyoustayedjustafewmore years in HK, where do you think you’dbenow?

Wong-Ho: As an actor or a director perhaps I would have developed more, but as a human being? I don’t think so. I experienced a lot of hardships after I returned. On the positive side it allowed me to develop my art, my philosophy, and my action festivals and create Asia’s first action movie university major.

Larke:Whendidyoustartteaching? Whatexactlydidyouinstruct?

Wong-Ho: About six years ago at Han-Min University here in Korea after developing Cheon Ji Muye Do. In 2010 I became the head professor for the Action Movie major there as well. This puts me closer to ultimate goal of building my own martial arts university and martial arts village.

Larke:Didyouhaveanyfavoriteor famousstudents?

Wong-Ho: Really… none. All my students are my favorites.

Larke: In the early days what was differentaboutHKvs.Koreanfilms? Whichwasbetter?

Wong-Ho: In the HK movies everyone was ready to shoot from day 1 so they were able to make high quality films. In Korean films the actors and actresses were usually not ready so the action was terrible. An additional factor was that Golden Harvest invested a lot of money which affected the end result and allow then to become international. Directors have to understand action to make a proper film. Also, the performers have to be able to fight or don’t bother.

Larke:Whenandwhydidyoustart CheonJiMuyeDo?

Wong-Ho: I was scouted when I was in the Korean Marine TKD demonstration team. What I did at demonstrations wasn’t really suitable for the screen. But on film I could better show the true beauty of Korean kicking techniques. As far as why, that is why I created Cheon Ji Muye Do. To create aesthetically pleasing as well as efficient techniques that work well on film as well as on the street. Films always demand new ideas and new techniques. That is Cheon Ji Muye Do. I was always thinking about it, ever since I started films in HK. As a formulized system it goes back to 2004.

Larke:WhydidyoustarttheWorld ActionFilmFestivals?

Wong-Ho: This has been something I have been thinking about for a long time. Korea has never had anything exclusively dedicated to this. As an action star I was wasn’t pleased about this. Once I was able to actually do

something about it I was able to up the game of Korea’s action stars. It is even good for founders of various systems. Basically, showing how unknown styles could look good on the big screen and why.

Larke: What did you learn from hostingsuchanevent?

Wong-Ho: There was a lot of bad mouthing about it the first year so many of my fellow martial artists and actors felt uncomfortable to attend. I had to brush it off. This year however many people actually came and saw how it was a win-win situation for everyone involved. Next issue we will continue this interview.

Next is Master Guy Edward Larke has dedicated his life to the pursuit of the martial arts, Asian culture, and hoplology. It led him to Korea in 2000, and he now lives in Bundang with his wife, Gi-Ryung, and son, Alexander. He holds black belts in several martial arts including Tae Kwon Do, Hapkido, Taekgyeon, Bon Kuk Kumdo, Karate-do, Teuk Gong Moo Sool and Wushu. Currently, he teaches a number of Korean disciplines and Kisa-Do Muye (his art) in addition to writing for various magazines and running Kisa-Do Muye & Marketing. He can be contacted at kisadomuye@gmail. com.

Films (as listed in Wikipedia) (This is a partial list of films.)

Gate of Destiny (1974)

Secret Envoy (1976)

The Martialmates (1976)

The Shaolin Plot (1977) – Monk

The Iron Fisted Monk (1977) – Shaolin disciple [4]

Four Masters (1977)

Golden Gate (1977)

Righteous Fighter (1977)

Enter the Invincible Hero (1977) –

Master Pang

Lone Shaolin Avenger (1978)

The Legendary Strike (1978) – one of Yun`s man

Warriors Two (1978) – Cashier Wah Game of Death (1978) – Lau Yea Chun

The Shaolin Fighter (1978) – See Pak Strike of Thunderkick Tiger (1978) –Monkey

The Magnificent (1979) – Thunder Leg Duel of the 7 Tigers (1979)

The Story of Drunken Master (1979) –Chi Wai

Rivals of the Silver Fox (1979)

Wonderman From Shaolin (1979)

Avenging Boxer (1979) – Wo Pa Fong

The Monk`s Fight (1979) – the Big Boss

My Kung Fu 12 Kicks (1979)

The Master Strikes (1980) – Tseng Tientu

Kung Fu Kids Break Away (1980) – Eagle

Fire Lord (1980)

The Wonderful Hong Kong (1980) Master Killers (1980)

Game of Death 2 (1981) – Billy Lo`s Korean challenger (Archive footage from GAME OF DEATH)

Enter the Invincible Hero (1981)

– Pang (Also footage from THE MAGNIFICENT)

In the Claws of CIA (1981) – Johnny Wong

Seven Finger Kung Fu (1981)

Blow Up (1982) - Hung Bruce Lee Strikes Back (1982) – Cheng`s Brother Jin hu men (1982)

Warriors of Kung Fu (1982) – Yu Yung

My Name is Twin Legs (1982)

Sha shou ying (1982) – Johnny Wong Duel to the Death (1983, fights the flying ninjas)

South Shaolin VS North Shaolin (1984)

Rocky`s Love Affairs (1985)

Golden Destroyer (1985)

Sword of Evil Power (1985)

Kickboxer the Champion (1990)

Telepathy Adventure (1991)

Blues of Chongro (1994)

Blood Mafia (1994)

Faster (2003)

OKINAWA in the ´50

Sensei Cecilia Salbuchi

Uechi Ryu training in the 1950s Sensei George Mattson (10th Dan Uechi Ryu, founder of IUKF) was one of the first Westerners to practice and study Uechi Ryu, during the 1950's. As a young American military man serving on Okinawa Island, he spent his spare time seeking knowledge of Karate from legendary masters such as Kanei Uechi Sensei and Ryuko Tomoyose Sensei. An incredible experience. As the years and generations of karatekas passed, many myths were generated around what was a classical training in Okinawa, and Sensei George, among others, shed some light on the subject in articles and posts published in Uechi-ryu.com. As part of our story, I share a little about it. Sometimes the idea arises that the pioneer teachers were outstanding athletes, who performed feats thanks to demanding strength exercises, as well as possessing an elongation worthy of a gymnast. But this is far from reality. Karate classes in Okinawa were full of Karate, nothing more, nothing less.

The warm-up included kata techniques, then executing the forms themselves, followed by bunkai, pre-armed or free combat, tai kitae (physical conditioning through striking), and strengthening exercises with elements, designed to strengthen only the muscles. necessary to execute Karate techniques (at least with the knowledge of the time).

Classes with Sensei Ryuko Tomoyose lasted between two hours and two and a half hours, being very exhausting. Sensei George made sure to give his all at that time, where he relates that all the time was spent on Karate and not on other exercises.

The focus was 100% on Kata training (and its bunkai), and especially on Sanchin. Sensei Tomoyose stated that unlike the Western physical training he knew, in Karate all the strength, speed, coordination, precision and "spirit" came from the practice of Kata.

The specific techniques were practiced in the form of exercises, but emphasizing their function in learning the sequences to execute them better within the kata. The

skill of the movement as a whole was learned by executing and studying kata, to the point of clarifying that if one isolated the technique from the form, it moved away from the original spirit and became less effective.

For example, learning to do “hajiki uke” (repelling block) within a kata would create a different and more effective muscle memory than simply doing a separate exercise where we defend with “hajiki uke” a thousand times. As if the loose techniques were links, and only found their function when joined with the other links to form a strong and mobile chain. Training with Makiwara was allowed, but not greatly encouraged, as we have seen in modern times. Young Americans loved to train by hitting the board until they were sore and exhausted, but Tomoyose Sensei insisted that too much practice could block the proper development of the stroke. Sensei George recalls that his Saturdays were meant to train with Sensei Kanei Uechi himself in his dojo, going through the kata over and over again, under his watchful supervision. Sensei Kanei offered criticism and recommendations to Sensei Tomoyose to better guide the young American. Kanei Uechi Sensei was interested in expanding the style, including the public, so he accepted elements of Okinawan training and any innovation that he believed could help students become better Uechi Ryu practitioners, so they were a little disagreeing with Sensei Tomoyose, who believed in the Chinese method of training that he had learned early on. Tomoyose Sensei's father, Ryuyu Tomoyose, had learned under Kanbun Uechi Sensei himself in Wakayama. There, he recounted, there were no calisthenics exercises as part of the class. He just trained

Returning to the training of Makinawa, so appreciated by our side of the world, Sensei Breyette expressed in an epistolary exchange with Sensei Mattson, that we Westerners had misunderstood the use. “Okinawa karateka build strength and endurance over long periods of time and much through the study of form and kata, and use equipment sparingly. In many Okinawan dojos, the use of equipment is like using a cure for a particular weakness. If you have weak wrists and shoulders, appropriate use is made of the makiwara and chisi. Weak kicks and

poor balance can be corrected and given more focus with the use of the heavy bag. However, for many foreigners, who visit for short periods and see the equipment in use while they are there, go home afterwards and think that such a practice must be constant. Because they see a small fraction of the year's training, what they see they believe to be the norm, so they firmly believe that everyday punching, lifting weights and hitting the bag are all very necessary and very Okinawan! It is true that they saw all that training in Okinawa, but they did not see everything.”

Sensei Breyette continues his explanation: “In no dojo that I have seen in the center is there anything set up as compulsory training. I've seen great wrestlers do bag work only occasionally, and the same with makiwara or chisi training, and so on. These only work until a certain sense of skill, looseness and stability in the wrist or hip joints, balance, etc. is achieved. Then work is done on the effect of the application in kata, bunkai and kumite training. The purpose of bag work or makiwara is to feel balance and power in the technique (not doing more bag work) and to be able to apply it with a combat

partner or in a street situation!”

On the other hand, Sensei Tomoyose spoke that certain jobs should have a balance, a harmony, and that is why it should be to reinforce weaknesses at the right point. An over-development in any one area can lead to an imbalance in others. He highlighted the differences between the original Uechi Ryu and the Okinawan contributions. For him, it was very important to make the story clear. Therefore, the makiwara should be used correctly and in its proper measure: to strengthen muscles and tendons, but not to develop the blow itself, much less for the knuckles. Returning to the present, today we can say that the Okinawan introductions to the arts that came from China gave a particular shape to the training of Karate, and certainly the West will make a dent incorporating its own innovations to the training.

But as Tomoyose Sensei pointed out, it is important that we understand where everything came from, how it was trained in the beginning, and how (and for what!) the following elements were added. Time will tell if modern elements and innovations in training have actually been an improvement or not.

An Exploration of Tang Soo Do's Eight Key Concepts: Wan Gup

SBN Mary Cayte Reiland

that needed their foundation set, with less than half a year to do it. It was a unique way of training, but when I graduated and began training at a traditional Tang Soo Do school, I was grateful for it, because I sometimes saw that my stances and technique as a green belt were more accurate than other students of the same level.

Tang soo readers, happy September! This month, we conclude with the discussion of the eighth and final of the Tang Soo Do Eight Key Concepts. Up next is Wan Gup, also known as speed control. According to the dictionary, speed is defined as “the rate at which someone or something is able to move or operate”, and control is defined as “the power to influence or direct people's behavior or the course of events.” Put the two together and you have quite a discussion on your hands, so let’s get started.

In the physical sense, speed control is an obvious concept. You have to perform techniques with the proper speed in order to be effective. Do a technique too slow and you won’t have the proper power to be effective, do it too fast and you risk missing your target. One thing to consider here is the concept of doing techniques in the Neh Ga Ryu style, like in Tai Chi. Having studied some Tai Chi myself, I can tell you there is a point to doing techniques this way. While doing Tai Chi techniques

at their proper (slow) speed would never work in a fight, the benefits are numerous. Doing slow fluid techniques promotes good balance and posture, improves flexibility and strength, while also decreasing stress and anxiety.

In the mental sense, we need to dig a little deeper. If we look at the terms “wan” and “gup” a little closer, we learn that “wan” in Korean translates to the word “slow”, and “gup” translates to the word “fast”. As in tension and relaxation, we once again have conflicting concepts.

In our training lives, our foundations must be built slowly. Without a good solid foundation, no one can hope to grasp advanced training, then students will lose confidence and eventually quit. Every stance and technique must be examined and practiced, first slowly, and then faster as the student progresses.

My first four years of karate (having studied at college) built that solid foundation. Every semester brought new white belts

I am very grateful to have studied these advanced concepts and written out my thoughts on them with you, my readers. I feel I understand what the next step in my training will be, putting these eight key concepts into my everyday practice. My hope for you is that you can expand on what I’ve written to serve your own purposes (sounds a lot like Ryu Pa, doesn’t it?).

Until next month, take care and Tang Soo!

SBN Mary Cayte Reiland, USA

Dynamic Tang Soo Do

Me encontraba mirando en Facebook cuando me tope con el posteo del Maestro John Correlje el cual solicitaba ayuda con su libro, el necesitaba a alguien que supiera las formas Tan Tui o Damtoi en Coreano.

Las tantui son una serie de formas cortas 12 en total que pertenecen al Wushu y se pueden encontrar también en

muchos estilos del norte de China.

GM Hwang Kee aprendió estas formas durante su estadía de 14 meses en China cuando entreno con Yang Kuk Jin y después entreno algún tiempo con Li De Jiang quien fue un instructor de Quanfa (kung fu).

Estas formas influenciaron fuertemente el Soo Bahk Do por eso me intereso estudiarlas.

Por ese motivo me ofrecí ayudar al Maestro Correlje en su libro. Fue una experiencia muy enriquecedora poder cooperar con él. Al tiempo recibí el libro completo en mi casa enviado por el maestro John Correlje desde Holanda en agradecimiento por mi ayuda. Ahí pude ver la calidad del material que se encontraba en este libro, durante todos los años de práctica en las artes marciales he tenido muchos libros, pero este libro es sencillamente el libro de los libros en tang soo do. Contiene una historia de todos los maestros que crearon las formas y que de alguna manera influenciaron a que estas formas fueran parte del tang soo do. Además en algunos casos contiene más de una versión de algunas formas, ya que depende de la organización a veces las formas tienen cambios.

Los dibujos son muy buenos, te ayudan a ver paso a paso el desarrollo de las formas en cuestión.

Creo que todo practicante serio de tang soo do debería tener este libro que tiene la cooperación de diferentes maestros de diferentes partes del mundo. Luego el maestro John Correlje me solicito si podía traducir el libro al español lo cual obviamente accedí ahora podrán tener este libro en su idioma y poder entenderlo aún más. No se arrepentirán.

KJN Patricio Saavedra

Why Tang Soo Do?

You have come this far, and that means then that you have opened your world of possibilities regarding martial arts, they are no longer those "few you knew".

Today you have the opportunity to offer in your recognized institution an innovative and original proposal, until now non-existent in Uruguay. At the same time, offering ancient values and teachings through an art such as TSD, which has been transmitting a philosophy of life from generation to generation for hundreds of years.

You come to our meeting at a time when two of the best ingredients that an organization can offer you are combined: youth: we have been operating in Uruguay for approximately four years with sustained growth, and experience: the Uruguayan TSD is made up of a team of instructors who average more than fifteen years of being at the forefront of martial arts schools, working together with other institutions and betting on permanent training both within martial arts, as well as in various areas (first aid, education, nutrition and more).

Our commitment:

Without a doubt, the world is a different place from the one you and I remember from our childhood, even more so from that world that gave rise to martial arts. It is then necessary to take on the challenge and take charge of the role that we have in society when it comes to transmitting our teachings. Today we talk about some concepts that we believe are key:

Bullying - The reality of school and other areas is a fact and our attention is directed to that focus when it comes to the little ones Self-defense - Of course, when thinking about daily activities, from leaving our homes, to the various situations that can also arise there, it is fair to think of tools to be able to solve these situations.

Sport - Leaving aside the great variety of devices that offer us "entertainment", the endless hours of work, in short, the routine. It can be a challenge, but we have decided to say NO to a sedentary lifestyle.

Meditation - Exclusive benefit for Tang Soo Do practitioners. It has not been placed on this list by chance, it represents everything that makes us unique as human beings, meeting our feelings, emotions, who we are, pursuing harmony and achieving

self-control in the broadest sense of the concept.

Values - We could mention endless articles on this list, but it is true that the fundamental basis of martial arts is values, act as a reinforcement and in some cases as a source of inspiration. - Respect - Trust - Selfcontrol -

If we could summarize all this in a dream, we would then speak of integration in the broadest sense, people of all ages, genders, creeds practicing in harmony to take today's society to another level, where coexistence and peace are the common denominator. . But we clarify, we need you in the process, you, EVERYONE.

Contact: SBN Mario Segnini: +598 98 731 076

PRIMER CONGRESO DE LA WORLD TRADITIONAL TANG SOO DO UNION 2022

28, 29 Y 30 OCTUBRE

VIERNES 28 DE OCTUBRE HORA

Palabras de bienvenida - Palabras de KJN Patricio Saavedra

4:00 pm 4:00 pm

Metodología de enseñanza en las Artes Marciales para niños de 3 a 5 años 4:00 pm – 5:00 pm

Marketing de las Artes marciales - KJN Patricio Saavedra 5:00 pm 5:30 pm

**Coffe Break** 5:30 pm – 5:40 pm

Formas tradicionales de Tang Soo Do (Formas originales) 5:40 pm 7:00 pm

SABADO 29 DE OCTUBRE

Inauguración del evento y Presentación de las delegaciones Palabras de KJN Patricio Saavedra 8:00 am 8:10 am

Practica general de Tang Soo Do Tradicional - KJN Patricio Saavedra 8:10 am – 9:00 am

Armas Nunchako, Kali y Bo (principiantes) KSN Fabian Saavedra y SBN Mary Cayte Re iland 9:00 am 10:30 am

**Coffe Break** 10:30 am – 10:40 am

Acrobacias para Artes Marciales (introducción y elementos básicos) SBN Edgar Quiroz 10:40 am 12:00 md

RECESO PARA ALMORZAR 12:00 pm – 1:00 pm

Armas Nunchako, Kali y Bo (Avanzadas) KSN Fabian Saavedra y SBN Mary Cayte Reiland 1:00 pm 4:00pm

**Coffe Break** 4:00 pm – 4:10 pm

Acrobacias para Artes Marciales (Metodología de enseñanza y progresiones) SBN Edgar Quiroz 4:10 pm 6:10 pm

Receso 6:10 pm – 7:30 pm

**Cena de gala** (Participan Maestros, estudiantes y padres de familia) 7:30 pm 9:30 pm

Entrega de reconocimientos. 8:30 p. m.

DOMINGO 30 DE OCTUBRE

Examen de Cinturones Negros y certificación para Instructores. 8:00 am 11:00 am Fin del congreso 11:00 a. m.

HISTORIA DEL KICKBOXING EN JAPÓN, DEL MUAY THAI AL K-1. Este libro supone la primera publicación en occidente de una obra dedicada en exclusiva a la narración de la apasionante historia del kickboxing japonés. Una crónica que comienza con las primeras interacciones entre el karate y el muay thai, y que nos lleva a revivir la épica de los primeros desafíos entre ambos estilos. El kickboxing fue el resultado de la importación y adaptación del muay thai a Japón, realizada por el promotor Osamu Noguchi en los años 60. En el presente trabajo, descubriremos los antecedentes, el nacimiento, y las diferentes fases de crecimiento y evolución del kickboxing en el país del sol naciente. Veremos también su posterior globalización, y llegaremos hasta la última revolución del kickboxing, el lanzamiento del K-1, por el maestro Kazuyoshi Ishii, en los primeros años 90. Un vibrante relato, repleto

de datos inéditos fuera de Asia, que sorprenderá, y hará cambiar al lector la percepción que hasta ahora tenía de la historia de este deporte marcial.

David Leonardo Bárcena tras 10 años de recopilar exhaustivamente, la Historia del KickBoxing nos lo resume en un excelente libro autoeditado.

Puedes adquirirlo en AMAZON Detalles del producto

Editorial : Independently published (18 Diciembre 2020) Idioma : Español Tapa blanda : 291 páginas ISBN-10 : 1549802879 ISBN-13 : 978-1549802874

“El Efímero Observador”

es una obra de carácter filosófico reflexivo, su autor expone temas tan controversiales como comunes, llevándolos a los puntos extremos, y siempre buscando un sano balance individual en el pensamiento, nada de dogmas, muera el radicalismo y sin hipocresías ni contratos, una mirada a la cotidianidad de cada uno de los que habitamos el planeta y los desgastados conceptos y costumbres en espera de ser destruidos a martillazos.

BIOGRAFÍA:

Nace en la ciudad de Hermosillo, en el año de 1976, hijo de Juan Manuel Acosta y Yolanda Serrano (+), se desarrolla en un contexto de educación tradicional su relación social temprana se da de un modo ciertamente distinto, apegado a tener amigos de la tercera edad, siempre cuestionando los cambios sociales que se veían en sus contemporáneos, así como los prejuicios y juicios de valor que se daban en una época avasallada por el capitalismo y el consumismo en México.

Un niño con mucha imaginación, e incluso inventor de sucesos inexistentes, alguien que con base en odiseas fantásticas captaba los mensajes que sus maestros le daban, algunas veces duros, otros tantos con risas de por medio.

Casado con Melba Valenzuela desde 1998, con quien procreó cuatro hijos, estudioso de la sociedad y su comportamiento, lector insaciable y amante del equilibrio de pensamiento, voluntario en distintas causas de carácter social, maestro de artes marciales, seminarista y competidor internacional en Perú, Argentina, Uruguay, etcétera. Hoy debuta como escritor y continúa en sus causas sociales desde su propia

trinchera, el centro tradicional de artes marciales.

ENDOSOS:

“Recomiendo la lectura de este libro, que nos recuerda los valores que se están perdiendo en la actualidad, las formas de enseñanza, los factores que influyen en la personalidad de uno y las buenas costumbres. El orden en tu vida como piedra fundamental, encontrar tu lugar en el mundo, encontrarte con tu ser interno y siempre buscar la verdad”.

Mario Marcelo Segnini Fursa Profesor de artes marciales Diseñador Gráfico, Panelista de Radio y Emprendedor. Montevideo, Uruguay. “Siempre que hablamos de enseñanza, nos es fácil pensar en colegios, secundarios, universidades, pero… ¿Qué tal si el camino que recorremos en nuestras vidas está signado por muchos ingredientes más que esos? Has de leer esta obra entonces, y reencontrarte con información que duerme en tu mente. Te invito a reconocer y cambiar viejos patrones”.

John Suárez Profesor de artes marciales Emprendedor, Entrenador en Neuroventas,

Aprendiz de la vida. Montevideo Uruguay.

“El Efímero Observador”, una lectura recomendada en estos tiempos donde la brecha generacional pareciera hacerse más y más grande. Hallarse con uno mismo, la importancia de mantener fuertes los valores y raíces de cada ser. Observar, describir, entender y nunca juzgar.

Daniel Rodríguez García Médico Especialista en Rehabilitación Maestro en Artes Marciales

Sensei Song Minjie

My name is Song MinJie and I am a Chinese karate instructor. Currently I am Kyokushin Karate 4th Dan, Freestyle Karate 5th Dan, Kenpo Karate 7th Dan. Also I have studied Ashihara Karate and European Full Contact Self Defense Karate.

I have won the top three in the China Open Karate 4 times and a runner-up in the Shanghai Karate Championships in China. Also, I have won the Kickboxing Open Championship in Shanghai, China for 4 consecutive years.

Although I have competed in karate, I have never been obsessed with victory and results. Next, I will talk about my own experience, why I recommend everyone to learn full karate, not just competitive karate. Karate is an oriental martial

art originated in China and developed in Japan. Therefore, it also contains many philosophies and ideas of ancient Chinese martial arts.

Commercial modern fighting was only born to compete and entertain the audience, and their technology was all developed around the rules of fighting competition. But karate is different. Karate was not created for competition. It is a skill of fighting under unregulated conditions, and naturally it also contains many concepts and ideas of fighting under unruly conditions.

Now, more and more karate Dojos are teaching only simplified versions of karate. In order to quickly get the results of the competition in order to promote their Dojo, they let their students only practice competition skills. More and more karate fighters and trainers are unaware of the purpose of KiHon (basic) and Kata (form) practice.

Regardless of the style of karate competition rules, appropriate rules will be formulated on the premise of viewing and safety, which will make many karate skills unusable. However, if you don't practice these techniques outside of competition, the karate you learn will lose its usefulness. Many of the techniques of karate can be used for self-defense or to protect others. Also, many of the techniques in KiHon and Kata can be used in conjunction with

weapons. (regardless of the style) and none of these techniques can be used in competitions.

Mas Oyama, the founder of Kyokushin Karate, once spread karate to the US Military Academy at West Point and the FBI, and has made these techniques available to this day. Military and police departments in many countries also practice different styles of karate.

Soldiers and police officers don't need to learn how to compete in competitive competitions. What they need are those skills of self-defense and protection of others, as well as skills that can be combined with weapons. Of course, the same goes for civilians, and it is always only a small number of people who will become contestants.

In fact, if you just want to win in the ring, maybe it's more appropriate to just practice modern combat like Kickboxing.

"Learn as complete a karate as possible"

In addition, in competitive sports, athletes often damage their own health in exchange for competition results. Many fighters are plagued by injuries, and sports injuries in the past will become more obvious with age. If you are blindly obsessed with winning the competition, it means that you have to increase the amount of training, which is bound to cause all kinds of problems in your body. This is the result of completely contradicting the philosophy of karate. Because karate is not only a fighting technique, but also a

means of exercise to promote human health. As a coach, it is very inhumane if you make your students sacrifice their health to practice karate for your own benefit.

To sum up, whether you are a karate instructor or a karate student, I hope you can practice full karate instead of only competitive karate. Because karate is a great martial art, it involves self-defense, fitness, and competition. If you can only compete, I'm afraid you only learned a third of karate.

MARTIAL ARTS and ME 11)

I have the pleasure of interviewing two Uruguayan martial artists, creators of a self-defense system.

On the one hand, Carlos A. Olivera, Traditional Jiujitsu teacher, Boxing trainer, Kyusho International Member (System that attacks nerve centers), co-founder of S.I.R.R. and other systems.

On the other hand Nicolás Lecouna, Professor of Aikido and Combat Aikido, Instructor of Kyusho International, Krav Maga, level one and more. He also co-founded S.i.R.R. .

How about Carlos and Nicholas? You are the creators of a Uruguayan Personal Defense system, and why such a name?

The system is Uruguayan and created by us, based on the problems of insecurity and violence in our country and also on the Legitimate Defense Law.

How long have you been practicing Martial Arts and Contact Sports? Coincidentally, the two of us had Martial contacts in the year 1994. When did you meet?

We met in 2013, in that year Natalia Bronzini brought Kiyusho International to Uruguay and we attended that meeting and those to come. That's where our relationship began.

Have you done anything together before?

If we have interacted a lot throughout these years. Sometimes through shared classes, other times just exchanging indoors and before releasing the System to the public, we hold a seminar. We have certainly shared a lot.

How did the idea of creating a System arise?

The idea of the System arise spontaneously. In other words, between the two of us we have many similarities and we have a very strong work rhythm. That meant that in the exchanges that we had behind closed doors, we began to glimpse something. The conversation arose without looking for it, we both agreed that we wanted to train people with tools that we both possessed. And the truth is, although it took

Professor Carlos Damasco

us two years of work to finish it, it was not difficult for us to reach the necessary consensus to find what, in our opinion, was the best for the System. To achieve this, the Ego must be left aside and not everyone is willing to do so. Metaphorically speaking, we understood that with the knowledge that each one had, we had to put together the toolbox for S.I.R.R. We consider that we put the best of each one, and we made the necessary adaptations trying to think of everything. Perhaps and surely we have things to improve and over time we will. But we are proud of the final product.

What is S.I.R.R.?

Instinctive Fast Reaction System. It is a system based on the instinctive responses of the human being in situations of physical, emotional or psychological violence. S.I.R.R. Take advantage of that first reaction, work from there and try to quickly resolve the situation. Each human being is different in all areas and we understand that working on survival instinct, we find a point of inflection. In that aspect there is an adaptability in the techniques. Taken to the field, the objective would be for people

to be able to solve a situation of violence not only with what the System offers them, but also with what one already brings.

Do they have degrees and programs?

If indeed people have training through certain programs that are staggered and increase in complexity. Someone starting from scratch, let's say, can become an Instructor in an average of four to five years.

In the Monitor Courses it is different. Only people who have a degree of Instructor or Professor in any Martial Art or Combat Sport have access to them. The latter with a previous interview, because although the System is not exclusive, we reserve the right of admission. We have a characteristic profile that we try to safeguard and that is also the reason why people choose us.

How do you select the Monitors?

They go through a previous interview as we said, and what is sought is that they adapt

to the profile of the System.

Who is the SIRR for?

It is mainly aimed at the civilian population since the idea of it arises from the need to provide people with a response to the insecurity that our country is going through. It should be noted that the system adapts to the person. On the other hand, it also has a police and military approach respecting the approaches, needs and responsibilities of each group.

Tell me how a class develops?

Class development is always based on the type of students you have. For this, there must be prior planning, although there are times when unforeseen events arise and the (Instructor, Monitor) must adapt the class, planning is always sought. Well, in the development of the class there are certain items that are mandatory and in them the characteristics of the system are defined.

What is different from other

already established systems?

In matters of personal defense, each Master has his book, beyond certain universal criteria that should be respected. We try to cover as many areas as possible and give people personalized attention. We don't just focus on hitting, there's another background of things that we work on in depth with people. Although we are not a martial art, we have certain principles that are mandatory within a class and obviously in the system itself.

What is the difference between Self Defense and Urban Combat?

In personal defense we work on prevention and looking for a quick way out of the situation. Urban combat comes in when the situation is more complex. Taken to the field let's say, I couldn't prevent or get out of the situation, I got into a fight with my aggressor and I have to resolve the situation.

What do you think are their strengths?

Our strengths are various to our way of seeing. Prevention, the instinctive part, the attack on the nervous system, working from the ground, emotional and psychological development, quick exits and strong teamwork.

Does prevention work?

That's right, it is unthinkable for us to work on self-defense without addressing its prevention. Are they legally protected?

Yes, we are covered by the MEC, as a mixed cultural and educational institute.

Do you have a logo and trademark registration then?

Yes, the brand is registered with the Ministry of Industry.

SIRR is a company?

It has all the legal protections to be one and the idea is to make it grow. In our perspective it is, we are offering a product because we saw a need, and in turn there is a market for it.

Where does the system point?

The system aims to have its own identity. Although it is more than clear that what has been put into it comes from everything learned in these years, we try to separate the waters. The system has its own life and this is how we present it,

you can see similarities but we are not the same. We aim to grow and open paths in Uruguay and outside of it.

In our country, in most of its history, martial arts have mostly dominated martial arts such as taekwondo, hapkido, karate and judo, now with the rise of mixed martial arts disciplines such as kick boxing, brazilian jiujitsu stand out among others, but at the time of naming the TANG SOO DO in Colombia despite the fact that it is a martial art with many philosophical and theoretical bases with many years of practice worldwide in our country it has been two years what makes it a young martial art in this country. When Tang Soo Do came to our practice, to our lives, it came through the WORLD TRADITIONAL TANG SOO DO UNION (WTTSDU) through the KJN Patricio Saavedra and SBN Mario Segnini placing their trust in my hands at the beginning I must confess that despite of my age at that time, 27 years old, I believed that I would not be prepared to carry out a task like this that generates a great responsibility, but I followed the advice of both and we started in August 2020 the idea of the WORLD TRADITIONAL TANG SOO DO UNION COLOMBIA ( WTTSDU COL) we started working at that time with my own dojan SUPREME

MARTIAL ARTS as well as from the hand of my wife and advanced belt YENNY VILLAMIL giving feedback on the experiences lived by me so far in the different hapkido organization in which had participated (hapkido being our base martial art). From that point we started first by reorganizing our program in a pedagogical and methodological way to offer our students a system that handled both approaches, both TANG SOO DO being a traditional system with strong theoretical bases as well as the WTTSDU strengthening the parts of traditional forms. and strong theoretical concepts and hapkido offering a system focused on self-defense from there we left to give our school a new path but as October and November passed, our second dojan KIDO MARTIAL ARTS joined by the hand of KSN Samuel Ochoa who arrived with new ideas and knowledge to strengthen the ideas and the project that we were creating for the following year with that we close 2020. At the beginning of 2021 we started with the expansion plan that we call WTTSDU COL 2021 where we seek, through the support that our organization gives us at an international and global level, to welcome different teachers of

different martial arts so that they know the TANG SOO DO system that we We offer by providing all the necessary tools and support to future members so that they become part of our ranks and keep the tradition alive. From there we started with the idea of organizing sporting events and that it be one of the two points of greatest attraction, as well as the technical basis provided by the organization through theoretical work and graphic video bases. At that time we only had one SUPREME MARTIAL ARTS dojan and after a virtual tournament organized by the wttsdu at the beginning of 2021, the RISING DRAGON dojan led by the sabonim DANILO AYALA AND ALEX DOMINGUEZ with whom we managed to organize our first open WTTSDU COLOMBIA 2021 where we were accompanied by more than 50 athletes from different areas of our country and different martial

TANG SOO DO IN COLOMBIA.

dojan by the teachers preparing the idea for our third tournament and the different activities for next year. Starting this 2022 we decided to give a specific role to each teacher within the organization in our country so that our organization would have solid foundations and that little by little we would continue to grow in a balanced way but always with a traditional approach we started the organization of the third open WTTSDU COL 2022 on this occasion we improved all the logistical aspects, we went from a social room to a sports arena where more people, more athletes, new schools came to the tournament to participate in it, reaching more than 90 athletes offering many more categories for the participation of the different schools, which led KSN Mauricio García, director of the TUKSURY MARTIAL ARTS dojan, to join our organization to complete our work team and to give continuity and fulfillment to our objective, which is the dissemination of the TRADITIONAL TANG SOO DO IN OUR COUNTRY. To conclude we must say that we are a group of young people who are passionate about Korean martial

arts and we want to highlight that we found in TANG SOO DO a new path that helps us not only in the sports part but in our path of life so that we can transform all the community that is part of the WTTSDU COL and we find in the WORLD TRADITIONAL TANG SOO DO UNION something that goes beyond what is a normal martial arts association or organization with your support and backing we have managed in two years to fulfill many of the goals that we set for ourselves at the beginning of this path and we know that we still have more to accomplish.

Ksn Oscar Andrés González Rodríguez representative for Colombia WTTSDU.

LUA Freakie-Do

Lua: Hawaiian martial arts

Throughout history, warriors protected their homeland through self-defense techniques. The Israelis developed street fights called kravmaga. The Japanese created martial arts such as jujutsu and karate. While the ancient Persians taught koshti in the Middle East to defend their land. The ancient Hawaiians developed kapu kuialua or simply lua, meaning double strikes. This Hawaiian martial art focused on breaking the bones and joints of the opponent.

“Huna A Mea Huna”

This Hawaiian phrase means to keep secret what is sacred. This motto epitomizes why Hawaiians practiced lua in the most clandestine of circumstances. Only the most skilled warriors would train in lua techniques in the dead of night. They trained in the woods or on the waves to gain dexterity and balance. Only a select group of men with great determination and strength would be able to learn Lua. In fact, until recent times, only Hawaiians could study Lua. Lua Fighting Techniques

Ancient warriors normally shaved their heads and covered their bodies with coconut oil. By doing so, they would be able to quickly escape and escape the grasp of their enemies. With dozens of specific grabs, pinches, and strike moves, warriors could powerfully strike a nerve in their opponent. Quick hits to muscle or joints would render them useless, giving the attacker the upper hand. Lua warriors would then work from the fingers to the arm, breaking bones along the way. They might also break bones with wrestling, boxing, slapping, and pinning moves after exchanging verbal taunts. Used effectively, an enemy would not be able to protect themselves.

Usually clad only in a loincloth, the combatants often began battle with certain weapons of their choice. Some of these included choke ropes, knuckle dusters, shark-toothed weapons, spears, clubs, daggers, and staves.

King Kamehameha was the greatest Lua warrior of all. He could dodge an avalanche of spears, using high kicks, jumps, and devastating blows, defeating his opponent in just a few

moves. However, under his rule, Hawaii underwent great changes. Weapons such as guns and cannons were introduced by Europeans, making hand-to-hand combat techniques less relevant. In the 20th century, lua art was almost forgotten.

Current State of Hawaiian Martial Arts Although many had considered this Hawaiian martial art to be a lost art, some are trying to revive it. Since 1991, four men who had studied lua in the 1970s got together and started offering classes. Since then, teachers Jerry Walker, Mitchell Eli, Moses Kalauokalani, and Richard Paglinawan have educated hundreds of students in Lua. The National Park Service, the Native Hawaiian Arts and Culture Program, and the Bishop Museum have provided financial support for them.

Visitors can see lua in various makahiki demonstrations, contests and ceremonies. One such ceremony takes place in August on the Big Island of Hawaii, near the heiau called Pu'ukohola.

FIN THE FACE OF THE CONCERN THAT HANGS OVER THE DIFFERENT EXISTING GRADUATIONS IN KARATE, AND BEFORE CONSTANT REQUESTS FOR INFORMATION, I HAVE MADE A COMPILATION OF DIFFERENT SOURCES THAT I HOPE CAN BRING A LITTLE LIGHT TO THIS CONTROVERSIAL SUBJECT.

Gerard Balves

Most scholars of the history and evolution of Okinawan and Japanese Karate will agree that in the beginning there was no rank classification system and no uniform was used. If any sort of rank was established, it was most likely through the submission of manuscripts. It was a customary act in Japanese koryuju jutsu schools to give these scrolls and each was inscribed with the "secrets" of the master instructor. Some Ti masters may well have adopted this method of assigning rank to members of a dojo.

There is no doubt that Dr. Jigoro Kano, an educator of that time, fully understood the importance of class differentiation in Japanese society and therefore knew that a similar system would serve as a valuable tool in his new art. martial. Therefore, in 1883 the founder of Judo, Dr. Jigoro Kano, began this modern rank system when he awarded the rank of "Sho-dan" to two of his oldest students, Saito and Tomita. But there was the drawback that even after the rank of Sho-Dan had been granted, there would be no method of distinguishing (except possibly some form of certificates) these men who had been promoted from those who had not. been promoted. And this would not take place until, in 1886, when Kano required all yudansha to start wearing a black belt. As the judo GI (Uniform) had not yet been created, the original Obi (Belt) worn by the yudansha was the traditional wide Japanese Obi, the same one used to keep the kimono closed. In 1907, Kano would introduce the judo-GI, which would ultimately be the predecessor of today's karate-GI and the modern Obi. By this time students used the white Obi to designate beginners and those who were not classified as yudansha or the black Obi which was used to designate those classified at the yudansha level. The kyu system and therefore the use of different colored belts would not come into force for several more years, until Sensei Mikonosuke Kaiwashi

Sensei Gerardo Balves

introduced them in 1935, when he began teaching judo in Paris. When Gichin Funakoshi traveled to Japan to demonstrate his art of karate in 1917, it was inevitable that he would come into contact with the founder of judo, Jigoro Kano. In 1922, when Funakoshi returned to Japan, he would realize how much he and Kano had in common and the two quickly became close friends. Both Funakoshi and Kano were school teachers, both studied martial arts, and both were interested in promoting their art to the Japanese public. Being educators, there is no doubt that these two men understood the importance of systematic training, as well as the importance of using a rating system in order to produce the best results in their students.

On April 12, 1924, Funakoshi would adopt Kano's Yudansha ranking system, when he awarded Shodan to Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and Kasuya. The adoption of the kyu/Dan system and the implementation of a uniform (karate-GI), which was based in the first instance on judoGI, were two of the six conditions that the Dai-Nippon Butokukai (Arts Council Authority Martial) required before recognizing karate as a "legitimate" martial art. The first photographs taken during the training of Okinawan karate students reveal that in the early 20th century it was carried out in their everyday clothes and since the instruction rarely included women, the students

often trained in their underwear. With Funakoshi's adoption of the Kano grading system, it was not long before he realized that the need went far beyond the technical differentiation of his students. He realized a very important factor, in Okinawa, the teaching of karate was normally carried out to only a handful of students. This made it easier to carry out the teaching (not to mention that many times the student's training was practically individual by the teacher). In this case each Sensei had no trouble remembering the technical skills of the student. But in Japan, Funakoshi soon found that the size of his classes was considerably larger than those in Okinawa, and the larger the student body, the more necessary was the implementation of assistive elements when conducting his classes. At the same time, each instructor knew exactly what technical level he had to teach each student. Almost every karate system in the world today makes use of this Kyu/Dan ranking system. Although the use of the Black Belt to designate the Dan grades is almost universal in all styles of karate, the same is not true for the Kyu categories and there are a multitude of colored belts used to indicate the various grades within each style. In most styles of karate the colors used to identify the minor kyu grade will be a light shade, such as a yellow belt. This light colored belt will become progressively darker (even brown) as the student progresses. The students of years ago did not change the belts in each promotion as the students of today do, but they kept with the same belt. Legend has it that the philosophical principle of color is based on the

fact that the white belt turned green when the student came into contact with the grass during training. As the training intensified the grass would eventually die from contact with the student and the tape would turn brown with repeated contact with the earth. As the student continued to train the brown belt would darken to black. As the black belt got older (the student and the belt itself) and the practitioner's skill increased, the contact with the ground became less, since they were rarely thrown, swept or thrown, thus the black belt began It was beginning to wear down and turn gray just like the karateka's hair. The color of the belt over time continued its transformation until finally returning to its original color of white and in a sense, the belt as well as the student had returned to the starting point.

General Category Recognition:

1. Mudansha: (Kyu) Term used to describe students below the rank of Black Belt.

2. Yudansha: (Dan) Term used to describe those students who have acquired the degree of Black Belt.

3. Kodansha: (Higher Dan) Term used to describe those students who have advanced to the highest Rank of Black Belt.

4. Mu-dan: (Beyond grade) Term used to describe a very high ranking martial artist who renounces the same. This occurs when the senior martial artist succeeds the senior master of the style or school. In many cases, this person is called Soke, once the master dies and becomes his legitimate heir, since on many occasions he can be the successor of his own father or his lineage. The degree is suspended and the person will be considered Mu-dan.

Yudansha - Black Belt Degrees

There is very little written information regarding the various types of belts used to identify the Yudansha or Black Belt (Obi). In several of the Okinawan and Japanese Karate systems you can see a variety of types of belts used for the various categories. It is very common to see Japanese kanji on all belts of the Yudansha degrees. Information such as the wearer's name, rank, organization, hierarchy, style, and/or school is

included in the writing on these belts. Belt letter colors can vary, but are most commonly gold, white, red, or blue and can appear on one or both ends of the Obi. The writing (in most cases) will be adjusted so that it can be read when the belt is tied. There are no set rules or regulations that apply to all styles of karate in reference to the types of belts to be worn, as well as the methods of using stripes to designate the different grade levels. The recognition method is almost as vast and complex as the styles themselves. Be that as it may, the following information should help readers recognize the methods generally used to identify the different ranks and levels of students, instructors, and teachers. Black belt: A black belt is the belt most worn by members of the Yudansha ranks and regardless of the Dan level of the Yudansha everyone is considered to be what is known as a "Black Belt".

The Black Belt has become the universal meaning for those who have learned and/or teach the basic techniques that make up the karate systems.

Japanese Styles, Dan (Yudansha level) Stripes:

Many styles of karate, especially Japanese styles use horizontal stripes at one end of the black belt to designate the grade level of

Yudansha.These like red or gold can be used especially when the bands are embroidered on the ribbon. With this type of band system the Sho-Dan (1st Degree Black Belt) would only have one band near the tip of one end of the belt, while a Go-Dan (5th Degree Black Belt) would have five separate stripes starting near the end of the belt. from the tip of one end of his belt and moving toward the center of the belt. Okinawan styles, Dan (Yudansha level): Most Okinawan styles of karate make use of a separate type of band system than that used by Japanese styles of karate. In most Okinawan styles, stripes are not used to refer to the ranks of Sho-dan through Go-dan. To designate the rank of Roku-Dan (Renshi) a gold colored band is worn horizontally on each side of the belt. Two gold colored bands are worn on each side of the belt to designate Nana-dan and Hachi-Dan (Kyoshi) and for Ku-Dan and Ju-Dan (Hanshi) three gold colored bands are worn on each side of the belt. Striped Yudansha Belts: Central horizontal stripes for some systems that make a difference between a female yudansha and a male yudansha for which a red or white stripe is used in the center of the black belt or a red belt with a black stripe in the center of the red band along the entire length of the women's belt. It was believed that by using this identification the wearer of the tape could be clearly perceived as male or female from a distance by the Sensei. Although this type of belt is rarely used today. There are only a few systems that still use it as an identifier for female students.

Junior Black Belt ID

There are also systems that use a horizontal stripe to identify a "Junior" "Yudansha" Black Belt or those who are below the minimum age requirement for the yudansha level in their respective organizations. The stripe used in this case is usually a horizontal stripe. white, although some organizations use a red stripe, this stripe is in the center of the entire black belt. Vertical Sectioned Blocks or Whole Horizontal Stripes: Yon-Dan and Go-Dan: Some systems identify the 4th and 5th degree of black belt by the use of a Black Belt with wide red sections of approximately 12 to 15cms. away on the belt. Red/black stripes with stripes or blocks run the length of the belt from end to end in black, red, black, red, etc. Some systems identify the YonDan, Go-Dan and Roku-Dan: by the use of the red and black colored belt. The colored stripes on these belts cover the entire vertical belt from end to end and in this case either red or black can be worn upwards to designate 4th, 5th or 6th Dan and then when student advances to the next level in band rank carried opposite side up. This belt can be Black on one side and when turned all the way around it allows the student to change her belt color to black by simply turning it. Some systems identify the Rokudan, Shichi-Dan and Hachi-Dan by the use of a red and white belt in stripes approximately 10 to 20 cm long. These blocks are across the entire belt from end to end in white, red, white, red, etc. Some organizations use a striped belt like the one described in the previous paragraph, except that the red sectioned area is black.

These black/white, black/white sections run through the entire length of the belt from end to end. This type of belt is generally used to identify wearers ranging from Go-Dan to Hachi-Dan. These Ribbons are used by some karate organizations, but more often by Jujutsu or Aikijujutsu systems. But some systems use the order in which they are ordered to identify the degrees, for example: if the tip ends in white it is a Roku-Dan and if it ends in red it will be a Shichi-Dan. For high level belts like Ku-dan and Ju-dan some systems use a red colored belt. Some Yu Dan in certain circumstances can be seen wearing a golden belt. Formal Karate Titles

1. Sensei: Master or whoever was born before": This title is the most frequently used title in karate and generally refers to someone of the Yon-Dan level. Many high-ranking instructors will state that this is the most honorable title a student can use to refer to her teacher. The title Sensei implies a close bond between student and teacher.

2. Shihan: "Expert Master": It is important to understand that this denomination is for someone who has perfectly mastered and assimilated the basic and advanced principles of a particular style or system. The title of Shihan does not mean that this person has stopped learning , because he already knows all the answers. On the contrary, he considers himself to be more serious and dedicated than most students. The title of Shihan is generally considered to be a title only in his organization and does not make much sense outside of style or of the organization.

3. Renshi: "Senior Expert Master": This is the first of three generally used titles. Although this title is independent of rank, it is rarely given to anyone below the rank of Roku-Dan.

4. Tasshi or Tesshi: "Master's Apprentice": This title was originally used instead of of Kyoshi. It is now sometimes used between the Renshi and Kyoshi levels by the Dai-Nippon Butokukai.

5. Kyoshi: "Master of Masters": This is the second of the three titles used in general. Although this title is independent of the ranking system, it is rarely given to anyone below the rank of Sichi or Nana-dan.

6. Hanshi: "Senior Master": This is the third and highest of the three titles used in general. Although this title is independent of the ranking system, it is rarely given to anyone below the rank of Ku-Dan. In reference to the three titles Renshi, Kyoshi and Hanshi: Ren = A trainer of the Way Kyo= A Master of the Way Han= A model of the Way Other names of Karate are also:

1. Seito Deshi or Deshi: A student, pupil or disciple of a martial art.

2. Uchi Deshi: A personal student who lives and trains with the Master of a martial art.

3. Kohai: A title used to refer to someone who is lower in rank than oneself. The opposite of Senpai.

4. Sempai: A title used to refer to someone who is higher in rank than oneself. The opposite of Kohai.

6. Kaicho: This title generally refers to the director of a style. You can also at the head of an organization or association.

7. Taiso: The term used to designate a great master of martial arts.

8. Kaiso: The founder of a particular style or an organization or association. A senior advisor to the founder may also hold this title.

9. Soke: Founder of a system or style. This title can also be used by the successor of the founder of a style or system. This person will be a Ju-Dan in most cases.

10. Shoshu: The title used to designate a master of a particular art.

11. Saiko Shihan or Shihan-Dai: This title refers to the person who has been designated as the Superior Chief.

12. O-Sensei or Dai Sensei: This title means Grand Master, or the highest and most respected teacher. This title is spoken by students in honorable reference to the founder of traditional martial arts.

13. Sosai: Highest and most honorable position of an organization.

14. Soshi: Title used to designate the Chief Master of an organization.

15. Shidoin: Title used to refer to a Head Instructor.

16. Meijin: Title used for a master of martial arts.

17. Kensei: Holy Fist a title used by Chojun Miyagi, founder

5. Kancho: A title sometimes given to the head of a dojo or organization. This title is independent of any rank, but in most cases this person is a high-ranking student. In most cases the person holding this title will be the highest ranking instructor of a specific Ryu-Ha or Kai-Ha.

of Goju-ryu, by his students.

18. Mukyu: Someone who has no rank in karate.

19. Shokyu: Secondary grade level of learning such as Sho-Dan. 20. Chukyu: It is used to refer to a student who is at a secondary level and in full training to ascend to the upper intermediate grade. From Ni Dan to San Dan for example.

21. Jokyu: advanced degree. It is used for a Yon-Dan Sensei who is in training for promotion to the higher rank and is on assignment abroad. 22. Hokai: Used to refer to a student below Dan grade.

23. Nyumon: Training to access the level of Sho Dan. 24. Kyoren: A San-Dan grade student, who is not in training course to be an instructor (Yon-Dan) 25. Ani-deshi: Senior Disciple

HOW AND WHO GRADUATED THE FIRST MASTERS

(Source: "How the Masters Got Their Ranks: Origins of the Karate Rank System")

Throughout the course of our Karate-do training, we take for granted the grading system that confers our belts and titles. Sometimes this system is overtly personal, with the director-and only him-granting each promotion directly, according to his own rules. Often the examination and award of a degree is a more bureaucratic affair, with a committee performing a perfunctory service in a formally standardized ceremony and even without the routine forms, and yet more informal. The recent writings of Hanshi Richard Kim of the Butokukai (Martial Virtue Association) showed how the da/kyu degree system was adopted by modern budo (martial

arts) systems, promulgated by the Butokukai, and codified in its final form to Japanese Karate-do by the Federation of All Japan Karate Do Organizations (FAJKO). To truly understand this rank system, it is important to gain a good understanding of how the various teachers earned their degrees, as that is the basis of our degree. This is what we know for sure:

On April 12, 1924, FUNAKOSHI Gichin, "The Father of Modern Karate", awarded the first black belts in Karate to seven men. Among the recipients were OHTSUKA Hironori, founder of Wado-Ryu Karate-do, GIMA Shinken, later Gima-Ha Shoto-Ryu, and TOKUDA Ante, Gima's cousin, who received the second dan (nidan) black belt. Like Gima Shinken, Tokuda had trained extensively in Okinawa before coming to Japan. The others were Kasuya, Akiba, Shimizu, and Hirose. In these beginnings there was a very personal, although formal, ceremony in which Funakoshi is said to distribute many black belts among his disciples. Yet there is no indication that Funakoshi himself had any budo rank under the dan/kyu system. Actually, Funakoshi was greatly influenced by KANO Jigoro, the aristocratic founder of Judo, and creator of the dan/kyu system. Kano was a highly respected individual, and Funakoshi prided himself on being a polite and correct man who he believed to be acting correctly. Kano's system was not only being applied to Judo, but to other budos as well under the auspices of the Butokukai and the Japanese Ministry of Education. Funakoshi, then, simply adopted what was the order of the day: a grading system

officially approved by the most important entities in Japan in the field of martial arts. Funakoshi's own rank was of no importance, as belt ranks were apparently something for students only, not teachers. For its part, the Butokukai issued licenses for instructors: the titles Renshi (lowest), Kyoshi, and Hanshi (highest). It would be a while before the dan/kyu system became universal in Karate.

Towards the end of the 1930s, every karate group was invited to register with the Butokukai for official recognition, and in 1938, a meeting of the official karate-do leaders of the Butokukai took place in Tokyo. The objective was to discuss the norms for the granting of degrees in his art. Present were, among others, OHTSUKA Hironori from WadoRyu, MABUNI Kenwa from ShitoRyu, KINJO (Kaneshiro) Kensei and UESHIMA Sannosuke from Kushin-Ryu, YAMADA Tatsuo from Nippon Kenpo, KONISHI Koyu from Shindo-Jinen-Ryu, and a young YAMAGUCHI Gogen of Goju-Ryu. Most of these men were founders of their own styles, and as such they automatically became the highest grades that contemplated their respective and agreed norms. Yamaguchi assumed the leadership of Goju-Ryu because, we are told, he was personally asked by the founder of Goju-Ryu, MIYAGI Chojun, to take charge of the direction of the style in Japan. Around this time, Funakoshi also finalized the grade standards for use in his Shotokan Dojo. Of course, the Butokukai continued to directly authorize the head teachers. This, however, was not without controversy, as Konishi was on the committee that awarded

Funakoshi the rank of Renshi, and Konishi had been a student of Funakoshi. Of course, Konishi had internal ties to the Butokukai by virtue of birth, something the Okinawan Funakoshi could not have.

In Okinawa, the dan/kyu system was not really established until 1956, with the formation of the Okinawa Karate Association (OKA). CHIBANA Chosin, the first to name his system Kobayashi Ryu (ShorinRyu), was the first president. According to the historical data of the Shudokan (a Japanese group started by TOYAMA Kanken in Tokyo), Chibana and Toyama were officially recognized by the Japanese Ministry of Education to award any degree in the art of Karate, regardless of style. Chibana helped organize the OKF, and it was then that mainstream Okinawan groups generally began to distinguish their black belt degrees as more than just a distinction between students and teachers. Toyama, a talented and, some would say, colorful man, gave some lavish certifications to Dojo directors in Okinawa and Japan. These were normally shibucho ("superintendent" diplomas, from the title of feudal area commander). These certifications accredited socalled individuals as leaders of their own All Japan Karate-do Federation faction and, by extension, of their own groups. SHIMABUKU Eizo, founder of the Shobayashi-Ryu / Shorin-Ryu (a mix of Tomari te / Shuri te Kyan style and ShorinRyu) faction, points to his own 10th dan as a Toyama certification. Shimabuku's assumption of tenth dan, and the fact that he wore a red belt, was a matter of dispute.

It was controversies of this sort that led most Okinawan leaders to eschew the red belt almost entirely. The AJKF did not last as a unified group of different styles in Japan. Toyama's raid on Okinawa later led to the formation of the AJKFOkinawa Branch faction with the help in organization of TAMOTSU Isamu. Tamotsu became a student of SHIMABUKU Zenryo (of Kyanstyle Shorin-Ryu) and would come to be known as the soke (style leader) of the Japanese faction of Shorinji-Ryu. In 1960, the Okinawa branch of the AJKF was organized with SHIMABUKU Zenryo as president. A constituent group of this AJKF was the Okinawa Kenpo League led by NAKAMURA Shigeru and SHIMABUKU Zenryo as a loose confederation of several Dojos sharing techniques. Like other organizations, the AJKF - Okinawa Branch handled the graduation of its member instructors. It operated as a rival to the Okinawa Karate Federation. However, it did not last long either and the schools that belonged to the organization broke away and formed other alliances. However, his emblem did not die. The same shield is still used by CHITOSE Tsuyoshi's Chito-Kai. The core leaders of karate continued on their own or became part of other groups, using authority inherited mostly from members of one of the original Okinawan organizations, the most significant being All Okinawa Karate and Kobudo Rengokai. Formed by HIGA Seitoku as a successor to the Okinawa Federation in 1967, the Okinawan detail of the emblem was used to distinguish each member group. OYATA Seiyu can be seen

wearing this emblem in Dojo. Chitose was a founding member of the original Japanese AJKF, but his 10th dan was awarded to him in 1958, according to Chitokai, by All Okinawa Karate and Kobudo Rengokai. He was awarded his Hanshi title by the same group in 1962. However, this is confusing as the AOKK-Rengokai was not formed until 1967. It grew out of an earlier group: the Okinawa Kobudo Federation which was founded in 1961. The latter group it was organized by HIGA Seitoku (of various Shorin-Ryu related lines) and UEHARA Seikichi (Motobu-Ryu). Higa had been a graduate of Toyama while living in Japan and may have been associated with the original AJKF. As we know from Richard Kim, the most significant event in the use of the system: dan/kyu was the formation of the FAJKO in 1964. All the major groups and factions of Japanese Karate-do were brought under the umbrella of the FAJKO. Around 1971, a rank structure was adopted that standardized all systems. High ranks were awarded to FAJKO member instructors by the organization's committee. In this way, the leaders of the constituent organizations could be promoted, as in previous attempts at confederation. An earlier, but smaller, confederation of schools with degree-granting authority

was the Japan Karate-do Rengokai, which still exists and is a member of FAJKO.

Following the birth of FAJKO, the JKA increased its own degree requirements to accommodate. Sixth and eighth dans were awarded in the JKA in the mid-1960s, and NISHIYAMA Hidetaka in Los Angeles was one of those promoted at the time. Although not all groups currently participate in FAJKO, most are still tied to that organization in terms of rank structure and authorization. Others, not so linked, have adjusted to the FAJKO standards and criteria as well. Shortly after FAJKO was created, Okinawans formed the All Okinawa Karate-do Federation as a successor to the old OKF. Members of both the OKF and AJKF - Okinawa Branch became part of the new association. Some of the top Okinawan Karate leaders made up the AOKF committee. These included NAGAMINE Shoshin, SHIMABUKU Zenryo, YAGI Meitoku from Goju-Ryu, UECHI Kanei from UechiRyu, and HIGA Yuchoku from Shorin-Ryu. They adopted a dan/ kyu system and Renshi, Kyoshi, Hanshi (plus a Hanshisei) almost identical to that of the FAJKO. The Okinawa Rengokai, formed by HIGA Seitoku, also adopted standards very similar to those of the AOKF. Higa organizations had certified as Hanshi - and thus supreme instructor - several who were style or group leaders in their own right. these included KANESHIMA Shinsuke of Tozan-Ryu of Shuri-Te, SOKEN Hoan of Matsumura Shorin-Ryu, MATAYOSHI Shinpo of Matayoshi Kobudo, NAKAIMA Kenko of

Ryuei-Ryu, TOMA Shian of ShorinRyu (Kyan style) and Motobu-Ryu, SHIMABUKU Tatsuo from IsshinRyu, KINA Shosei from Uhuchiku Kobudo, and SHIMABUKU Zenryo from Shorin-Ryu. It is clear that the degrees in Karate arose from several original sources - something relatively modern built on an ancient martial art. They were issued by individuals and institutions with established standards that were recognized by other prestigious individuals and groups. And this is the crux of the matter: for a degree to be recognized, the one who grants it must be someone recognized in the Karate community. It must be based on tradition, and linked to an authorized body or individual who is above reproach. The rules under which degrees are obtained and awarded must be recognizable, and in accordance with the rules already existing in the hierarchy of Japanese and Okinawan martial arts. Anyone can print or write a great certificate, but without any government or legal guidelines. It is the recognition and acceptance by existing groups and institutions that gives each group or individual its legitimacy. The development of the rank system is a typical human development, with rivalries and contradictions, and our own masters received their degrees in different ways. The highest grades of the old masters could not receive the 10th dan of their "styles". They were invariably graded by other people and applied this grade to their own groups. This is still true. As in European medieval chivalry, originally any knight could name another knight, and later majestic institutions were in charge of that task. However,

it is the skill and knowledge that get the degree, not vice versa. The search for the degree, in itself, makes it lose its meaning. There is a story that reflects the meaning of karate. It is a parable about the Do (way) and an insignificant man. A karateka asked Sensei about him. O master who has walked the path: What is the difference between a man of the Do and a little man?

Sensei replied: "When the little man receives the first Dan black belt, he quickly runs home shouting the fact to everyone. After receiving his second Dan, he climbs the roof of his house, and shouts it to everyone. Third Dan, he will go around town telling as many people as he can."

Sensei continued: "A man of the Do who receives his first Dan will bow his head in gratitude; after receiving his second Dan, he will bow his head and shoulders; and when he reaches the third Dan, he will bow to the waist, and in the street, he will walk along the wall, to pass unnoticed. The greater the experience, ability and power, the greater will also be his prudence and humility".

Gerard Balves 7th Dan Kobayashi-ryu Kyudokan Coordinator of the

International Group of Dojos Kyudo Mugen Kyudokan

https://www.facebook.com/ gerardo.balves

The surge of movies concerning Bruce Lee’s teacher and ambassador of Wing Chun style to the world, which must have reached around 10 now if I am not mistake, started with this one, which remains the best among them, maybe with the exception of “The Grandmaster” which unfolds, however, in a completely different style.

The story takes place in Foshan, a city in southeast China that was considered a centre of martial arts, even including a street completely dedicated to it, where teachers are coaching their students on the road, side by side. Ip Man enjoys the appreciation of the other teachers in the city, who consider him the strongest fighter, even though the occasional outsider who wants to test his abilities does appear. Cheung Wing-sing, however, his wife, is annoyed by all the fighting, which occasionally happens inside the house, which frequently leads to tension between them. When a rather strong fighter, Jin Shanzhao, comes to Foshan to challenge other masters, hoping to set up a school and climb out of poverty, even she agrees for Ip Man to fight him however, coerced by the Northerner’s vulgar ways. Despite the aforementioned, Ip Man lives an opulent life while keeping a low profile, something that changes completely after the Japanese invasion of 1937, since

the situation for all Chinese people deteriorates radically, resulting in him having to work as a miner to feed his family and duel with Chinese and Japanese fighters to protect his friends.

The combination of Sammo Hung as action choreographer and Donnie Yen as main performer has resulted in a number of action masterpieces, with the original “Ip Man” definitely being among them. The combination of rather intricate choreography with the uncanny speed and overall composure of Yen results in a number of utterly impressive scenes, with the multiple punches in particular being among the most memorable ever to appear on a martial arts film. Apart from the protagonist, Wilson Yip has also done an excellent job in the rest of the cast, with Louis Fan Siu-wong in the role of Jin and Hiroyuki Ikeuchi in the role of the Japanese general who becomes the ultimate opponent, providing more than worthy villains. Chen Zhi hui in the role of Master Liu, another sifu, Simon Yam as a businessman friend, and gorgeous Lynn Hung as Ip Man’s wife, round up an overall great cast.

To get back to the action though, the many one-on-ones Yen has are all quite impressive, but the same applies to three additional ones, when he fights against ten Japanese fighters (in one of the few moments he loses his cool and becomes truly vengeful), a number of Japanese

soldiers, and, along with the workers in a small factory after the occupation, the gang Jin has come up with, with O SingPui’s cinematography finding its apogee in those scenes. Cheung Ka-fai’s editing is also excellent, with him retaining an overall very fast pace, which slows down, on occasion, however, in order to allow for some moments of drama and some sociopolitical comments to emerge. In that fashion, the role of Li Chiu, a policeman who becomes an associate of the Japanese during the Occupations seems like a direct accusation towards the Force, although Yip does not allow him to become truly despicable. The same does not apply to Colonel Sato, a truly sadistic but also weak Japanese officer, in whose face the opinion of the Chinese for the Japanese forces seems to be mirrored completely. That some of the Chinese choose despicable paths, while others focus on hard work is another comment, this time pointed inwards.

Lastly, this review would not be complete if there was no mention of the top-notch art direction by Mak Kwok-Keung, which finds its apogee in Ip Man’s house, and Lee Pik Kwan’s costume design, which results in a number of imposing appearances, both of the rich and the poor.

“Ip Man” is a truly great film, a masterpiece of the genre, and a true classic of HK cinema.

By Panos Kotzathanasisasianmoviepulse.com

Film Review: Ip Man (2008) by Wilson Yip

VALENTINA SHEVCHENKO

Valentina Shevchenko is one of the most dominant female champions in MMA history. With a 22-3 record and 6 UFC flyweight title defenses, Shevchenko's credentials are worthy of a future UFC Hall of Famer. She is an all-round combat athlete who has also amassed a kickboxing record of 57-2 and a professional boxing record of 2-0. Considered one of the best Muay Thai fighters in the world, Shevchenko has beaten four UFC champions in her career.

Born in Kyrgyzstan and now based in Las Vegas, many assume that Valentina Shevchenko may have immigrated to the United States for her MMA career. While it is true that she has citizenship other than Kyrgyzstan, she would come as a surprise if she is from the far flung South American nation of Peru. Shevchenko has been a Peruvian citizen since 2008 and has continued to compete in professional boxing matches there. Peru is not the only other country where Valentina has roots.

Her grandparents are ethnic Russians who moved to Kyrgyzstan when it was still part of the Soviet Union. By 2000, then 12-year-old Valentina's kickboxing career was

on the upswing, and she even spent time in Thailand learning Muay Thai and competing in tournaments. She would also compete in South Korea and China before deciding to make an excursion to Latin America when she was just 19 years old.

She and her sister Antonina arrived in Peru together with her trainer Pavel Fedotov, and the three of them began teaching martial arts there. She liked the culture so much that Fedotov moved his base of operations to Peru. Just over a year later, Valentina had become fluent in Spanish and obtained her citizenship, emphasizing her love for Peru.

While professional athletes dabbling in reality TV is nothing new, Valentina Shevchenko took it a step further by choosing to compete in a dance reality show broadcast in Peru called Combate. What really stands out is the fact that Valentina and her partner won everything.

She even showed off her wrestling skills on the show, taking on Peruvian professional boxer David Zegarra in a wrestling exhibition match. True to form, she submitted the boxer in less than 60 seconds to earn bragging rights.

Many fans would have noticed the famous gun tattoo on Valentina's lower stomach. It's from a Glock with three extra bullets, and she got it to profess her passion for shooting. In fact, Valentina began firearms training when she was 18 years old and now she regularly participates in pistol shooting competitions around the world. Valentina considers shooting to be as important as martial arts, and she particularly loves the Glock pistol as it is easy to transport. She also feels that mastering guns gives her a fairly natural sense of security for a person with the Twitter handle 'bulletvalentina'.

MMA fans will definitely remember Shevchenko's nickname in the UFC: 'The Bullet,' considering the number of times Bruce Buffer yelled it out in the Octagon. The nickname suits Shevchenko's explosive speed and power, as well as her love of weapons, and was bestowed on her in 2000.

Back in Kyrgyzstan, 12-year-old Valentina was training kickboxing, Vale Tudo and Muay Thai with coach Pavel Fedotov. At a local competition, Valentina took on an opponent ten years her senior and promptly knocked out the 22-year-old. Fedotov couldn't believe her speed in the

ring and gave her the name 'Bullet' to emphasize her quick reflexes.

Valentina Shevchenko has an impressive 22-3 record in MMA with two of her losses in high profile bouts against her great opponent Amanda Nunes in the UFC. Her other loss came in her US MMA debut, losing a controversial fight to future UFC title contender Liz Carmouche in the C3 Fights promotion. Valentina dominated her rival, but an illegal upkick from Carmouche caused her to suffer a big cut. It should have been a disqualification win for Valentina, but the foul went undetected and the ringside doctor decided that Valentina could not continue with the injury. This resulted in a TKO victory for Carmouche via medical stoppage. Valentina would avenge that loss 9 years later in the main event of a UFC Fight Night.

During her stay in Kyrgyzstan, Valentina obtained a degree in filmmaking from the National Academy of Arts. While her film aspirations took a backseat due to her MMA career, she played the main antagonist in the 2020 Netflix sports drama Bruised starring Halle Berry.During her time in Kyrgyzstan, Valentina obtained a degree in filmmaking from the National Academy of Arts. While her film

aspirations took a backseat due to her MMA career, she played the main antagonist in the 2020 Netflix sports drama Bruised starring Halle Berry.

Shevchenko played Latin American fighter Lucia Chavez, an MMA champion against whom Berry's character has a title fight. The film's attention resulted in Shevchenko also appearing on the cover of Women's Health magazine with Berry. The film also had a bit of controversy, with former UFC fighter Cat Zingano filing a lawsuit against Berry for broken promises regarding a role of hers in the film.

Valentina Shevchenko holds a number of records in the UFC: She has the most consecutive title fight wins in a particular division for an active UFC competitor

with six in the women's flyweight division, the most wins, the most consecutive wins and the most wins by knockout in the history of that division as well as being No: 1 in the women's pound-for-pound ranking.

However, at UFC 255, Valentina and ella's sister Antonina de ella created a unique record: the Shevchenkos became the first sister duo to compete on the same UFC card. Valentina was in the co-main event and defeated Jennifer Maia by decision to retain her flyweight title. On the preliminary card, Antonina defeated Ariane Lipski via technical knockout to receive the performance of the night award, setting the stage for a strong performance from the Shevchenko family.